onstage publications, inc.€¦ · hart enjoys rock climbing, hiking, skiing, and tennis....

The Billings Symphony Orchestra & Chorale’s 2019-2020 season is proudly sponsored by The Oakland Companies.

The BSO&C is supported in part, by a grant from the Montana Arts Council, an agency of the state government.

Founded as the Billings Symphony Society in 1951, the Billings Symphony Orchestra & Chorale’s (BSO&C) mission is to enrich lives through music by providing music education and performances for enjoyment, creative expression, and personal growth. The BSO&C’s programs

nurture a passion for artistic vibrancy.

Join Music Director Anne Harrigan with the 135+ members of the BSO&C as we present the 2019-2020 concert season. The season consists of six series concerts and multiple special events

throughout the year, concluding with Symphony in the Park, Sunday, June 28, 2020.

Each season the BSO&C performs for tens of thousands of people throughout South Central and Eastern Montana, and Northeastern Wyoming, introducing music to children, youth, adults, and

seniors through Explore Music!, the BSO&C’s community engagement program.

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INSIDEWHAT’S

Meet the Directors | 3A Letter from our Maestra | 5A Note of Welcome | 52019–2020 Orchestra | 72019–2020 Chorale | 7From our Executive Director | 82019-2020 Board of Directors / Administrative Staff | 9Audience Information | 11Explore Music! | 14A Celebration of Mozart | 17West Side Story in Concert | 25Rachmaninoff | 312019-2020 BSO&C Contributors | 44Ticket Information | 48

This program is published in association with Onstage Publications, 1612 Prosser Avenue, Kettering, OH 45409. This program may not be reproduced in whole or in part without written permission from the publisher. JBI Publishing is a division of Onstage Publications, Inc. Contents © 2020.

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text 406.200.8621 to download your copy of this playbill

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2 Billings Symphony Orchestra & Chorale

Meet the DirectorsAnne Harrigan, Music Director of the Billings Symphony Orchestra & Chorale and the Battle Creek Symphony Orchestra and Artistic Director of the Music Center of South Central Michigan, has earned a reputation throughout the country for her innovative programming, commitment to artistic excellence and community engagement. Her commitment to innovation in programming has resulted in groundbreaking multi-disciplinary programs that have attracted national attention. These include the U.S. premiere of Shaun Davey’s A Brendan Voyage, a concerto for

uilleann pipes and orchestra with renowned piper Christopher Layer; collaborations with Alexander Streltsov, aerialist; silent movies with live orchestra; live video projections of performances; Peter Boyer’s Ellis Island: Dream of America, a chronicle of the journey of seven immigrants through Ellis Island; and collaborations with late Montana photographer Michael Sample.

Ms. Harrigan began her career at the age of 19 when she founded the Johns Hopkins University Chamber Orchestra while still a violin student at the Peabody Institute of Music. She received her master’s degree in conducting at Yale University under the tutelage of Otto Werner Mueller. In 1983, Ms. Harrigan formed the Baltimore Chamber Orchestra and developed it from a fledgling organization to one of the finest chamber orchestras in the country. Her interactive, multi-disciplinary family concert, Colors of the World, produced for television by Maryland Public Television, was recognized with an Emmy award in 1998. In addition, the BCO’s first compact disc recording, Baltimore Chamber Orchestra Live, received rave reviews.

Ms. Harrigan resides in Rockford, Michigan with her husband, Eric Hudson and daughter, Erin. When not conducting, she enjoys the outdoors, aerial silks, and performing traditional Irish music.

Dr. Steven Hart, now in his thirteenth season as the Billings Symphony Chorale Director, is a professor of music at Rocky Mountain College in Billings. He conducts choral ensembles and teaches conducting, vocal pedagogy and private voice. He completed his PhD at the University of Colorado, his MM at the University of South Dakota, and his BM at Western Michigan University.

Dr. Hart is active as a guest conductor and has presented master classes and clinics in California, Colorado, Michigan, Indiana, Iowa, Montana, Utah, Washington, Wisconsin, and Wyoming. He was a guest conductor at the International Conducting Workshop in Varna, Bulgaria. He is also the conductor and founder of the High Plains Chamber Singers.

His research interests draw from neuroscience, with specific focus on the physical manifestations of mental activity through the mind-body connection. He is the Collegiate Repertoire and Resources Chair for the Montana Choral Directors Association and publishes articles for choral professionals. In preparing music ensembles for performance, Dr. Hart combines theater, sports psychology, neurolinguistics, music history and vocal pedagogy, to create the conditions for peak aesthetic experience.

Dr. Hart comes from a family of professional musicians. He began his performing career at age 9 in the title role of Oliver and at age 10 performed the title role of the Menotti opera, Amahl and the Night Visitors. Dr. Hart enjoys rock climbing, hiking, skiing, and tennis.


A Letter from our MaestraThank you for joining us for the second half of our 69th Symphony season, Live at the Lincoln Center. Performing at the Lincoln Center, with its historical significance to the Billings Symphony Orchestra & Chorale, has brought back special memories for many of us. The hall’s excellent acoustics will help you fully appreciate the brilliant soloists and music, and further our goal of creating peak musical experiences for our audiences.

We continue our 2019-2020 Symphony season with A Celebration of Mozart on February 15th, featuring the Billings Symphony Chorale and

Mozart’s legendary Requiem. On March 14th we will be the first orchestra in Montana to perform West Side Story in Concert with a cast of Broadway stars and local favorites. For our season finale, on April 18, two-time MASO Youth Competition Winner, pianist Tanner Jordan, performs the first movement from the most romantic concerto in history in Rachmaninoff. Finally, join us for The Who Cares? Symphony Benefit on May 2nd at the Northern Hotel. Our spring fundraiser features music from John Roberts Y Pan Blanco.

Thank you to all our subscribers, donors, volunteers, and sponsors for your generous support throughout the 2019-2020 season. We look forward to seeing you at Pioneer Park in June and back at the Alberta Bair Theater in September!

Maestra Anne Harrigan

A Note of WelcomeWhen I think back on the many years I have been a season ticket subscriber to the Billings Symphony, one of the first words that comes to mind is “family”. My wife Kathy has been playing violin in the Symphony for more than twenty years. Each of my three daughters became the proud owner of a Symphony season ticket when she was four years old, even though at that age she would usually fall asleep before the concert ended. They each went on to learn the violin and perform with the Symphony themselves. Now when they are home, they attend performances with me, and manage to stay awake until the end!

When applied to the Symphony, the word “family” means more than my immediate family, however. It includes the many friends I have made over the years among the Symphony’s musicians, staff members, board members, supporters and other audience members. It includes the newest member of our Symphony family, Executive Director Ignacio Barrón Viela, whom I hope you will all have a chance to meet this year if you have not done so already. Each of us plays a vital role in making the magic of live symphonic music happen and continue to happen here in Billings. The more we share this experience, the better it will be for all of us. Therefore, I urge each of you to invite a family member or friend to come join the Billings Symphony family for a concert during this 69th Season of the Billings Symphony Orchestra & Chorale.

