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Thanks to Our Sponsors

OCMA appreciatively acknowledges the sponsors of our 2013 Oregon Coast Music Festival. Their very generous support helps to make it possible for us to present some of the world’s finest artists to our community.

Please join us in saluting and thanking these local companies. PRINCIPAL Festival Sponsors

The Estate of Dr. Charles Holloway and Dr. Barbara Gabert-Holloway

Abel Insurance Bay Area Hospital Bay Eye Clinic Black Market Gourmet BNT Promotions Friends of Shore Acres Hough MacAdam & Wartnik Huggins Insurance Industrial Steel & Supply Company & Ocean Terminals Jefferson Public Radio Ken Ware Super Store KCBY KDOCK KEZI Merrill-Lynch-Konrady & Hartley Group Nasburg Insurance

Off the Record Oregon Coast Culinary Institute Oregon Piano Tuners Pancake Mill Roger Scott Sol Coast South Coast Anesthesia Associates Southwestern Oregon Community College Sterling Bank The Liberty Pub The Mill Casino and Hotel The World Umpqua Bank Vend West Wegferd’s Printing

Audience Etiquette

. Arrive on time. Evening orchestra concerts begin promptly at 7:30pm. Late arrivals may have to wait to be seated.

. Turn OFF all pagers and cell phones!!! . Avoid the use of scents/perfumes. . No photography or recording allowed. . Unwrap any crinkly paper cough drops or candy before the music begins. . Clapping between movements within a musical piece is not expected. The number of movements in a piece is listed in the program. Your cue to applaud is when the conductor faces the audience.

. Please recycle programs in containers provided.

THANK YOU FOR YOUR CONSIDERATION! 2

Welcome to our 35th Season

We sincerely hope you enjoy every Festival event you attend. On behalf of the Musicians, Board of Directors and all the volunteers who are the Oregon Coast Music Association, thank you for your participation.

2013 Schedule of Events JULY 13, SATURDAY @ Noon......................................................... 5 BAY AREA CONCERT BAND Mingus Park, Coos Bay - FREE JULY 14, SUNDAY @ 2:00pm........................................................... 7 Dmitri Matheny Group OIMB Boathouse, Charleston Refreshments and wine tasting at intermission JULY 16, TUESDAY @ 7:00pm......................................................... 9 GOLD COAST CHORUS and SEA BREEZE HARMONY CHORUS Emmanuel Episcopal Church, Coos Bay - FREE JULY 18, THURSDAY @ 7:30pm.....................................................11 charlie freak The Liberty Pub, North Bend (21 and over) JULY 19, FRIDAY @ 7:00pm........................................................... 13 Priscilla Dantas Hales Center, SWOCC Campus, Coos Bay - FREE JULY 20, SATURDAY @ Noon........................................................ 15 It’s About Time Jazz Band Shore Acres State Park, Charleston - FREE JULY 23, TUESDAY @ 7:30pm....................................................... 23 ORCHESTRA CONCERT I JAMES PAUL - Conductor Marshfield HS Auditorium, Coos Bay JULY 25, THURSDAY @ 7:30pm.................................................... 39 POPS CONCERT JASON KLEIN - Conductor Marshfield HS Auditorium, Coos Bay JULY 27, SATURDAY @ 7:30pm.................................................... 41 ORCHESTRA CONCERT II JAMES PAUL - Conductor Marshfield HS Auditorium, Coos Bay

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Bay Area Concert Band Saturday, July 13 | Noon | Mingus Park, Coos Bay

Mark Allen, Conductor The Bay Area Concert Band has been the opening act for every Oregon Coast Music Festival since it began 35 years ago. This community band supported by Southwestern Oregon Community College, is conducted by Mark Allen. Be a part of the tradition of music in the park. Bring the family, a picnic and join us for an afternoon of splendid music performed by distinguished local musicians.

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Dmitri Matheny

Sunday, July 14 | 2:00 p.m. | OIMB Boathouse, Charleston Refreshments by BLACK MARKET GOURMET Wine tasting by EOLA HILLS WINE CELLARS

Celebrated for his warm tones, soaring lyricism and masterful technique, Dmitri Matheny has been lauded as “the first breakthrough flugelhornist since Chuck Mangione” (San Jose Mercury News). First introduced to jazz audiences in the 1990s as the protégé of Art Farmer, Matheny has matured into a leading figure on the international jazz scene and one of the most prolific musicians of his generation. His discography lists over 50 compact discs on which he appears as a composer, arranger, producer, annotator or flugelhorn soloist. He has released nine critically acclaimed albums: Red Reflections (1995), Penumbra (1996), Starlight Café (1998), Santa’s Got a Brand New Bag (2000), Nocturne (2005), The SnowCat (2006), Spiritu Sancto (2007), Best of Dmitri Matheny (2008) and Grant & Matheny (2010). The Dmitri Matheny Group present today their popular Jazz Noir project, offering a fresh spin on familiar TV and movie themes (film noir, spy thrillers and crime dramas), plus a selection of new works, jazz classics and beloved standards from the Great American Songbook. Concert highlights include a Noir Medley of cinematic favorites and Matheny’s original “Crime Scenes” suite, a dreamlike series of vignettes linked together with voiceover narrative in the hardboiled detective style of Dashiell Hammett and Raymond Chandler. Join the Dmitri Matheny Group for a magical afternoon of jazz featuring Matheny, flugelhorn; David Valdez, saxophones; Nick Manson, piano; Christopher Higgins, bass and Alan Jones drums.

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Gold Coast Chorus

Celebrating 60 YEARS of Barbershop Harmony

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541-269-1222 Report news tips to 800-437-NEWS (6397) or email [email protected]

Sea Breeze Harmony Chorus Sea Breeze Harmony is always open to new members and welcomes women of all ages who have a musical ear and like to sing harmony. Visit SBH at a regular rehearsal on any Tuesday at 6:30 p.m. Our rehearsal hall is located at 2055 Union Avenue, North Bend. For more information, check out our website at www.seabreezeharmony.org.

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Gold Coast Chorus and Sea Breeze Harmony Chorus Tuesday, July 16 | 7:00 p.m. | Emmanuel Episcopal Church Sponsored by EMMANUEL EPISCOPAL CHURCH

Gold Coast Chorus

  Welcome to a new way to experience rich four-part harmony from the Gold Coast Chorus. The best part is that we don’t need any instrumental accompaniment, so we’re free to sing anywhere we happen to meet.   Our story begins in the mid-1800’s, when Vaudeville was “the” entertainment genre. Incorporating African folk and European Church music, combined with some healthy American disrespect for tradition, “curbstone” or “barbershop” harmony became popular in the 1870’s. By 1910 it had blossomed into the musical tradition whose legacy we honor today.   The Gold Coast Chorus was chartered in 1953 as the “Bay Cities” Chapter of the Society for the Preservation and Encouragement of Barbershop Harmony, or SPEBSQSA, a tongue-in-cheek acronym poking fun at the multi-lettered organizations of the time. It’s now the Barbershop Harmony Society, an international non-profit organization dedicated to fellowship, musical education, and the preservation of barbershop harmony, the truly American art form.   We’re always looking for new members to join the chorus. For more information call 541-297-7892.

Sea Breeze Harmony Chorus

The Sea Breeze Harmony Chorus (SBH) is a women’s chorus of a cappella singers, performing in the barbershop style. This uniquely American folk style spans the entire globe in the form of Sweet Adelines International. As a local chapter of this organization, SBH promotes a dedication to education, service and community presentations. Beginning as Coos Shoreline Chorus in 1978, and continuing to meet and sing after some years of struggling membership, the chorus re-chartered in 2001 as Sea Breeze Harmony. SBH is a growing, active chorus which boasts long-standing members of 20-30 years, as well as many new member in recent months and years. Chorus membership comes from all over the county.

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charlie freak

Thursday, July 18 | 7:30 p.m. | The Liberty Pub, North Bend Sponsored by SOUTH COAST ANESTHESIA ASSOCIATES

Darren Sherley, Earl Boots, Mike Carillo

charlie freak, (always spelled with lower case letters), are a dynamic group of musicians that pursue their music with the resolve to play without fear of challenge. The band name is from the song by Steely Dan on the Pretzel Logic album. This power trio serves up blues with intensity and energy sprinkled with fusion and funk. charlie freak regularly play local festivals on the south coast. They have opened for nationally known musician, Les Dudek, who played for Steve Miller and The Allman Brothers. Kick back, enjoy the tasty food and libations of The Liberty Pub while grooving with the sounds of charlie freak!

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Priscilla Dantes

Friday, July 19 | 7:00 p.m. | Hales Center, SWOCC, Coos Bay Sponsored by Southwestern Oregon Community College Dessert reception provided by Oregon Coast Culinary Institute following the concert in the lobby

Priscilla Dantas is a Brazilian piano prodigy who has a compelling story. Born in 1993, she lived in poverty in the slums of Brazil. Given a scholarship from the music school where her father worked as a municipal guard, Priscilla began her musical education at seven, when she sang in a children’s choir. She took her first piano lesson at nine and was the subject of a Brazilian national television news report at eleven. In 2007, when she was fourteen, she was soloist with the Recife Symphonic Orchestra, performing Mozart’s Concert in C (she played without the music in front of her). She has received an academic scholarship from Students Helping Street Kids International (SHSKI), a Eugene based non-profit, since the age of ten, attending elementary and high school in Springfield, Oregon. Currently a sophomore on scholarship at the University of Oregon, Ms Dantas excels in academics and piano. Her summers have been spent performing benefit concerts throughout Oregon, raising money to help fund her education. With her busy recital schedule, performing in numerous locations in Brazil and Oregon, Ms Dantas is well on her way toward her goal of becoming an international concert pianist. 13

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It’s About Time Jazz Band

Saturday, July 20 | Noon | Shores Acres State Park, Charleston Sponsored by FRIENDS OF SHORE ACRES

Ken Masters, Director

The renewed interest in swing and jazz big band music was the driving force behind the organization of “It’s About Time Band” in 1990. Upon arriving in the Bay area, Director Ken Masters took a position at Southwestern Oregon Community College. His work led him to meet a group of retired educators and professional musicians that were willing and able to bring a top notch big band to the community. The versatility of these musicians has made it possible to have a Dixieland band, a small jazz ensemble and the big band jazz all in one for special occasions. As well as performing in community theatre musicals, festivals and conventions held on the Oregon Coast the band provides a resource for local students to hone their skills and play with experienced musicians. Influenced by jazz legends Count Basie, Duke Ellington, Buddy Rich and Woody Herman, this 16 member band, with vocalist Diane Whitson, bring top notch jazz music to the community. Donations at intermission will be collected by

The Miss Coos County Court

Miss Coos County - Quinlyn Deming Miss Coos County’s Outstanding Teen - Aly Welch Miss Coos County Princess - Karli Kennedy

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James Paul Music Director

James Paul has served as Conductor and Music Director of the Festival Orchestra since 1991, and is widely acclaimed as one of North America’s most distinguished conductors. In addition to his post with OCMA, he is currently Music Director and Conductor of the Oregon Festival of American Music in Eugene. He was principal guest conductor of the Grant Park Music Festival in Chicago for six seasons, and from 2006 through 2009 he served as Artistic Director of the Sewanee Summer Music Festival in Tennessee. Mr. Paul has appeared with nearly every major North American orchestra, including the Oregon Symphony, Pacific Symphony, National Symphony in Washington, D.C., the Rochester Philharmonic, the orchestras of Chicago, Cleveland, Omaha, Philadelphia, Pittsburgh, Houston, Dallas, Seattle, San Antonio, San Diego, Detroit, Oakland, Honolulu, Indianapolis, New Orleans, and Huntsville. Internationally, he has conducted the London Symphony Orchestra, Orchestre Symphonique Francais, West Australian Symphony (Perth), Tempere Philharmonic (Finland), Royal Scottish National Orchestra in Glasgow, Orchestre Concerts Colonne in Paris, Niederosterreischisches Tonkunstlerorchester of Vienna, Singapore Symphony, China National Symphone (Beijing), Calgary Philharmonic, Symphony Nova Scotia, Vancouver Symphony, and the National Orchestra of Costa Rica., In Mexico he is a frequent guest conductor of the Xalapa Symphony and the National Symphony of Mexico. Mr. Paul has served as conducting fellow with the St. Louis Symphony, associate conductor of the Kansas City Philharmonic and Milwaukee Symphony, principal guest conductor of the New Orleans Philharmonic, and artistic advisor to the Tulsa Philharmonic. The Baton Rouge Symphony that he directed and conducted in 1983 won a Most Innovative Programming Award from the American Symphony Orchestra League and was the only regional orchestra featured on NPR’s Music in America Series. At the conclusion of his final concerts in February 1998, James Paul was named Conductor Emeritus, the only conductor so honored by the orchestra in its 50-year history. Mr. Paul is noted for his critically acclaimed performances of orchestral-choral works such as Vaughn Williams’ Sea Symphony, Mendelssohn’s Elijah, and Britten’s Spring Symphony. In 1997, Mr. Paul recorded Paul Paray’s Joan of Arc Mass and First Symphony with the Royal Scottish National Orchestra and Chorus for Reference Recordings, which received a Grammy nomination for “Best Choral Performance.” Mr. Paul was recently honored by being named to the Comite d’honneur at the Cercle Paul Paray based in Paris. A native of Forest Grove, Oregon, Mr. Paul studied at the Oberlin Conservatory of Music and the Mozarteum in Salzburg, Austria. Among his many awards is the Serge Koussevitsky Memorial Conducting Prize presented by Erich Leinsdorf at the 1967 Tanglewood Music Festival. He makes his home in Ojai, California.