Bob Griffin, PresidentBillings Symphony Orchestra & Chorale


2019-2020 OrchestraViolinRandy Tracy* Concertmaster Kathy Griffin* Assistant ConcertmasterLisa Bollman* Principal Violin 2Maurine Akin*, Sophia Barthel**, Laura Dalbey*, Christian Fink, Julie Johnson*, Kristi Kazmierski*, Barbara Kirk*, Ali Schultz Levesque*, Lisa Lombardy*, Lori McCormick, Jacey Mitchell, Michael Mleko, Caden Moore**, Becky Mothersbough, Vikki Payne*, Cathy Pomeroy*, Lindsey Selman, Amy Wiebold

ViolaAmy Letson* PrincipalKen Gilstrap* Assistant PrincipalSam Carl*, Diane Fossen*, Katie Krumdieck, Sara Schultz Levesque*, John Peskey, Taylor Shea, Renee Tostengard*, Dawn Whipp

CelloElse Trygstad-Burke PrincipalMary McCullough* Assistant PrincipalKjirsten Arrington*, Christine Hutchings, Linda Kuhn, Elizabeth Lee, Ilse-Mari Lee, Kassidy Rispens, Teal Zankie*

BassRichele Sitton* PrincipalKathy Beagle, Mark Bergman, Colton Kelly, Edward Persson

Flute/PiccoloTyler Menzales* PrincipalJulia Barnett*, Elizabeth Darling, Lauren Reineking

Oboe/English HornSue Logan* PrincipalPaul Chinen, Kris Ostwalt*, Sandy Stimson*

Clarinet/Bass Clarinet/SaxophoneLaurel Linde* PrincipalWendy Bickford*, Amy Schendel*, Scott Jeppeson, Mady Johnson

Bassoon/ContrabassoonNicholas Hooks PrincipalSeth Foster, Paul Gates*, Brad Steorts*, Alicia McLean, Ryan Yamashiro

HornJohn Dutton* PrincipalCaleb Lande*, Jon Klein, Mike Nelson*, Mary Robertson*

TrumpetMark Fenderson* PrincipalNick Duncan*, Matt Glover, Tyler Honcoop

TromboneMark Soueidi* PrincipalLarry Lynam*, Steve Patton*, Aaron Schendel

TubaRiley Lindsey Principal

TimpaniZachary Mathes* PrincipalLuke Kestner

PercussionBryce Leafman PrincipalKyle Melugin*, Rebekah Reger*, Jennifer Coutts, Matthew Mitchner, Jeffrey Vick

HarpAngela Espinosa

KeyboardJennifer Bratz, Helen Lukan

*Tenured, **InternSection strings rotate each concert

2019-2020 ChoraleSopranosAmanda AbramsDeb BrownJennine Budge*Pat BurgJen FarewellRosalie FosterMadelyn HoefleRuth KoscheCandice Lindh Sharise MayTracy MouserAbby PetersonSheri OlsenCheryle PittackMartha Rowe Karen SimmonsLaurie SutphinJanie SuttonCarol TassetJane Van DykMariah Whiteman

AltosRobin AalsethLaura BlodgettJudy BurnamKathleen Cochrane*Nancy DowningJoan FritzTeri HammerquistKathleen HanleyJan HawkCarrie HouseTrish KirkRebecca LandeweHillary LesterCarol MetzlerTerri NormandJenifer ParksJanine PiperTeresa RowenKim Shroyer

TenorsTodd ChakosWilliam DemanlowCorie DraineAustin GeeMike GeurinStephan HelmreichSteve LoyMike MetzlerGreg PiperRandy RabasJason Shroyer

BassWilliam DemaniowIan ElliotJacoby HolteDoug JohnsonLynn JordanJeff KleppelidRobert QuamJustin RifeDave SchannoTom SingerDon SommerfeldDan StruckmanKent ThompsonBret WestonDale Wicks

*section leader


Dear Symphony Family & Friends:

I am truly honored to welcome you all to the second half of the 69th season of the Billings Symphony Orchestra & Chorale (BSO&C) at the Lincoln Center. We hope to continue celebrating the human spirit through the universal language of music that transcends barriers and connect us through the experiences we share together in performance halls.

What a great first half of the 2019-2020 season we had! Last December, the BSO&C was honored to receive the largest single donation in the organization’s history. Jack and Adrea Sukin and family, and Robert and Sandra Sukin and family, through their company Montana Development Co., arranged to donate their building at 2820 Second Avenue North in Downtown Billings, to be the future home of the Symphony’s office. We are thrilled and honored to accept this gracious gift from the Sukin family. We are already working on designing what will be an incredible space to host music events, share stories, and explore partnership opportunities with our Symphony friends, family and patrons. If you would like to be part of the BSO&C’s growth and development of the new space, please consider a leadership role in supporting us.

During 2019, the BSO&C expanded its musical offerings by incorporating additional music performances such as Symphony at the Depot and increased its community engagement activities by 11%. Our Celtic Christmas concert broke attendance records with almost 1,500 people joining. During 2020, we will continue to develop stronger connections within the Billings community across all socioeconomic groups. The BSO&C family welcomed two new staff members, Brad Constantine (General Manager) and Matthew Glover (Manager of Artistic Operations), please join me in giving a warm welcome.

I look forward to continuing our 69th Symphony season at the Lincoln Center until April 2020, our 48th Annual Symphony in the Park on June 28, 2020, and to start working on the transition to the Alberta Bair Theater for the next season starting the fall of 2020. Please, stay tuned with the exciting news happening for the next season! Lastly, I sincerely thank all of our sponsors and organizers who have helped make this exciting season possible. You continue to remind me that when we all pull in the same direction, we can achieve great things.

With great respect,

Ignacio Barrón Viela, Executive Director Billings Symphony Orchestra & Chorale

From our Executive Director


2019-2020 Board of DirectorsBob Griffin

PresidentRobert Quam

Vice PresidentTom Hohn

SecretaryScott Brown

Co-TreasurerElizabeth Goetz

Co-TreasurerDale Peterson

Past President

Susan BarrowLeslie BlairPenny DoakElizabeth FultonMarjorie FultonMike GeurinDiane Boyer JerhoffJulie Johnson*Ann KosempaJeff LindenbaumSue Logan*Christine MaragosLynn Marquardt

Lorraine MarshRobyn MillerTracy Mouser**Jase NorsworthyMark RandakAbigail RenoRobert SaundersJoseph SoueidiBob Wilmouth

*Orchestra Representative**Chorale Representative

2019-2020 Administrative StaffIgnacio Barrón Viela

Executive Director

Brad Constantine General Manager

Candy Holzer Director of Education

Michelle Dawson Manager of Marketing & Public Relations

Sandy Cantesano Manager of Development & Events

Holly Robinson Office & Bookkeeping Coordinator

Siriana Lungren Marketing Support

Tyler Menzales Social Media Coordinator

Nathan Jones Administrative Support

Matthew Glover Manager of Artistic Operations

Lisa Bollman Orchestra Librarian

Robin Aalseth Chorale Librarian

Audience InformationTo ensure that each patron has the best concert experience possible, please take a moment to read the following information.

Seating Policy/Accessible SeatingPlease plan to arrive on time. If you do arrive after the performance has begun, ushers will wait to seat you until a break in the program. Seat numbers are on the right chair arm. The Lincoln Center provides wheelchair accessible seating along with companion seats in row K. These seats are withheld from general sale until the day of the performance. Please call 406-252-3610 to purchase these seats.

Concert CuesEach season concert is preceded by Concert Cues beginning at 6:45 pm. Please sit near the front of the main floor area for an insightful conversation related to that evening’s music, composers, and guest artists. Patrons must return to their reserved seats after the Concert Cues.

Cameras & Video Taping No cameras, video or audio devices are allowed during BSO&C performances at the Lincoln Center.

Sound Too Loud?Depending on where you are sitting, you may feel that the volume is too loud. We offer complementary earplugs for your comfort. Please ask the ushers for a pair.

IntermissionBillings Symphony season series concerts have a 20-minute intermission, unless otherwise noted.

Large Print RostersAt each performance, the Symphony provides large print concert-specific rosters. Please inquire in the front lobby.

RestroomsRestrooms are located on the main floor and on the upstairs balcony landing. Please look for signs showing the way to restrooms on the main floor.

ConcessionsLimited drinks are available in the front lobby for purchase before the performance and at intermission. Please be courteous of those sitting around you should you bring drinks into the auditorium.