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Steven Moeckel Concertmaster

German-born Steven Moeckel studied violin in Europe and the United States with a number of eminent teachers, including Helmut Zehetmair, Leonidas Kavakos and the distinguished American violinist Miriam Fried. In addition to his regular solo repertoire, he has held the position of Co-Concertmaster for the Ulm Philharmonic and Concertmaster for the Tucson Symphony Orchestra and currently the Phoenix Symphony Orchestra. Steven has been Concertmaster for the Oregon Coast Music Festival since 2010.

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William Wolfram Guest Soloist

American pianist William Wolfram was winner of the Silver Medalist in both the William Kapell and the Naumburg International Piano Competitions and a Bronze Medalist at the prestigious Tchaikovsky Piano Competition in Moscow. A versatile recitalist, concerto soloist and chamber musician, he has won the respect of musicians and critics across the country and abroad. Mr Wolfram has played recitals in cities throughout the U.S., Asia and Europe and has performed with dozens of the finest orchestras in the world. His extensive experience in the recording studio for Naxos and Albany labels include recordings of Franz Liszt’s rarely heard Etudes en douze exercises, as well as opera transcriptions of both Donizetti and Bellini. He was the focus of a full chapter in Joseph Horowitz’s book, The Ivory Trade. On television, he was a featured pianist in the documentary of the 1986 Tchaikovsky International Piano Competition. A graduate of The Juilliard School, William Wolfram resides in New York City with his wife and two daughters.

Mr Wolfram’s appearance sponsored in part by Gary and Janet Gehlert In Memory of...

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Concert I

Tuesday, July 23 | 7:30 p.m. | Marshfield Auditorium, Coos Bay Sponsored by THE MILL CASINO & HOTEL

James Paul, Conductor Overture to Candide (1956) Leonard Bernstein (1918-1990) Variations and Fugue on a Theme of Purcell, Op. 34 (1946) (The Young Person’s Guide to the Orchestra)

Benjamin Britten (1913-1976)

INTERMISSION Piano Concerto No. 2 in B-flat, Op. 83 (1878-81) Johannes Brahms (1833-1897) Allegro non troppo Allegro appassionato Andante Allegretto grazioso William Wolfram, piano

Concert Hosts - Coos Bay Lions / Sterling Bank

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Program Notes Oregon Coast Music Festival 2013 . . . Notes by Kyle Beechly © 2013

CONCERT I:

Overture to Candide

 Candide, ou l’Optimisme was originally a novella by the influential 18th century thinker Voltaire. A satire on well-known people and philosophies of Voltaire’s day, especially Leibnizian optimism, it was first published in 1759 under a pseudonym and immediately caused international scandal due to its irreverent style and criticism of popular beliefs and powerful people and organizations. It tells the story of Candide, an illegitimate child raised with his cousin Cunégonde by her father Baron Thunder-ten-Tronckh in the utopian surroundings of his castle grounds. While there, he’s taught by Pangloss, a highly regarded philosopher and Leibnizian optimist. In accordance with his views, Pangloss teaches Candide and Cunégonde that, although things in the world may appear evil, in reality this is the best of all possible worlds, and therefore everything in this world is ultimately for the best.   The trouble begins when Candide confesses his love to Cunégonde. She reciprocates his love, but her father disapproves because of Candide’s inferior social status, and has him thrown out of the castle. Things only get worse both for Candide and for the rest of the Baron’s family, whose castle is soon invaded by the Bulgarian Army. Pangloss manages to escape (as does Cunégonde, unbeknownst to the others) and reunites with Candide. The rest of the book follows Candide and his companions as they travel the world and are exposed to a veritable encyclopedia of human suffering, none of which manages to shake Pangloss’s unwavering belief in optimism.   The end of the story finds Candide reunited with Cunégonde and settling down to become a simple farmer. Although he ends up in a lowlier place than where he started, he finds contentment in his new life. Pangloss argues that this proves his motto, “All is for the best in the best of all possible worlds.” Candide, strongly affected by his travels but with a new lease on life, counters that instead, “We must tend our garden.”   Leonard Bernstein set this story to music in his operetta Candide. Although the production was first conceived by Lillian Hellman and the original run was a box office flop, it has been revised several times by different parties (most performances today use a libretto by Hugh Wheeler) and has enjoyed widespread popularity.

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Although it contains some original music, the overture is largely comprised of material taken from four songs of the first act: “The Best of All Possible Worlds,” “Battle Music,” “Oh, Happy We,” and “Glitter and be Gay.”   “The Best of All Possible Worlds” - Pangloss’s lecture, in which he teaches that ‘all is for the best’ in this, the ‘best of all possible worlds.’ The most striking theme incorporated into the overture is the ‘objection’ motif, in which a student raises an objection to Pangloss’s lessons (for example, how can this be the best of all possible worlds when people make war on each other?). In the song, several objections are raised, and Pangloss refutes them all. This motif opens the overture and frequently reoccurs, usually cutting off one of the more idyllic sections.   “Battle Music” - An instrumental depicting the Bulgarians’ invasion of the Baron’s castle. The material can be recognized by its boisterous cymbals and brass melody, giving way to flute figurations.   “Oh, Happy We” - Candide and Cunégonde’s blissful song of affection, which they sing after declaring their love to each other. In it they describe the happy life they expect is ahead of them. A hopeful, intensely lyrical piece that makes up the major part of the overture, its first appearance is in lower strings and woodwinds, directly following a tuneful piccolo and flute melody.   “Glitter and be Gay” - Sung by Cunégonde. At this point in the story, she has become a working girl, and she sings this song while putting on the jewelry she must wear to attract patrons. In it, she describes her feelings of sorrow and self-pity at being in such a miserable position in life, but the false joviality she must display also has its effects on her own disposition and at times she can almost forget her troubles amidst her extravagant surroundings. This has proved one of the most popular and enduring numbers in the operetta. The material quoted is only the lighter, later content, not the more melancholy and expressive opening. Cunégonde’s wordless, lilting tune is briefly incorporated near the end of the overture, first in the flutes, then gradually reinforced by the rest of the orchestra.

The Young Person’s Guide to the Orchestra

Benjamin Britten wrote The Young Person’s Guide to the Orchestra (also known as Variations and Fugue on a Theme by Purcell) to go along with a documentary which was meant to introduce newcomers to orchestral music. When given the commission, Britten brilliantly chose to showcase the individual sections of the orchestra through the forms of Theme and Variations and Fugue.   Theme and variation is a musical form in which the composer takes a musical passage (the theme) and then alters it in a number of different ways, resulting in new musical ideas (the variations). Britten exploits the nature of this form to introduce the orchestral instruments separately. The theme (taken from the rondeau in Henry Purcell’s incidental music for the play Abdelazer by Aphra 27

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Behn) is first stated by the entire orchestra and then given to each instrument family: woodwinds, brass, strings, and finally percussion.   After each family has presented the theme, a variation is invented for each of the instruments in this order: piccolo and flutes; oboes; clarinets; bassoons; violins; violas; cellos; basses; harp; horns; trumpets; and trombones and tuba. The thirteenth and final variation features the whole percussion family, but the material is given to one or a pair of instruments in turn (timpani; bass drum and cymbals; tambourine and triangle; snare drum and wood block; xylophone; castanets and gong; whip) before the whole section comes together to close out the set.   In a fugue, a central theme is introduced and stated by each instrument, voice, or section involved in the piece in turn at rhythmic intervals so that the material overlaps itself (much like the rounds of today, for example, the song “Row, Row, Row Your Boat”). After the theme is stated, the instruments’ lines are developed in skillful counterpoint through the rest of the piece. After the theme and variations have all been presented, Britten gradually reassembles the entire orchestra in a fugue, each instrument dropping in sequentially with the theme, which continually evolves until the piece’s grand finish, which brings back the Purcell tune in a splendid peroration.   Britten treats both forms with exceptional finesse. The fugue is realized with masterful counterpoint and the variations are not only of exceptional quality, but also exceptional variety of style. For this reason, The Young Person’s Guide to the Orchestra serves as a fantastic introduction to not only the orchestral instruments, but also to the musical forms employed.

Piano Concerto No. 2 Johannes Brahms famously described his second piano concerto as “a tiny little piano concerto with a tiny wisp of a scherzo.” The quote is best remembered by today’s general public for its understatement; the concerto is the largest of its kind in classical form, due in no small part to the addition of an extra movement. This is a bold move; by Brahms’s time, the concerto genre had long been firmly established as a work in three movements. However, someone of Brahms’s day would not overlook the remark about including a scherzo. Scherzo (the Italian word for joke) is a musical device which, although it had originated in Haydn’s quartets and been popularized in symphony by Beethoven, was uncommon if not unheard of in the concerto genre.   This piece is especially notable for Brahms’s treatment of the piano part. Instead of being treated as a regular concerto solo instrument meant to showcase virtuosity and contend with the orchestra, the piano is integrated with the rest of the orchestra and shares in equal part the piece’s development. Although the part is extremely technically difficult, virtuosity as an end unto itself, so common in usual concertos, is absent. Not only is the piano material exceptionally

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technically demanding, but soloists must also be on their toes intellectually and possess a thorough understanding of the composition. They must blend their virtuosic skill in a pleasing way with the rest of the orchestra, asserting their place but never disrupting the overall flow of the piece.   The length, piano treatment, division into four movements, and inclusion of a scherzo are all characteristic of a symphony, and there has in fact been a tendency to regard Brahms’s concertos as “symphonies with solo instruments.” However, it may be more accurate to view his piano concertos as an attempt to bring together the traditions of symphony and keyboard music, to fuse the best from both worlds in order to advance the development of music in general. Critical opinion is mixed as to whether this was Brahms intention, and if so whether he succeeds, but regardless, the second piano concerto has remained popular with both the concert-going public and private enthusiasts.

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The Festival Orchestra Highlight of the Festival!

Our 80 piece professional orchestra belongs uniquely to the communities of Oregon’s south coast. Yet most of the members come from outside this area. These regional, national and international musicians perform together as an orchestra only for our Festival. They come from New Orleans, Chicago, Amarillo, Fayetteville, Tallahassee. Many are proud Oregonians. What brings them together to make wonderful music for one short fabulous week in July? They come to play for our world class conductors, James Paul and Jason Klein. They come to contribute to the cultural vibrancy of our community, to renew friendships made during past festivals and enjoy the treasures of the beautiful Oregon coast. They come to make magic with music.

Happy 85th Mom and the beat goes on! Lovingly, Don and Diane

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The Festival Orchestra

James Paul - Music Director, Jason Klein - Associate Conductor FIRST VIOLIN Steven Moeckel, Concertmaster, Phoenix, AZ Brent Price, College Park, MD Camilla Wilson Scott, Canby, OR Nancy Johnson, Newton, KS Betsy Masterson, Tallahassee, FL Stephen Chong, Eugene, OR Hisami Iijima, Phoenix, AZ Lian Emmerling, Hugo, CO Robin Cecil, Garden Grove, CA Kristen Autry, Grass Valley, CA Tatiana Kolchanova, Vancouver, WA Matthew Gordon, Phoenix, AZ On leave: Amy Keusink, Shelley Rich SECOND VIOLIN Karen Hilley, Principal, Portland, OR Leslie Hirsch, Portland, OR Stephen Shephard, Longview, WA Claudia Miller, Eugene, OR Anthony Dyer, Portland, OR Amanda Phillips, Spokane, WA Lisa Jarvis, Bandon, OR Casey Bozell, Tigard, OR Brian Bennett, Portland, OR Lisa Zweben, Portland, OR Nicole Rasmuson, North Bend, OR Louise Stuppard, Calgary, AB On leave: Emily Cox VIOLA Michelle Mathewson, Principal, West Linn, OR Karl Albrecht, Steilacoom, WA Anamaria Ghitea, Vancouver, WA Brenda Liu, Lake Oswego, OR Cynthia Scott, Oregon City, OR John Haggard, Phoenix, AZ Joseph Pagán, Tucson, AZ Jenny Massey, Cedarburg, WI VIOLONCELLO Thomas Megee, Principal, Calgary, AB Sherill Roberts, McMinnville, OR Dieter Ratzlaf, Portland, OR Karen Ray, New Orleans, LA Katherine Schultz, Portland, OR Andrew Kolb, Amarillo, TX Erin Winemiller, Vancouver, WA David Chinburg, Eugene, OR BASS James Karrer, Principal, Tucson, AZ Christy Crews, Palo Alto, CA Kevin Brown, Newberg, OR Paul Ensey, Chicago, IL Drew Giambrone, Medford, OR Clint O’Brien, Oberlin, OH David Robinson, Sacramento, CA On leave: Gregory Dugan, Nami Akamatsu, Steve Calvert, Keith Biondi FLUTE Greg Bishop, Principal, Boise, ID Jeffrey Baker, Boise, ID Wendy Wilhelmi, Seattle, WA On leave: Rena Urso-Trapani

PICCOLO Wendy Wilhelmi, Seattle, WA OBOE Alan Juza, Principal, Portland, OR Catherine Lee, Portland, OR Karen Strand, Scappoose, OR ENGLISH HORN Karen Strand, Scappoose, OR CLARINET Chip Phillips, Principal, Spokane, WA Richard Gellman, Vancouver, WA Daniel Cathey III, Springfield, OR Sondra Shamrell, Port Orchard, WA On leave: Carol Robe BASS CLARINET Richard Gellman, Vancouver, WA E-flat Clarinet Daniel Cathey III, Springfield, OR BASSOON Thomas Schubert, Principal, San Diego, CA Phil Gottling, Honolulu, HI David Savage, La Mesa, CA Erin Irvine, San Francisco, CA CONTRABASSOON David Savage, La Mesa, CA HORN Steven Gross, Principal, Oxnard, CA Bethany Stevens, Assistant Principal, Simi Valley, CA Kristin Morrison, Long Beach, CA Chris Wilson, La Cañada, OR Julie Callahan, Oxnard, CA TRUMPET Craig Gibson, Principal, Portland, OR Steve Conrow, Portland, OR Larry Wells, Fayetteville, NC Jay Chen, Adair Village, OR TROMBONE David Bryan, Principal, Vancouver, WA Andrew Harris, West Linn, OR David J. Clovis II, Long Beach, CA TUBA JáTtik Clark, Principal, Portland, OR Michael Grose, Eugene, OR HARP Ellen Lindquist, Principal, Portland, OR Candace LiVolsi, Redding, CA PERCUSSION David Jarvis, Principal, Pullman, WA Robert Brudvig, Albany, OR David Constantine, Waldorf, MD Andrew Carlson, Eugene, OR Brent Edwards, Pullman, WA TIMPANI Tracy Freeze, Principal, Emporia, KS Celeste Charlotte McLauchlin, Bandon, OR

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OCMA - Congratulations on 35 Great Years!!!