ParkingParking is available at The Diamond Parking Garage (N. 30th Street), street parking, Lincoln Center parking lot, The Billings Public Library parking lot, and various parking lots downtown.

Playbill Viewing OptionsHardcopy Playbills are distributed at each season concert and each Nutcracker performance. Text BSOC to 406-200-8621 to view the playbill digitally.

Seat CushionsSeat cushions are provided free of charge to all Billings Symphony subscribers. For individual ticket buyers, seat cushions are available for purchase in the lobby.


Explore Music! programs reach more than 25,000 children, youth, adults and seniors every year. By eliminating price and bringing our programs to audiences, the Symphony reaches beyond the stage and into Billings and our surrounding communities. Our new Healing Harmony program, in partnership with St. Vincent’s Pediatric Department, began in July ‘19. We will continue with Master Classes, Community Engagement Programs, and Memory Care visits throughout the 2019-2020 season. For a complete list of Explore Music! programs, visit our website at billingssymphony.org.

Musicians-in-Schools Programs designed to engage students with the opportunity to experience a chamber ensemble in a small group setting with an open dialogue about symphonic music.

Thank you to all of our Explore Music! Friends:

Ossie Abrams & David Orser, The Sample Foundation, The Homer & Mildred Scott Foundation, Mayor Bill Cole, Diane Boyer Jerhoff, Sibanye-Stillwater, US Bank, Crowley Fleck, EBMS, NorthWestern Energy, BNSF, Montana-Dakota Utilities, First Interstate Bank Centennial Youth Foundation

Adventures in Music Day Four musicians, one from each instrument family, visit schools to give music demonstrations and information on orchestral instruments. Students are given the opportunity to try out several instruments of their choice.

Family Concert A full-school concert performance in Carbon or Stillwater County the day before the January Family Concert in Billings. Area school children are invited to ride a free bus to the performance.

Rural Rhythms Community chamber music concerts are free and open to the public. These concerts are an excellent way to introduce residents in rural areas to high-quality chamber music.

Master Clinics One of the most effective means of musical development, these Master Clinics are held during a high school band class. Our musicians will work with sections of the band to give guidance and expertise on improvement of their performance.


Charles M. Bair Family Trust

Dennis & Phyllis

Washington Foundation

Instrument Petting Zoo Working mainly with local schools, music stores, and student-centered organizations, the BSO&C offers hands-on music education workshops for K-8 students. The BSO&C also holds Instrument Petting Zoos at the Montana Women’s Prison and local senior homes.

Musicians in the Community BSO&C musicians perform at area community events such as the Farmers Market and ArtWalk. The BSO&C provides programs for area Native American reservations, local hospitals, community centers, and the Montana Women’s Prison.

Concert Cues Each season concert is preceded by Concert Cues beginning at 6:45 pm. Enjoy an insightful conversation related to the evening’s music, composers, and guest artists.

Conductor in the Schools Music Director Anne Harrigan guest conducts area band and orchestras, helping students in grades 5-12 learn about the commitment, dedication, and determination required to become a professional musician.

Master Classes Guest artists share their talents and experiences with BSO&C musicians and area students through these FREE classes.

Senior Series BSO&C musicians visit retirement homes, assisted living communities, memory care facilities, and low-income meal sites to perform for senior citizens.

Thank you to all of our Explore Music! Patrons:


A Celebration of MozartFebruary 15, 2020

Anne Harrigan, music directorAmy Logan, sopranoSarah Ponder, contraltoClayton Parr, tenorDaren Small, bassDr. Steven Hart, chorale directorBillings Symphony Chorale

Symphony No. 35 in D major, Wolfgang Amadeus Mozart K. 385, Haffner

I. Allegro con spiritoII. AndanteIII. MenuettoIV. Presto

INTERMISSION

Requiem, K. 626 Wolfgang Amadeus MozartI. Introitus—Requiem aeternam completion by Franz Xaver SüssmayrII. KyrieIII. Sequence

Dies iraeTuba mirumRex tremendaeRecordareConfutatisLacrimosa

IV. OffertoriumDomine JesuHostias

V. SanctusVI. BenedictusVII. Agnus DeiVIII. Communio

Thank You to our concert sponsors!Laurence & Ruth Martin

Thank you to our guest artist sponsors!Scott & Debora Brown

Rockwood Brown billingssymphony.org 17

About the Artists

Sarah PonderHailed as “deeply expressive” (Chicago Sun Times) and a “first-class soloist” (Chicago Classical Review), Sarah Ponder, mezzo-soprano, enjoys a busy career as a soloist and ensemble singer with Lyric Opera of Chicago, Grant Park Chorus, Chicago Symphony Chorus, Chicago a cappella, Music of the Baroque, and many others. Sarah holds a faculty position at Loyola University. In addition to training voices, Sarah has helped to establish many outreach programs with CSO’s Negaunee Music Institute, specializing in original composition workshops through The Lullaby Project and Notes for Peace, where she is featured prominently as both a vocal coach and interpreter of these moving tributes. Her work as a technique model is also featured in the award-

winning pedagogy book by Dr. Julia Davids, Vocal Technique: A Guide for Conductors, Teachers, and Singers.

Clayton ParrClayton Parr, tenor, is Professor of Music at Albion College in Michigan. His professional experience as a performer has included the Cincinnati Opera, Whitewater Opera, Oregon Bach Festival, Santa Fe Desert Chorale, and Music of the Baroque, Grant Park Music Festival, and Bella Voce in Chicago. Solo concert performances with orchestra have included the Cincinnati Ballet, Billings Symphony, Midland Symphony, Middletown Symphony, the Janus Ensemble in Chicago and the National Music Center Orchestra of Tbilisi, Georgia, where he was a Fulbright scholar at the Tbilisi Conservatoire. He leads the Alioni Georgian Choir of Chicago and has edited publications of Georgian folksongs in print with Hal Leonard and earthsongs Publishing.

Amy SchendelAmy Schendel is thrilled to be on stage with the Billings Symphony. A versatile performer, she is usually found in the clarinet section, but has been a vocal soloist with the Symphony numerous times. Amy’s operatic credits include Pamina in Die Zauberflöte, the title role in Floyd’s Susannah, Mimì in La bohème, Susanna in The Marriage of Figaro, Despina in Così fan tutte, the title role in Sister Angelica and others. Some of her favorite musical theatre roles have been the title role in Evita, Velma in Chicago, Missy in The Marvelous Wonderettes and Ellen in Miss Saigon. Sometimes she can be found around town singing jazz standards with local jazz musicians, a passion she has held for many years.

Amy is a dedicated music educator, serving her fourteenth year as the Director of Choirs at Billings Skyview High School and as co-conductor of Yellowstone Valley Voices. She travels around the state and beyond conducting honor choirs, adjudicating at festivals and teaching at summer camps. Amy holds bachelor’s degrees in Clarinet Performance and Music Education, as well as a Masters in Music Education from the University of Montana. She is a certified member of the VoiceCare Network and is currently serving as the President-Elect of the Montana Music Educators Association.

Daren SmallDaren Small is a distinguished bass-baritone soloist in the American Northwest. He enjoys sharing his passion for singing on stage as well as in the classroom and voice studio. Small is currently pursuing his Doctor of Musical Arts degree in Vocal Performance at the University of Cincinnati College-Conservatory of Music (CCM). As a native of Billings, MT, Small earned his Music Education and Master of Education degrees from Montana State University and was formerly the Director of Choirs at Billings Senior High School. He has enjoyed opportunities to share his “clear and rich-timbred voice” with all audiences in a growing list of venues and locales including Ohio, Indiana, California, Washington, Idaho, Wyoming, and Montana.

Many reputable soloists and educators have and continue to influence his career, including Tom Baresel, Dennis Rupp, Lowell Hickman, Dr. Jon Harney, and Dr. Steven Hart. Additional information about Daren Small can be found at darensmall.com.

Program NotesWolfgang Amadeus Mozart (1756-1791)Symphony No. 35 in D major, K. 385 (Haffner)This symphony could easily have come down to us as the Haffner Serenade No. 2. In July of 1776, Mozart had composed a serenade for the wedding of the daughter of Sigmund Haffner, mayor of Salzburg. Six years later, Mozart left his hometown for good and was busily making his career as a freelance composer in Vienna—the world’s greatest musical marketplace at the time. In July of 1782, his father wrote from Salzburg asking for another serenade which would be performed at the festivities celebrating the elevation of Haffner’s son to the nobility. Mozart had just had a great success with his opera, The Abduction from the Seraglio, and was in the midst of transcribing it for wind ensemble. (Such arrangements were very popular, and Mozart stood to earn a considerable sum of money if he could get his own arrangement into print before anyone else.) In addition, he was planning to be married within two weeks but nevertheless, agreed to provide the serenade, and sent the individual movements to Salzburg as quickly as he completed them. A commission for another serenade intervened to delay his work on the Salzburg project, but by early August he had sent six movements. The following February, Mozart asked his father to send him the score, because he quickly needed a new symphony for a series of concerts he planned to feature his compositions. Rather than start from scratch, Mozart reworked the Haffner serenade; dropping the second minuet and march and adding flutes and clarinets to the orchestration. The result was performed to enthusiastic response and has remained one of Mozart’s most popular works ever since.

With tonight’s performance, the Haffner Symphony has become the most programmed of Mozart symphonies with three previous BSO performances in October 1969, November 1988, and September 2011. (His Jupiter Symphony now drops to second place.)

Wolfgang Amadeus Mozart (1756-1791)Requiem in D minor, K. 626In the years following Mozart’s death, many stories were told about his last months. This complicated mass of facts, memories, and outright fabrications has been examined by historians and musicologists almost as long as the work has existed. The notion that Mozart was poisoned by a jealous rival has been discounted. The picture of a dying genius feverishly working to finish his last composition has given way to the present-day view that only in his last week did Mozart have any indication that his condition was life-threatening. Gone, too, is the legend that Mozart believed the requiem mass he began in the summer 1791 was for his own funeral, and the mysterious messenger who commissioned it was an emissary of Death. Rather, the commission came from Count Walsegg-Suppach, who wanted a memorial to his recently deceased wife. It was long thought that the Count was in the habit of commissioning music, re-copying it and passing it off as his own. Some recent research now indicates that he did the copying as part of an elaborate parlor game in which he would ask his musicians and guests to identify the composer. The copying was to ensure that no one would recognize the composer’s handwriting.

The fact remains, however, that the Requiem was left incomplete at Mozart’s death, and his widow wished to have it finished so she could claim the remainder of the fee, only half of which had been paid when the commission was given. The opening Introitus was the only movement entirely completed. Much of the remainder was in sketch form, with the vocal parts complete, but only some indications of the harmony and instrumentation for the accompaniment. The Lacrimosa broke off after only eight measures, and there was nothing at all for the Sanctus, Benedictus, Agnus Dei, and Lux aeterna. Constanze asked several of her husband’s fellow composers to use the sketches to produce a finished work. Some refused outright, while others tried, but gave up after a short time. Finally, his pupil Franz Xaver Süssmayr (1766-1803) took on the task, completing the work within 100 days of Mozart’s death. The extent of his contribution is uncertain. There are stories that Mozart on his deathbed gave Süssmayr detailed instructions about the work’s completion, but their authenticity is questionable. It is possible that Süssmayr had access to other sketch materials that has not survived. It is generally thought that Süssmayr is entirely responsible for the Sanctus, Benedictus, and Agnus Dei, as well as the completion of the Lacrimosa. He adapted the existing music of the Introitus and Kyrie for the Lux aeterna, a common practice at the time, and also provided all o the orchestral accompaniment that Mozart had not completed. Out of the wealth of musicological research and speculation have come several alternative editions of the Requiem. Süssmayr’s completion, still the most performed, is used for tonight’s performance.

The Billings Symphony previously performed this major work in November 1991 and November 2006, under the batons of Maestro Uri Barnea and William Jon Gray, respectively.


Program NotesMozart: RequiemI. Introitus—Requiem aeternamRequiem aeternam dona eis, Domine, Grant them eternal rest, O Lord,et lux perpetua luceat eis. and let the perpetual light shine upon them.Te decet hymnus, Deus, in Sion, Thou shalt have praise in Zion, O God,et tibi reddetur votum in Jerusalem. and homage shall be paid to Thee in Jerusalem.

Exaudi orationem meam. Hear my prayer.Ad te omnis caro veniet. All flesh shall come before Thee.Requiem aeternam dona eis, Domine, Lord, grant them eternal rest,et lux perpetua luceat eis. and let the perpetual light shine upon them.

II. KyrieKyrie eleison. Lord, have mercy upon us.Christe eleison. Christ, have mercy upon us.Kyrie eleison. Lord, have mercy upon us.

III. Sequence

Dies iraeDies irae, dies illa This day, this day of wrathsolvet saeclum in favilla, shall consume the world in ashes,teste David cum Sibylla. as foretold by David and the Sibyl.Quantus tremor est futurus, What trembling there shall beQuando judex est venturus when the judge shall comecuncta stricte discussurus. to weigh everything strictly.

Tuba mirumTuba mirum spargens sonum The trumpet, scattering its awful soundper sepulchral regionum across the graves of all lands,coget onmes ante thronum. summons all before the throneMors stupebit et natura, Death and nature shall be stunnedcum resurget creatura when mankind arisesjudicanti responsura. to render account before the judge.Liber scriptus proferetur The written book shall be broughtin quo totum continetur, in which all is containedunde mundus judicetur. whereby the world shall be judged.Judex ergo cum sedebit When the judge takes his seatquidquid latet apparebit, all that is hidden shall appear,nil inultum remanebit. nothing will remain unavenged.Quid sum miser tunc dicturus, What shall I, a wretch, say then?quem patronum rogaturus To which protector shall I appealcum vix justus sit sicurus? when even the just man is barely safe?

Rex tremendaeRex tremendae majestatis King of awful majesty,qui salvandos salvas gratis who freely savest the redeemed,salva me, fons pietatis. save me, O fount of goodness.


Program NotesRecordareRecordare, Jesu pie, Remember, gentle Jesus,quod sum causa tuae viae, that I am the reason for Thy time on earth,ne me perdas illa die. do not cast me out on that day.Quaerens me sedisti lassus, Seeking me, Thou didst sink down wearily,redemisti crucem passus; Thou hast saved me by enduring the cross,tamtus labor non sit cassus. such travail must not be in vain.Juste judex ultionis, Righteous judge of vengeance,donum fac remissionis award the gift of forgivenessante diem rationis. before the day of reckoning.Ingemisco tamquam reus, I groan, like the sinner that I am,culpa rubet vultus meus, guilt reddens my face,supplicanti parce, Deus. spare a supplicant, O God.Qui Mariam absolvisti Thou, who pardoned Maryet latronem exaudisti and heeded the thief,mihi quoque spem dedisti. hast given me hope as well.Preces meae non sum dignae, My prayers are unworthy,sed tu bonus fac benigne, but thou, good one, in pityne perenni cremer igne. let me not burn in the eternal fire.Inter oves locum praesta Give me a place among the sheepet ab haedis me sequestra, and separate me from the goats,statuens in parte dextra. let me stand at Thy right hand.