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Jason Klein Conductor

A native of Kansas City, Jason Klein has enjoyed a long and varied career as a conductor and educator at almost every level. He received his BA from Washington University in St. Louis and his Masters and Doctorate in Orchestral Conducting from Stanford University, where he was an NDEA Fellow. After several seasons as Music Director of the Fremont Symphony, he was a professor at the University of Utah in Salt Lake City, where he also conducted the Utah Youth Symphony, Salt Lake Symphony, and The Nutcracker with the Utah Symphony. After relocating to the San Francisco Bay Area in 1987, he was Music Director of the South Valley Symphony for nine seasons and conducted the prestigious California Youth Symphony on many occasions. He continues his 25-year music directorship of the Youth Orchestras of Southern Alameda County and the Saratoga Symphony. He has guest-conducted widely, most recently with the Redwood Symphony (Mahler’s 10th Symphony in the recent Rudolf Barshai version). In 2011 he performed a program of Sibelius, Richardson and Rimsky-Korsakov in Carnegie Hall on tour with the College Park High School Symphony Orchestra. Throughout his career Dr. Klein has been highly praised for his imaginative, sophisticated, yet audience-friendly programs. He has made a specialty of resurrecting works of once-celebrated composers whose music has fallen into undeserved obscurity, and of reviving lesser-known works by the great masters. In recent seasons he has performed symphonies by Bruch, Ries, Fesca, Raff, Spohr and Glazunov as well as four-movement versions of unfinished symphonies by Bruckner, Schubert\ and Tchaikovsky. In 2005, his Saratoga Symphony premiere of the 1952 piano concerto by Eric Zeisl was cited in the San Jose Mercury as one of the ten best Bay Area concerts of the season. This year marks Dr. Klein’s 22nd season with the Oregon Coast Music Festival, where his annual Pops concert has become a much-anticipated and time-honored institution. He recently retired from a long and rewarding career in the Mt. Diablo Unified School District near his home in Martinez, California, where he lives with his wife, Kathleen and their granddaughter, Juliana.

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page sponsor

BANDON ROTARY 38

Pops Concert “¡ESPAÑA!”

Thursday, July 25 | 7:30 p.m. | Marshfield Auditorium, Coos Bay Sponsored in part by UMPQUA BANK

Jason Klein, Conductor España, rhapsody for orchestra (1883) Emmanuel Chabrier (1841-1894) La Sorella (La Mattchiche) (1905) Charles Borel-Clerc (1879-1959) arr. C. Roberts Estudiantina, Waltz on Spanish Themes, op. 191 (1881) Émile Waldteufel (1837-1915) Andalucia, Suite Española Andalucia--Cordoba--Guadalquivir--Alhambra-- Gitanerias-- Malagueña

Ernesto Lecuona (1896-1963) arr. G. Jenkins

INTERMISSION Fête-Dieu à Seville (El Corpus en Sevilla), #2 from Iberia, Book I (1906)

Isaac Albeniz (1860-1909) orch. E. F. Arbos

El Relicario (Paso doble) (1914) José Padilla (1889-1960) Spanish Dance No. 1, from La vida breve (1904-5) Manuel de Falla (1876-1946) Amparito Roca, Paso Doble (1925) Jaime Teixidor (1884-1957) Selections from Man of La Mancha (1964-5) Man of La Mancha--Dulcinea--Little Bird-- A Little Gossip--The Impossible Dream

Mitch Leigh b. 1928 arr. P. J. Lang

Concert Hosts

Umpqua Bank / Bay Area Rotary

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In Loving Memory of My Mother EDI WEGFAHRT Karen Wegfahrt 39

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35th Music Festival Season 40

Concert II

Saturday, July 27 | 7:30 p.m. | Marshfield Auditorium, Coos Bay Sponsored by THE MILL CASINO & HOTEL

James Paul, Conductor Overture to William Tell (1829)



Gioacchino Rossini (1792-1868)

Legend, for Piano and Orchestra (1933)

John Ireland (1879-1962)

William Wolfram, piano INTERMISSION Symphonie fantastique, Op. 14 (1830) An Episode in the Life of an Artist, in Five Parts



Hector Berlioz (1803-1869)

Reveries, Passions Un bal Scene aux champs Marche au supplice Songe d’une nuit du Sabbat

Concert Hosts

Bay Area Sunrise Rotary / Soroptimists

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Program Notes Oregon Coast Music Festival 2013 . . . Notes by Kyle Beechly © 2013

CONCERT II:

William Tell Overture

Gioacchino Rossini’s William Tell opera portrays the legend of its titular 13thcentury Swiss hero who rallied his countrymen to start the revolt that would eventually lead to his nation’s freedom. Most people today are familiar with the story to some extent, at least with the famous scene in which the tyrannical Austrian governor of occupied Switzerland forces Tell to shoot an apple off his son’s head or face both their executions.   Because of its revolutionary content, the opera experienced political difficulties and its setting (and in some cases music) was frequently altered to appease authorities . Interestingly, the production was very well received in Vienna, where it was performed frequently despite the antagonistic role played by the Austrian nation in its story.   Although the opera is not often performed in full (due primarily to its extended length and the difficulty of its principal tenor role), its overture has enjoyed enormous popularity and has become part of standard orchestral repertoire. This overture’s role in relation to the whole of the opera is to set the emotional stage for the opening scene, to introduce material that will return later, and to provide some foreshadowing. It is divided into four sections, each leading directly into the next and portraying a particular setting or emotion.   The Prelude, Dawn, opens serenely with the cellos portraying the gentle unfolding of the early Swiss morning. The only interruptions to break the calm are two softly ominous timpani rolls which warn of the impending tempest. The Storm section follows with the high strings and winds whipping around, brewing the tumult which is soon unleashed in a cascade of brass and percussion. The clouds part in the third section with the English horn carrying a Ranz des Vaches (Call to the Cows) over the countryside. This kind of melody is also known as a Kuhreihen and is so strongly associated with Swiss national sentiment that Swiss mercenaries serving abroad were forbidden to sing them, lest the music inspire severe nostalgia leading to illness or desertion. This ranz des vaches reappears over the course of the opera forming a leitmotif (or reccurring theme) that symbolizes the pastoral appeal of Tell’s homeland.   The triumphantly boisterous Finale, March of the Swiss Soldiers, foreshadows the thrill of freedom that accompanies the eventual liberation of Switzerland from Austrian rule. This section is one of the most famous pieces of music in the whole of operatic repertoire. In fact, it has become so thoroughly absorbed into 43



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44

American popular culture that a person may be deemed an intellectual merely by hearing it without thinking of a certain television program.  