ConfutatisConfutatis maledictis, When the damned are cast awayflammis acribus addictis, and consigned to the searing flames,voca me cum benedictis. call me to be with the blessed.Oro supplex et acclinis, Bowed down in supplication I beg Thee,cor contritum quasi cinis, my heart as though ground to ashes;gere curam mei finis. help me in my last hour.

LacrimosaLacrimosa dies illa On this day full of tearsqua resurget ex favilla when from the ashes arisesjudicandus homo reus; guilty man, to be judged;huic ergo parce, Deus. O Lord, have mercy upon him.Pie Jesu Domine, Gentle Lord Jesus,dona eis requiem. grant them rest.

IV. Offertorium

Domine JesuDomine Jesu Christe, Rex gloriae, Lord Jesus Christ, king of glory,libera animas omnium fidelium deliver the souls of the faithfuldefunctorum de poenis inferni from the pains of hellet de profundo lacu. and the bottomless pit.Libera eas de ore leonis, Deliver them from the jaws of the lion,ne absorbeat eas tartarus, lest hell engulf them,ne cadant in obscurum; lest they be plunged into darkness;sed signifier sanctus Michael but let the holy standard-bearer Michaelrepraesentet eas in lucem sanctam, lead them into the holy light,quam olim Abrahae promisisti as Thou didst promise Abrahamet semini ejus. and his seed.


Program NotesV. SanctusSanctus, Sanctus, Sanctus, Holy, Holy, Holy,Dominus, Deus Sabaoth! Lord of Hosts.Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy glory.Osanna in excelsis. Hosanna in the highest!

VI. BenedictusBenedictus qui venit in nomine Domini. Blessed is He that cometh in the name of the Lord.Osanna in excelsis. Hosanna in the highest!

VII. Agnus DeiAgnus Dei, qui tollis peccata mundi, Lamb of God, that takes away the sinsdona eis requiem. of the world, grant them rest.Agnus Dei, qui tollis peccata mundi, Lamb of God, that takes away the sinsdona eis requiem sempiternam. of the world, grant them eternal rest.

VIII. CommunioLux aeterna luceat eis, Domine, May eternal light shine upon them, O Lord,cum sanctis tuis in aeternam, with Thy saints forever,quia pius es. for Thou art good.Requiem aeternam dona eis, Domine, Lord, grant them eternal rest,et lux perpetua luceat eis, and let the perpetual light shine upon them,cum sanctis tuis in aeternam, with Thy saints forever,quia pius es. for Thou art good.


Anne Harrigan, music directorJessica Soza, MariaAline Mayagoitia, AnitaBeau Hutchings, Riff

March 14, 2020

West Side Story in Concert

Thank you to our sponsor!diane boyer jerhoff

Additional support from

“WEST SIDE STORY”SYMPHONY CONCERT VERSION

Based on a conception by Jerome Robbins

Book by ARTHUR LAURENTSMusic by LEONARD BERNSTEINLyrics by STEPHEN SONDHEIM

Entire Original Production Directed and Choreographed by JEROME ROBBINS

Originally Produced on Broadway by Robert E. Griffith and Harold S. PrinceBy Arrangement with Roger L. Stevens

WEST SIDE STORYis presented through special arrangement with Music Theatre International (MTI).

All authorized performance materials are also supplied by MTI.www.MTIShows.com

The videotaping or other video or audio recording of this production is strictly prohibited.


Act One / Act TwoThe action takes place on the West Side of New York City during the last days of summer 1957.

ACT ONE

Prologue: The Months Before

5:00 PM: The Street Jet Song (Riff, Jets)

5:30 PM: The Drugstore Cellar Something’s Coming (Tony)

6:00 PM: A Bridal Shop

10:00 PM: The Gym The Dance at the Gym Blues Promenade Mambo Cha-Cha Meeting Scene (Tony, Maria) Jump

11:00 PM: A Back Alley Maria (Tony) Tonight (Tony, Maria)

11:00 PM: A Back Alley America (Anita, Rosalia, Shark Girls)

Midnight: The Drugstore Cool (Riff, Jets)

THE NEXT DAY

5:30 PM: The Bridal Shop One Hand, One Heart (Tony, Maria)

6:00 to 9:00 PM: The Neighborhood Tonight (Entire Company)

9:00 PM: Under the Highway The Rumble (The Jets and Sharks)

INTERMISSION

ACT TWO

9:15 PM: The Bedroom I Feel Pretty (Maria, Francisca, Rosalia, Consuelo) Somewhere Ballet Ballet Sequence (Tony, Maria) Transition to Scherzo: Adagio Scherzo Somewhere (A Girl) Procession & Nightmare (Entire Company)

10:00 PM: Another Alley Gee, Officer Krupke (Jets)

11:30 PM: The Bedroom A Boy Like That (Anita, Maria) I Have a Love (Anita, Maria)

11:40 PM: The Drugstore Jukebox, Taunting Scene

11:50 PM: The Drugstore Cellar

Midnight: The Street Finale (Maria, Tony)


About the ArtistsJessica Soza (Maria)

Jessica Soza has had the pleasure of singing in 10 cities and 7 countries all over Europe. Her most notable credits involve playing Maria with the international tour of West Side Story in 152 performances. She graduated from the American Musical and Dramatic Academy in Los Angeles, and obtained her B.A. from CSU, San Bernardino. Upon graduation, she moved to New York, during which she left to tour Europe with West Side Story. She returned to the United States after the tour closed and is now pursuing her MFA in Acting and Pedagogical Performance at CSU, Long Beach.

Beau Hutchings (Riff)Beau is honored to be a part of this wonderful concert experience with the Billings Symphony Orchestra. Originally from Southwest Michigan, he is a graduate of Western Michigan University’s Music Theatre Performance Program. Beau currently resides in New York City. Beau’s professional theatrical credits include: Riff in the International Tour of West Side Story. Snowboy in the Broadway National Touring production of West Side Story. Riff in Fireside Theatre’s West Side Story. Action in New Bedford Festival Theatre’s West Side Story. And Diesel with the Abilene Opera Association’s West Side Story. The Tinman in NETworks Touring production of The Wizard of Oz, and ensemble/Tinman and Scarecrow Understudy in Andrew Lloyd

Webber’s re-orchestrated National Tour of The Wizard of Oz. He has enjoyed a tour of the Caribbean in the Broadway Musical Chicago on Royal Caribbean’s ‘Allure of the Seas’. Along with numerous regional theatre credits Beau is also a professional choreographer and dance instructor. He is currently in his third season sitting on the judge’s panel for “Applause Talent”, a nationally recognized dance competition circuit. Beau would like to say, “Thank you to my mom and dad for they constant love and support and thank you for supporting the arts!”

Aline Mayagoitia (Anita)In addition to her award-winning accomplishments as an actress, Aline Mayagoitia was Creative Director while at the University of Michigan in the student-led organization, Mosaic: Intercultural Performance Center, dedicated to increasing diversity and representation in the theatre community. She has produced and directed numerous plays and held multiple forums about diversity. She has toured Costa Rica with a bilingual version of Evita, doing community engagement activities and serving as the main translator for the project.


Program NotesJerome Robbins (1918-1998), choreographer/directorArthur Laurents (1917-2011), playwrightLeonard Bernstein (1918-1990), composerStephen Sondheim (1930- ), lyricistWest Side StoryWest Side Story, which opened on September 26, 1957, is a landmark in American musical theater history. At the time, the phrase “Broadway musical” was synonymous with “musical comedy.” Musical theater typically took a lighthearted approach, even when broaching serious issues. But West Side Story, perhaps one of the most famous adaptations of William Shakespeare’s Romeo and Juliet, exposed audiences to gang violence on the streets of New York, showing how racism and xenophobia create a system that dooms the youths of working-class families. And unlike the typical Broadway musical of the 1950s and before, West Side Story does not offer audiences a happy ending.

Just as Romeo and Juliet are born to rival families, Tony and Maria are associated with rival gangs. Tony is a Jet, a gang of American-born youths led by his best friend, Riff. Maria’s brother Bernardo is the leader of the Sharks, a gang of first-generation Puerto Rican immigrants. The Jets challenge the Sharks to a rumble (a massive fight) to resolve a territory dispute once and for all. Tony and Maria meet, and fall instantly in love. Tony tries to stop the rumble for Maria’s sake, but Bernardo stabs Riff. Tony reacts, avenging Riff’s death by killing Bernardo. Still in love, Maria agrees to meet Tony that night and run away with him. But Tony receives word from Bernardo’s mourning girlfriend, Anita, that Maria is dead. Grief-stricken, Tony goes out seeking the Sharks who are hunting him. He discovers that Maria is alive, but a Shark shoots him. Tony dies in Maria’s arms.

Unlike Shakespeare’s Juliet, Maria doesn’t kill herself. Instead, she rebukes both gangs for the lives lost, and watches as the Sharks and the Jets come together to carry off Tony’s body. While the adults in Romeo and Juliet weep for their lost children and resolve to change and end the feud, the adults in West Side Story watch helplessly as the two gangs leave the stage at the end. The musical shows a society in which parents and law enforcement have failed to foster community, instead pitting young people against each other to fight the same battles based on the same fears that cause anti-immigrant sentiment today. West Side Story’s riveting lyrics and music offer a powerful message to audiences, calling for an end to violence and racism. This week the cast members, along with Music Director Anne Harrigan, brought the music and this message to our community in five school and community outreaches.

When choreographer/director Jerome Robbins first approached composer Leonard Bernstein in 1950, his original premise for the show involved a young Italian, Catholic boy whose gang was embroiled in a fierce rivalry with a group of Jewish kids. It was to be called East Side Story. In 1955, after many delays which were attributed to Bernstein’s and Robbins’ busy schedules, the project was reactivated. The decision was made to concentrate instead on conflicts with the Puerto Rican immigrants who were coming to New York in great numbers, and the action shifted to the upper west side neighborhood of San Juan Hill. The Jewish “Emeralds” became the Puerto Rican “Sharks” versus the Polish-American “Jets,” and West Side Story was born. Making his Broadway debut, a 27-year-old Stephen Sondheim provided the lyrics. Playwright Arthur Laurents, another legend-in-the-making, captured the emotion and poetry of contemporary youth while Robbins, Bernstein and Sondheim made poetry out of the music, dancing and song lyrics.

Premiering in 1957, starring Mickey Calin as Riff, Larry Kent as Tony, Carol Lawrence as Maria and Chita Rivera as Anita, the musical went on to critical acclaim worldwide. It was nominated for six Tony Awards including Best Musical (which went to Meredith Wilson’s The Music Man). Jerome Robbins won the Tony for his choreography and Oliver Smith won for his scenic designs. The 1961 film version picked up ten Oscars, plus a special choreography award for Robbins, Bernstein, and Sondheim’s soundtrack spent 54 weeks at number one on the Billboard chart.

While the Billings Symphony has often performed orchestral selections from West Side Story, tonight is our first concert performance of the entire musical.


Anne Harrigan, music directorTanner Jorden, pianoBillings Youth Orchestra’s Repertory OrchestraRandy Tracy, conductor

April 18, 2020

Rachmaninoff

Thank you to our guest artist sponsors!Chris Christianson

Randy & Cheryl Bentley

Thank You to our sponsors!John W. & Carol L.H. Green

Overture to La clemenza di Tito, K. 621 Wolfgang Amadeus Mozart

Piano Concerto No. 2 in C minor, op. 18 Sergei RachmaninoffI. Moderato

Tanner Jorden, piano

INTERMISSION

Symphony No. 2 in E minor, op. 27 Sergei RachmaninoffI. Largo—Allegro moderatoII. Allegro moltoIII. AdagioIV. Allegro vivace


About the ArtistsTanner Jorden

Tanner Jorden, 16, was born in Billings, Montana. Tanner began participating in and winning competitions locally and internationally in 2015. He won the state Music Teachers National Association (MTNA) competition from 2016-2018, receiving honorable mentions in the Junior and Senior divisions at the Northwest regionals. In January 2019 he won the Northwest regional competition and competed in the National MTNA competition in March 2019. In January 2017, he received first place in the Montana Association of Symphony Orchestras (MASO) Concerto Competition and in April of that year performed a debut recital at MSU-B as a Connections student. He had his orchestral debut with the Great Falls Symphony in February 2017 and has

since performed with the Billings, Helena, Glacier and Powell, WY Symphonies. In January 2019, Tanner won the MASO Concerto Competition again. As a first-place winner in the American Protégé International Concerto Competition 2018, Tanner performed at Carnegie Hall, where he received the Judges’ Distinction Award.

Billings Youth OrchestraEstablished in 2006, the Billings Youth Orchestra (BYO) is the premier orchestral experience for talented young musicians throughout the Billings area. With four orchestras and a wind ensemble, the BYO provides a comprehensive orchestral education for students from kindergarten to college. BYO prepares young artists for entrance to music conservatories, college, and professional orchestras and ensembles. For more information about BYO and how students can join, visit www.billingsyouthorchestra.org or on Facebook.

Program NotesWolfgang Amadeus Mozart (1756-1791)Overture to La clemenza di Tito, K. 621Written in the final months of Mozart’s life, La clemenza di Tito (The Clemency of Titus) celebrated the coronation of Emperor Leopold II as King of Bohemia, and premiered on September 6, 1791 at the Estates Theater in Prague—the same theater that had witnessed the premiere of Don Giovanni in 1787. The commission had originally been offered to Antonio Salieri, who was too busy to accept. Mozart’s earliest biographer Niemetschek alleged that the opera was completed in just 18 days, and in such haste that the recitatives were supplied by his student and copyist, Franz Xaver Süssmayr (who later completed February’s Requiem).

Mozart called this his “true opera,” referring to its noble subject and its vivid, colorful music. The opera’s hero, Titus, is a compelling portrait of a populist leader who learns the personal cost of political power. When his one friend, Sextus, is corrupted by a tough-minded beauty and driven to an act of terrorism, Titus forgives all, teaching a lesson in mercy as he himself gives up hope of happiness.

As befitted the stature of the commission and the opera’s place in the composer’s canon, the overture is one of the most brilliant and festive that Mozart ever wrote, with trumpets and drums adding a sense of pomp and grandeur, and scurrying string writing propelling the music forward with tremendous verve and energy.

While Mozart’s overtures have been a mainstay on BSO programs, this particular overture has only been performed once, for the 1991 Symphony in the Park, under the baton of Maestro Uri Barnea.


Program NotesSergei Rachmaninoff (1873-1943)Piano Concerto No. 2 in C minor, op. 18The dismal premiere of his First Symphony in 1897 threw Rachmaninoff into a three-year bout of writer’s block. Finally, at his family’s urging, he consulted with Parisian psychologist Dr. Nikolai Dahl in January 1900. The doctor’s immediate assignment: write the new piano concerto promised to the London Philharmonic when Rachmaninoff appeared with the orchestra in 1898. Through Dahl’s combination of enlightened discussion and rudimentary hypnosis, Rachmaninoff overcame his writer’s block and found a new voice as a composer—one with a perfect knack for unforgettable tunes, dazzling pianistic effects, an effortless flow of ideas, and a very suave sense of style. His close contemporary and antithesis, Igor Stravinsky, later called it a switch from a very young composer to a very old one. This was not meant as a compliment. In fact, written during the heyday of wild and radical new music by Debussy, Mahler, Stravinsky, Strauss, Ives, and Schoenberg, Rachmaninoff’s second concerto was proudly old-fashioned and, to the chagrin of his avant-garde contemporaries, it quickly became the most beloved concerto of the twentieth century.