Legend for Piano and Orchestra John Ireland was a very important British composer of the first half of the 20th Century. However, his contributions to the art are not easily enumerated objectively. As a composer he didn’t invent or popularize any groundbreaking innovations, nor did he resurrect some long-neglected form. A popular story recounts an incident in which Ireland was asked whether he thought he was a great composer. He responded, “No, but I think I am a significant one.”   This response reveals two of the most striking aspects of his character: his unrelenting self-criticism and his deep thoughtfulness. Perhaps he gave this answer precisely for the reasons above; he couldn’t justify his being a great composer on any objective basis. However, numerous admirers have remarked that he could have reasonably answered the question in the affirmative. But why? His supporters are certainly not mute on the subject, but they struggle to convey their reasons objectively to someone who’s never heard his work.   Perhaps this is why Ireland’s music has been often overlooked by the general public in the years after his death: it’s ineffable. When someone asks “Why should I listen to John Ireland?” there’s not an easy response. You can’t say that he was an inventive and courageous innovator, like Wagner or Schoenberg, or that he solidified a classic form, the way Haydn revolutionized the symphony. One can attempt to describe his works poetically (terms like “lyricism,” “humor,” and “profound feeling” frequently crop up in these occasions), but ultimately these fall short; after all, while one person might find “profound feeling” in certain styles of music, someone else might hear only irritating noise. No, the only legitimate response is that which at first may appear the least satisfying: “Listen for yourself.”   As a composer, Ireland was most strongly influenced by two sources of inspiration: an acuity for sense of place and the written word. His Legend for Piano and Orchestra draws from both of these. The place was the Sussex Downland, where he would later retire to live in a converted windmill. Legend was dedicated to Arthur Machen, an influential Welsh writer and a contemporary of Ireland. No specific work by Machen is explicitly cited by Ireland as the inspiration for Legend, but the reason for the dedication was clear. Machen’s literature deals extensively with the supernatural, and Ireland shared Machen’s attraction to the unexplainable. The explicit inspiration for Legend actually springs from a real event, although the scene would seem just as at home in a Machen story. One day while out picnicking, Ireland suddenly saw a group of children dancing nearby. As it is recounted, “he at first thought they were real, but then he noticed their archaic clothing. He glanced away for an instant, and when he looked back the children had vanished.” Legend is his musical reaction.

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Symphonie fantastique In this symphony, the protagonist is hopelessly in love. In a lovesick madness, he poisons himself with opium. Contrary to his intentions, the dose is not fatal, and he is instead thrust into a hallucinatory waking dream, which is accompanied by ceaseless, haunting music. It is widely agreed that the symphony is in some way autobiographical, that Berlioz himself is the lovesick protagonist and his beloved is popular Shakespearean actress Harriet Smithson. Symphonie fantastique is a musical recreation of his delusion. What makes this symphony so special, however, is the way Berlioz ties the material in each movement together to form a cohesive whole. He accomplishes this through a new musical technique, which he calls the idée fixe. This is a specific motif used to represent the narrator’s beloved, and occurs throughout the entire symphony.   The notion of idée fixe was later built upon by Richard Wagner, resulting in his concept of leitmotif. This highly influential musical development is similar to the idée fixe in that it is a recurring musical statement that represents a specific symbolic aspect of the program, but there are typically multiple leitmotifs in a work, as opposed to the singular, obsessive idée fixe.   Each movement of the Symphonie fantastique represents a specific scene in his delusion:   I. Reveries, Passions - The protagonist relives the empty life he had led before meeting his beloved, their monumental first meeting, the torment into which that meeting throws him, and his return to relative sanity   II. Un bal - The protagonist attends a ball. The dance music guiding the whirlwind of revelers (reproduced in the orchestra) is unexpectedly cut off and replaced with the idée fixe when his beloved suddenly emerges from the crowd.   III. Scene aux champs - On a warm country evening, the protagonist hears two alluring shepherds melodies calling to each other and his spirits are lifted. But he suddenly sees (or imagines) his beloved and is again thrown into anguish as horrible thoughts appear to him (“What if I were to win my beloved’s affection, but she were to prove unfaithful?”). Timpani rolls represent distant thunder, followed by silence.   IV. Marche au supplice - The protagonist dreams that he has murdered his beloved, and is now being led to execution. As he stands on the scaffold, the idée fixe appears once more as the thought of his beloved is again thrust into his mind, only to be cut short by the fall of the executioner’s axe.   V. Songe d’une nuit du Sabbat - After his death, the protagonist is subjected to a scene of infernal celebration on the occasion of his burial. As he is surrounded by unearthly sounds of all kinds, he suddenly hears his idée fixe. But it has been changed, twisted into a grotesque dance tune. His beloved arrives at the diabolical ceremony to demonic shouts of greeting. She joins in the fiendish celebration, and it is this monstrous tableau which ends the protagonist’s story. 47

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2013 Festival Artist Don McMichael Festival Poster Artist

Before retiring from the United States Coast Guard in 1977, Don made his living saving lives in the most difficult and dangerous conditions that the Pacific Ocean has to offer. As Officer in Charge of search and rescue stations along the Oregon Coast, where unpredictable weather often creates some of the roughest seas in the world, he developed a great respect and admiration for the sea. McMichael’s goal is to communicate a compassionate concern for the sea and man’s interaction among the earth’s precious marine mammals. What he has seen in the underwater world of marine wildlife, swims to life on canvas in his studio that overlooks the waters of Coos Bay, Oregon. Exhibited throughout the United States and abroad, his work has received awards from such notable exhibitions as the Audubon Society and Mystic Seaport international shows. The International Whaling Commission accepted one of his limited edition prints, “Whaling Moratorium”, in commemoration of the ban on commercial whaling. The White House purchased his OCMF poster “Boogie at Seal Rock” after it appeared on the “Today” show. His art is driven by concern for the plight of marine life, “If nothing else, I hope my paintings publicize the need to save our marine mammals, our seas, and ultimately our children’s future”. This is the 19th poster Mr. McMichael has designed for the Festival. OCMA wishes to thank Mr McMichael for all of his generous support throughout the many years of our association.

Festival posters, T-shirts and other merchandise are available online at OregonCoastMusic.org, the OCMA Office in the Coos Art Museum and at Festival

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Mildred Hill Concerts at Zion Church

20th & Washington, Port Orford Four concerts yearly since 2007 Remaining concerts in 2013 July 20, 7:00 pm: Sprida Ut Swedish, Folk September 21, 2:00 pm: Pieces of Eight, Jazz

An alternative for music lovers. A short drive to great concerts at an attractive price with coastal beauty and good restaurants. Coming in 2014: March, Classical; May, Vocal; July, Folk; September, Jazz Tickets always $10 (18 & under free) Season Tickets: $35 Phone 541-332-9002 for tickets and information.