The work’s popularity goes far beyond the concert stage; its melodies have been made ubiquitous through their use in movie soundtracks and derivative works on the radio. Perhaps most familiar to today’s audiences is the Moderato theme’s appearance in Eric Carmen’s 1975 ballad, “All By Myself.” Carmen calls Rachmaninoff, “his favorite music,” and with its unabashed Romanticism and the virtuosity demanded of the soloist, this showstopper has become a perennial audience favorite.

Rachmaninoff’s masterpiece—in whole or in part—has appeared nine times on BSO programs since 1952; the last performance was in September 2017 with pianist Andrew von Oeyen, under the baton of Anne Harrigan.

Sergei Rachmaninoff (1873-1943)Symphony No. 2 in E minor, op. 27For the next several years following the success of his Piano Concerto No. 2, Rachmaninoff was much in demand as a piano virtuoso, conductor, and composer. The workload got so severe that he decided to go into hiding for a time in Dresden, writing to a colleague, “I have escaped from my friends. Please don’t give me away!” Rachmaninoff’s time in Dresden was productive: in three years he composed his tone poem, The Isle of the Dead, and the famous Piano Concerto No. 3. And it was in this relative seclusion that Rachmaninoff finally returned to symphonic writing, starting work on the Symphony No. 2 in October 1906, completing it the following fall, and conducting the premiere in St. Petersburg on February 8, 1908. Although the work was an immediate success, Rachmaninoff insisted that he really didn’t enjoy the experience of creating it—“the work became terribly boring and repulsive to me”—and vowed he would never again write a symphony. (He eventually relented, producing the Third Symphony 28 years later.)

The Second Symphony is a large work, closely descended from the symphonies of Tchaikovsky in its lavish orchestration and luxuriant rhetoric. Eric Carmen used parts of the third movement for his 1976 song, “Never Gonna Fall in Love Again.” As Rachmaninoff’s music was still under copyright at the time—much of his music is now in the public domain—Carmen was made to pay royalties to the Rachmaninoff estate for the use of the composer’s music in both this song and the aforementioned “All By Myself.” More recently, a section of the second movement was used several times in the 2014 film, Birdman, featured as part of the score composed by Mexican jazz drummer Antonio Sánchez.

Previous performances of Rachmaninoff’s Second Symphony were in February 1975 (under the baton of Maestro George Perkins), March 2003 (Maestro Uri Barnea) and November 2009 (Maestra Anne Harrigan).


Diane and her two sisters have been involved in the arts their entire lives. One of Diane’s sisters became a professional opera singer, the other graduated with honors in voice & violin, and Diane majored in art. An accomplished artist, if you are ever lucky enough to have the chance to visit her home, you will be awe struck by her paintings. When asked why she has loved the arts so much over the course of her life Diane said, “Being involved in the arts is the one place people can feel accepted, truly accepted for who they are. There is an openness and an acceptance in the arts that you just can’t find anywhere else. I just love it.”

Diane discovered she also was very much like her father and had a true strength in finance. She has used this gift over the years as a board member and member of the Finance Committee. She has played an integral role in helping BSO&C to continue to be a financially thriving organization. Our community benefits thanks to her business savvy and straightforward personality. We are so thankful to count Diane as a board member, singer, donor, sponsor, and—most importantly— a friend.

Diane Boyer Jerhoff


Suppor t Your SymphonyYou can help us fulfill our mission to enrich lives through music. Please consider making a tax-deductible donation this year in one or more of the following ways:

TextText BSOC to 406-200-8621 to give electronically.

VolunteerNot everything is about money. Sometimes the greatest gift you can give is your time. There are many volunteer opportunities in our education programs, at Symphony in the Park, and in the Billings Symphony office. Call the office at 406-252-3610 and ask how you can get involved.

Annual FundYour donation to the Billings Symphony’s Annual Fund is far-reaching. Donations fund performances—from classical concerts to special presentations such as The Nutcracker—and BSO&C outreach efforts. Visit billingssymphony.org for more information about Explore Music!, our music education and community engagement program. Your support also helps offset the organization’s administrative costs such as musician honorariums, facility rental, stage crew and production costs, guest artist fees, and more.

EndowmentThe Billings Symphony endowment ensures the organization’s future. Funds donated to the Billings Symphony endowment are invested for the organization’s ongoing sustainability and stability. Interest from these investments is used to support the organization’s annual operating expenses. For more information about making a planned or endowment gift, contact BSO&C Executive Director Ignacio Barrón Viela at 406-252-3610.

Sponsor-A-ChairThis program helps keep our musicians on stage and allows the Billings Symphony to continue to bring quality symphonic music to traditional and new audiences. Contributions begin at $750 and are tax-deductible.

Endow-A-ChairEndowing a chair provides reliable, ongoing funding to underwrite key BSO&C programs and retain outstanding musicians. The value of a chair varies by instrument and position. A chair may be endowed in perpetuity with the total amount of the gift conveyed to the Symphony in one payment or in installments.

SponsorshipsSponsor a season concert, sponsor a guest artist or sponsor a special event. Each performance of the Billings Symphony costs approximately $40,000, including musicians’ compensation, guest artist fees, facility rental, and production.

CD SalesSupport your Billings Symphony and their guest artists by purchasing a guest artist CD when available. A portion of all sales go to support the BSO&C.


2019-2020 Contributors as of November 22, 2019BENEFACTORS $15,000+Janet CarpenterJeff Lindenbaum & Joan SorensonBill DimichDiane Boyer JerhoffSidney E. Frank FoundationOakland & CompanyLynn Marquardt & Jim GutenkaufMontana Arts CouncilPat & John BurgCharles M. Bair Family TrustKTVQ-2The Billings GazetteNorthern Hotel

VIRTUOSO $10,000-$14,999John W. & Carol L.H. GreenWells FargoCheryl & Randy BentleyChristina SoueidiChris ChristiansonClocktower InnBen & Ann RuehrDennis & Phyllis Washington

FoundationAvenue C Luxury LivingNational Endowment for the Arts

COMPOSER $5,000-$9,999Stockman BankDavid & Cynthia HummelGeorge & Heather RosenfeldSt. Vincent Healthcare FoundationUnderriner MotorsSibanye StillwaterAshley & Robert SaundersBrett & Daniela BennionMontana Community FoundationHewes & Susan AgnewAjax FoundationBob & Shari Dayton

MAESTRO $1,000-$4,999Don HarrGuy Glenn & Elizabeth

McNamer GlennCarrie La SeurBillings Chamber of CommerceHomer & Mildred Scott

FoundationSusan HeynemanThe Sample Foundation

Ronald H. SmithBNSF RailwayCopy RightMichael Geurin & Rory RoginaRockwood BrownPEAK Technology SolutionsMontana Association of

Symphony OrchestrasLarry & Ruth MartinNorthwest Pipe FittingsSusan & Bruce BarrowAngus & Marjorie FultonDeborah Anspach & John HansonRobert QuamSusan & John StewartFirst Interstate BankLisa MalodyRita HeizerChicago TitleCloud Peak EnergyCynthia FosterElizabeth & Bill FultonUS BankCrowley FleckJim & Peggy GoodBillings Community FoundationCity VineyardJoseph & Nathalie SoueidiBen & Mary Lou MarchelloBill & Anne ColeCHS, Inc.Dale & Judy PetersonDave & Linnea VeederEric Hudson & Anne HarriganHoliday Station StoresJeremy & Elizabeth GoetzJoel & Andrea LongLarry Downer & Nancy