Tuning Music Festival pianos and potentially yours too!

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“Upcoming” Festival 2014

Celebrating 36 Years!! Don’t miss it!!

Hard to believe next year will be the Oregon Coast Music Festival’s 36th year!!

Orchestra I - Tuesday, July 22, 2014

“The Russians Are Coming!” Rimsky-Korsakov: Dance of the Clowns Prokofiev: Violin Concerto No.2 Steven Moeckel, violin Intermission Tchaikovsky: Symphony No.4

Pops Concert - Thursday, July 24, 2014

“The Composer Is Dead”

Music by Nathaniel Stookey with text by Lemony Snicket Be sure to join us for the remainder of the evening….. you don’t know what you’ll be missing!!

Orchestra II - Saturday, July 26, 2014

“Salute to Shakespeare”

Nicolai: “Merry Wives of Windsor” Overture Mendelssohn: Suite from “A Midsummer Night’s Dream: Scherzo Nocturne Intermezzo Wedding March Intermission Tchaikovsky: “Hamlet” Overture - Fantasy and More!!

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SAM JOHNSON: director of the Columbia River Maritime Museum. Photo: Holly Andres

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A legacy that will endure forever.

ENDOWMENTS and SPONSORSHIPS When you remember the Oregon Coast Music Association in your will, you leave a gift that celebrates our musical heritage and will provide access to extraordinary performances for years to come. Jack Ripper Endowment for Music and Art. The Jack Ripper Endowment for Music and Art is a permanent endowment fund for the Oregon Coast Music Festival. Inaugurated in 1984 to honor Senator Jack Ripper upon his retirement from the Oregon Legislature, the fund recognizes the exceptional contributions made to our Festival by the Senator and by his wife Nellie Ripper Hayne, who organized the first Festivals and for many years was President and Festival Chair. Memorial contributions to the Oregon Coast Music Association and the Festival are added to the Ripper Endowment annually. Margaret Tyson Klein Endowed Chair. To honor the memory of our beloved Concertmaster, Festival Orchestra musicians, the Board and staff have established a permanent Margaret Tyson Klein Memorial Endowed Chair. Contributions may be made one time or annually in Margaret’s name. Musician Sponsorships The Association welcomes direct sponsorship of Festival Orchestra Musicians through annual giving or endowments. Annual sponsorship levels begin at $100.00. In addition to the customary benefits of giving, sponsor’s names are listed with their honored recipient in the season program. (See page 57)

A legacy that will endure….those with a long term vision of support either through estate planning or advanced giving are invited to discuss multi-year sponsorships and many other opportunities with the Association. Your tax advisor will be able to describe the benefits of planned giving. For information about sponsorships, endowments and other ways to help fund and support the Oregon Coast Music Association call (541)267-0938, e-mail [email protected] or write us at P O Box 663, Coos Bay, OR 97420. On behalf of the Board of Directors, we thank you for your continued support. Kathy Metzger and Linnae Beechly – Co-Presidents.

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Sharkbites Cafe

would like to thank you for supporting the

35th Annual Oregon Coast Music Festivcal Sharkbites Cafe, in downtown Coos Bay, has been serving the community great libations and local seafood for several years. Home of The Dale Inskeep Band every Thursday night! Come on down and enjoy local music and fish tacos today! Call 541 269-7475 for reservations!

Looking for fun? Why not rent a Hobie kayak, SUP or a surfboard? Rentals and lessons are available at Waxer’s Surf Shop! Go on, be a local!

Waxer’s Surf and Skate . 242 South Broadway, Coos Bay, OR (541)266-9020 . Fax (542)267-0140

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Music Sponsors 2013 Thank you to Friends of the Festival Orchestra for their support of individual musicians:

Susan Anderson, sponsor of Michelle Mathewson Joseph Bain, sponsor of Rena Urso-Trapani Bay Cities Ambulance, sponsor of Tracy Freeze “Fifi”, sponsor of Drew Giambone Ron & Kathy Metzger, sponsor of Steve Conrow, Wendy Wilhelmi, Alan Juza and JáTtik Clark Sause Brothers, sponsor of Craig Gibson, Steve Conrow, Larry Wells and Jay Chen Frank Searfus, sponsor of Casey Bozell and Michelle Mathewson Cory Smith, sponsor of Alan Juza, Nancy Johnson and John Haggard Southwest Physical Therapy & John Breuer Rehab, sponsor of Thomas Schubert “The Dude”, sponsor of Steve Conrow Maria Wartnik, sponsor of William Wolfram If you are interested in becoming a Friend of the Festival Orchestra for the 2014 Festival, please contact the OCMA office at 541-297-0938 or [email protected].

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IN MEMORIAM... We wish to recognize the contributions to the Oregon Coast Music Festival by the following supporters who have passed away.

You are not forgotten. Ed Martin

Thank You,

Jefferson Public Radio for all the years of broadcasting the

Festival Orchestra concerts.

a s s o c i a t i o n

58

Contributors List 2013 The Oregon Coast Music Association thanks

the individuals, foundations and companies acknowledged in this program. Their very generous donations ensure the continuation of the Festival.

Thanks to all of you! See additional sponsors on page 2.

Benefactor

Lowell Kobrin,

Wallace & Heike-Marie

Melanie Bloom

  In Memory of Barbara Gabert,

  Eubanks

Gary & Janet Gehlert

  Charles Holloway &

Don Finn

Nancy Price

  Edi Wegfahrt

Joe & Rachel Henke

Cory Smith, Lifetime Member Milt & Shirley Nelson

Steve & Jan Hooper

Mark & Madeline Stephens

Virgil & Nita Pekoc

Kirk & Barbara Jones

Dick & Judy Wagner

Arthur & Antoinetta Poole

Alan Juza

Stacy Rose & Gail Elber

  In Memory of Barbara Gabert

Joseph & Frances Smith

  & Charles Holloway

Composer

John & Teri Whitty

Ed & Crystal Landucci

Jerry & Shirley

Wegferds’ Printing,

Dr Lori Lemire

  Champagne-Harris

  In Memory of Edi Wegfahrt

Jon & Lee Littlefield

Judy Jensen

Bob & Marianna Mattecheck

Ron & Kathy Metzger

Bernie & Barbara Metzger

Michael & Sherrill Roberts

SOLOIST

Wayne & Carol Murray

Frank & Becky Searfus

Rob Albrecht

David & Carol Oelke

Tom & Joan Stamper

Susan Anderson

Dan & Katherine Randall

George & Svetlana Maslakova

Paula Bechtold

Bonnie Richmond

Tom Bennett

Susan Rust

Eric & Linnae Beechly

Blanche Sandberg

VonDassow

Don & Renne Blom

Alan & Lori Shanks

Conductor

David & Shirley Bridgham

Shoji Planning, LLC

Rick Barron

Peggy Christensen

Tony & Adele Smith

Charles & Ann Couture

Vickie & Carter Clark

Paul & Norma VanNatta

Ray & Rosella Duskin

CB Grocert Outlet

Vartan & Leila Varoujean

Al & Terri Eslinger

Pat & Sven Backman

Carol Ventgen

Jay & Suzanne Goodman

Dolores Danville

Chuck & Diana Wall

Lisa Jarvis

Michael Detwiler

Maxeen Wegner

Donna Kaudel

Ed & Lynda Ellingsen

Wendy Wilhelmi LIST CONTINUED... p.61 59

Oregon Coast Music Association

MISSION…

To involve, enrich and inspire the community by providing quality classical music and creative musical experiences. Board of Directors: Linnae Beechly and Kathy Metzger - Co-Presidents, Gail Virgili and Sally Harrold - Co-Vice Presidents, Margo Howanic – Treasurer, Ron Metzger – Recording Secretary, Nancy Allen – Orchestra Housing, Cory Smith – Orchestra Contracts, Melanie Bloom – Kinder Konzert Koordinator, Christine Coles, Pam Dennis, Terri Eslinger, Carmen Matthews, Dan Randall, Frank Searfus, Catherine Walworth. OCMA Staff: Alison Chaney – Office Manager, Nancy Johnson – Orchestra Personnel Coordinator John Haggard – Music Librarian Barb Barasa – Webmaster. P O Box 663, Coos Bay, OR 97420 (541) 267-0938

(Physical office located at 235 Anderson on the second floor of the Coos Art Museum)

e-mail: [email protected] www.OregonCoastMusic.org

Kriston C Correll, CIC 541-756-4121 541-756-1916 FAX

www.juulinsurance.com 60

1865 McPherson St., North Bend, OR 97459

Contributors List... continued Principal

Christine Moffitt

Margo Howanic

Chris & Deryl Beebe

Diane Moulton

Marion Jansen

Sue Cameron

Susanna Noordhoff

Severn Jones

Barbara Chilla

Gary Sharp

Joanne Lanz

Elfrieda Elfbrandt

B.L. Taylor

John & Dee Lawrence

Jamie Fereday &

Clark & Catherine Walworth

Kathleen Leaf

  Margie Ryan

Linda Waterman

Mitzi Asai Loftus

Mary Hedges

Ryan Woods

David Lunde &

Pamela Huntley

  Patricia McKillip

Jill Jacobson Paul Janke

Senior/Student

Charlene Mann

Chris Blasco

James & Georgia Martin

Carmen Matthews &

C.B. & Maryon Brooks

Judy Moody

  Annie Pollard

Gil Campbell

Don Moulton

Bill & Kathy Murray

Sherry Celentano

Betty Ohman

Loretta J. Olson

Jack & Pamela Chaney

Katherine R. Robinson

Paul & Gail Mueller Poresky

Peggy Cooper

Ralph & Jeanette Sweet

Michael & Lindi Quinn

Jan Dilley

Jim Thornton

Soules Family

Tom Foster

Sarah Vanhorn

R. Georga Taylor

William & Caroline  

Gail Virgili

  Halfwassen

Diane C. Whitson

MEMBER

Guy Hardin

Diane Williams

Brian & Nancy Allen

Sally Harrold

DeAnn Billehus Alison Chaney Christine Coles Pam Cottrell Dave Crane Archi Davenport Helen Doving Ellen Flaherty Judy Knutson Michael & Becky Lunetta

LARRY and ALISON

Congratulations from your OCMA Friends! 61

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“A Special Thank You” OCMA Ticket OutletS Off the Record Coos Art Museum MUSICIAN HOSTS Brian & Nancy Allen Eric & Linnae Beechly Don & Renee Blom Melanie Bloom John & Rose Briggs Courtland & Maryon Brooks Jack & Pam Chaney Jim & Nancy Clark Richard & Yoko Clark Vicki Clark Charles & Ann Couture Troy & Melissa Cribbins Wayne & Pam Dennis Stacy Rose & Gail Elber Kim & Rosie Edd Rocky & Julie Entz Jamie Fereday & Margie Ryan John & Ruth Forrester Jay & Suzanne Goodman Joe & Rachel Henke Sam Holloway Steve & Jan Hooper Jim & Cindy Hough Bob & Janet Huggins Jim & Joan Johnson Lori Lemire Bill & Sharon Lemoine Megan Lynch Barbara Martin James & Georgia Martin Carmen Matthews &   Annie Pollard Margaret Melvin Ron & Kathy Metzger

Ralph & Claire Mohr Dennis & Kathi Netter Susanna Noordhoff David & Carol Oelke Katherine Robinson &     Loretta Olson Dennis & Susan Ottemiller Frank & Nancy Price Cindy Rawlings Rob & Diana Schab Dennis & Marilyn Schmidt Beverly Segner Rick Shearer & Pete Kalina Cory Smith Mark & Madeline Stephens John & Kim Thompson Sue Thornton Gail Virgili John & Teri Whitty Steve & Jeanne Woods Greenroom Volunteers Susan Anderson Linnae Beechly Patti Bennett David & Shirley Bridgham Dawn Buxton Sue Cameron Dora Daniels Al Eslinger Barbara Jones Sharon Lemoine Kathy Metzger Bonnie Richmond Margie Ryan Diana Schab Debbie Schade Kay Snelgrove

Jeanette Sweet Kim Thompson Carol Ventgen Gail Virgili Diana Wall Catherine Walworth HOST Service Groups Bay Area Rotary Bay Area Sunrise Rotary Coos Bay Lions Soroptimist Sterling Bank Umpqua Bank Donations

(goods & time)

Beverly Segner Pancake Mill Zonta Scott & Peggy Davidson & Family The Tuna Guys The Liberty Pub Vend West Coos Art Museum Crystal Landucci Mark & Madeline Stephens Kat Flores Julie Kremers Fisherman’s Seafood Market PROGRAM NOTES Kyle Beechly

WINTER-LUDE and SPRING FUNDRAISER...

Thank you to our musicians, sponsors and volunteers for making our annual fundraising efforts successful. 63

Open Daily: 11am-Close Full Liquor / Wine Bar IPA Domesic Micro Brew / Drafts Fresh Seafood Wi-Fi Happy Hour 4-6pm

1350 Ocean Blvd. Coos Bay Oregon 97420 Fax: 541-888-6132 64

James Fritz Bronze Sculpture Available for Portraits & Commissions 541.756.1407

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HELP SAVE OUR THEATRE 229 S. Broadway St. Coos Bay, Oregon 97459 (541) 269-8650 www.Egyptian-Theatre.com

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Meatless & Gluten Free Selections Breakfast • Lunch • Espresso Pie & Bake Shoppe • Lite Specialties Open 6 a.m. to 3 p.m.

Hwy. 101 • North Bend, OR

(541) 756-2751

www.pancakemill.com VISA, MC, AMEX, Discover – Accepted 67

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