Ferguson-DownerLew & Dianne GumperLorraine MarshMary DavisMontana-Dakota Utilities Co.Patricia McVayScott & Debora BrownDenny & Linda MenholtYellowstone Electric Co.Donna Frisby-RamboldMary Jo JohnsonSilvie DominguezTed & Bess LovecBerkshire Hathaway Floberg

Real Estate

Dr. William & Suzanne SmootPhillips 66Wetzels Quality CleanersDennis & Kim BarComputers UnlimitedDennis O’Brien & Mur QuagliaEide BaillyEileen Orser & Terry AttallahEric HodgsonMark & Chris RandakMatovich, Keller, & Huso, P.C.Merrill Lynch Anderson, Hedge,

Wagner & Assoc.Parker, Heitz & Cosgrove, PLLCRocky Mountain CollegeTim & Marcia TostengardTom & Jane Van DykTom Singer & Evey LaMontWarren & Judy FrankBriggs Distributing Company, IncPamela Jones & Ed HahnJeanne JohnsonMorningStar Senior LivingWalt & Mary PeetTeresa BottrellFay EllisDiA EventsMarvin & Carol LindeTom & Robin HanelMariellen NeudeckBallard Petroleum, L.L.C.Bill & Mary UnderrinerDorothea & Brent CromleyEdward JonesFrontier AngelsGail Kleman & Kris GagnonIgnacio Barron Viela James Rollins & Julie JohnsonJaq QuanbeckJerry Metcalf FoundationJudith A. SmithLarry & Susan EricksonMary Ann & Andy HallMichael & Nancy DowningMusselshell Valley

Community FoundationNorthWestern EnergyRalph & Tancy SpenceRobert & Kimera SaundersRobyn & Scot MillerThorm & Jean ForsethWilliam & Claire Leslie


2019-2020 ContributorsOPUS $750-$999Neal & Gigi SorensenBob & Kathy GriffinBill OakeyDave & Judy JohnsonOpportunity BankSue LoganFirst Montana TitleStewart & Mary Jane TaylorAndrew & Jennelle BillsteinGerald DavidsonJack LawsonTom & Peggy ParkerBillings Plastic SurgeryBruce & Darlene EllisCarol MuellerCarole BaumannDavid & Mary Lee DarbyDon & Marilyn FlobergGareld & Barbara Krieg

James & Linda ThompsonJeff & Lucy MeluginNancy CurridenPayneWest InsurancePhil & Barb GriffinSharon ShannonVan & Cheryle Pittack

CONCERTO $350-$749Dr. William & Gail AndrusNorma JohnsonSig & Bev RossBetty & Joe RoyGainan’s FlowersJennine BudgePrecious McKenzie HouseholdAmy & Bill LetsonAnn MaltbyBenchmark Dental PCBryon Hobby Household

Cladis Investment AdvisoryConocoPhillipsDaniel & Michelle WohlgenantDona & Paul HagenEric & Christine HansenFrank & Margo KelleyGeorge WallisJolane JonesJudy JohnsonKathleen HansenLycox Enterprises, Inc.Norman SchoenthalOpportunity BankSignal Peak EnergyThomas & Kim HauptmanTom HohnWalla Walla UniversityPierce FlooringRon & Mary Beth BillsteinTracy Gunther


Jean G. Dimich Encore Society

AnonymousBill & Nancy BoyerBob & Bobbie HyltonDale & Judy PetersonDavid & Judy JohnsonDiane Boyer JerhoffEdna B. Johnson

Heather & George RosenfeldJulie L. ColemanLinda Lewis William &

Connie LoweLouise H. SteinLynn Marquardt &

Jim Gutenkauf

Patricia Jaffray In dedication to Richard Alton Gonzalez

Peder MoeStephen H. & Bev FosterThe Bill Dimich FamilyVincent W. Carpenter

In honor of Elbert L. CarpenterVirginia Cox

Ben & Ann RuehrBill & Nancy BoyerBob & Bobbi HyltonClayton & Joan McCracken

In memory of Jean DimichDale & Judy PetersonDavid & Cynthia HummelDiane Boyer JerhoffDr. John & Patricia BurgGeorge & Heather RosenfeldJames & Linda Thompson

Janet CarpenterJaq QuanbeckJeff Lindenbaum & Joan SorensonJennine BudgeJohn W. & Carol L.H. GreenJulie ColemanKris & Warren OstwaltLew & Dianne GrumperLynn Marquardt & Jim GutenkaufMary Davis

Patricia Jaffray In dedication to Richard Alton Gonzales

Randy & Cheryl BentleyRobert QuamSheri OlsenSonkar Inc.Stephen & Lorraine MarshSusan & Hewes AgnewThe Bill Dimich Society

In Memory of Ben Ruehr Hon. G. Todd & Linda Baugh Dr. John & Patricia Burg

In Memory of Virginia P. Longo Jim & Barbara Van Ornum

In Honor of Dale Peterson’s Birthday

Paul & Ann Miller

In Memory of Jim Bryngelson Hon. G. Todd & Linda Baugh

In Memory of Loris Toole Leslie Blair Elizabeth & Bill Fulton

In Memory of Palma Wolverton Carol Reiter

In Memory of Vincent Carpenter Jean McNally Dave & Judy Johnson Linda Snider Eloise Kirk Lynn & Rae Lynn Jordan Rebecca Miller James & Kerry Vincent David & Cynthia Hummel Pat Kapptie

Endowment Gifts as of November 22, 2019

Tribute Gifts as of November 22, 2019

The Billings Symphony Orchestra & Chorale gratefully acknowledges the members of the Jean G. Dimich Encore Society. These donors have made known their inclusion of the BSO&C in their financial planning, such as in their will, life insurance, retirement account, or other planned giving. For more information about planned giving at the BSO&C or to let us know the BSO&C is a beneficiary in your plans, please contact the BSO&C office at 406-252-3610.


Ticket InformationThe Billings Symphony Orchestra & Chorale begins to sell season tickets each spring prior to the next season. Season subscribers enjoy priority seating for regular season concerts and receive the benefit to purchase Special Event tickets before the general public. Season tickets are sold through the Billings Symphony office at 2721 2nd Ave N. Ste 350, Billings, MT, by calling (406) 252-3610, or online at billingssymphony.org.

Single TicketsSingle tickets for BSO&C Season Concerts and Special Events are available beginning in August prior to the Opening Night concert through the Billings Symphony office (contact information above).

SubscriptionsSubscriptions are available for renewing subscribers once the new season is announced during the spring pops concert and available for the public beginning April 30th. Adult subscriptions begin at $94. Under 30 subscriptions begin at $47. Be sure to take advantage of the Subscriber Benefits.

Rush TicketsRush tickets are sold for season series concerts from 6-6:30 p.m. (based on availability) the night of the performance at the Lincoln Center. Prices are $15 for balcony seating and $25 for main floor. Cash only, please.

Group TicketsThe BSO&C gives a discount to groups of 10 or more...perfect for schools, houses of worship, or just a group of friends who want to enjoy any one of our series or special events concerts. Discount available for one transaction by phone or in person at the Billings Symphony office.

Under 30/Student Single TicketsUnder 30 rates for season series concerts are available for those 30 years of age and younger. No discount given for web orders. Discounts are not offered for loge seating at any performance. Prices begin at $13.

Return-Ticket PolicyThe BSO&C cannot refund the purchase price of a ticket if you cannot attend a performance. You may return the tickets to the Billings Symphony office prior to the concert for resale and a tax-deductible donation receipt.

Family TicketsThe BSO&C invites young people ages 8-18 to attend Feb. 15, Mar. 14, and/or Apr. 18 concerts FREE with the purchase of an adult ticket. Excludes Tier 1 seating. Offer available only for single tickets sales. Available by phone, 406-252-3610 or in person at the BSO&C office at 2721 2nd Ave N. in downtown Billings.


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