DECEMBER 2 018
the magazine of the
Gospel Christmas 20th Anniversary FE ATURED CONCER T S Rachmaninoff’s Symphonic Dances Gospel Christmas 20th Anniversary Cirque de la Symphonie Tim Burton’s The Nightmare Before Christmas in Concert Comfort and Joy: A Classical Christmas Big Band and Beethoven: New Year’s Celebration
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CONTENTS DECEMBER 2018 12
about us LETTER FROM THE PRESIDENT 7 CONDUCTORS 9 ORCHESTRA, STAFF & BOARD 10 RECOMMENDED RECORDINGS 40 OUR SUPPORTERS 42
Rachmaninoff’s Symphonic Dances
featured ARTIST- IN - RESIDENCE JOHANNES MOSER 12 THE PORTLAND OREGON SIGN 53 CHANGING DIRECTION 54 PAMBICHE MURAL 57 CHARLES RENEAU 58
performances RACHMANINOFF’S SYMPHONIC DANCES 14 Gospel Christmas 20th Anniversary
Cirque de la Symphonie
ATURDAY, DECEMBER 1, 7:30 PM S S UNDAY, DECEMBER 2, 2 PM M ONDAY, DECEMBER 3, 7:30 PM
GOSPEL CHRISTMAS 20TH ANNIVERSARY 20 RIDAY, DECEMBER 7, 7:30 PM F S ATURDAY, DECEMBER 8, 7:30 PM S UNDAY, DECEMBER 9, 4 PM
CIRQUE DE LA SYMPHONIE 24 T HURSDAY, DECEMBER 13, 7:30 PM im Burton’s The Nightmare T Before Christmas in Concert Garry Trudeau
TIM BURTON’S THE NIGHTMARE BEFORE CHRISTMAS IN CONCERT 26
omfort and Joy: C A Classical Christmas
SATURDAY, DECEMBER 15, 2 PM AND 7:30 PM SUNDAY, DECEMBER 16, 2 PM AND 7:30 PM
COMFORT AND JOY: A CLASSICAL CHRISTMAS 28 M ONDAY, DECEMBER 17, 7:30 PM
BIG BAND AND BEETHOVEN: NEW YEAR’S CELEBRATION 30 SUNDAY, DECEMBER 30, 7:30 PM M ONDAY, DECEMBER 31, 7:30 PM
ig Band and Beethoven: B New Year’s Celebration
Oregon Symphony programs are supported in part by grants from the Oregon Arts Commission and the National Endowment for the Arts, a federal agency, and by the Regional Arts & Culture Council and Work for Art, including support from the City of Portland, Clackamas, Multnomah, and Washington Counties, and Metro.
on the cover: Gospel Christmas 20th Anniversary Photo by Jonathan Lange ®
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LETTER FROM THE PRESIDENT Dear Friends, Our theme for the 2018/19 Season is stories, and in December, stories often involve holiday traditions. Every year since 1998, your Oregon Symphony has gathered together singers from churches and communities throughout the greater Portland area to form the Northwest Community Gospel Chorus. This year, we celebrate with them and, with you, the 20th anniversary of Gospel Christmas, a festive and uplifting celebration of the holiday. We are proud to release the Gospel Christmas cd, featuring the live recording of last year’s concert, to honor two decades of community partnership in music. In December, our Classical Series offers Rachmaninoff’s Symphonic Dances, which harkens back to the composer’s Russian heritage. Then, Oregon Symphony makes memories this season with our captivating holiday programs, including Cirque de la Symphonie, Tim Burton’s The Nightmare Before Christmas in Concert, Comfort and Joy, and Big Band and Beethoven. Beyond the concert hall, Oregon Symphony is glad to return to Coffee Creek Correctional Facility to perform an annual holiday concert along with the cccf Choir. With this performance and dozens more throughout the year, we bring music into the community and break down barriers to experiencing the Oregon Symphony live. In this season of giving, consider a gift to Oregon Symphony.
Your generosity makes possible these and other programs, in the concert hall and throughout the state, that delight, entertain, and inspire. We are grateful for your support.” SHARE YOUR STORY WITH #SOUNDSTORIES As part of this season’s theme of SoundStories, we’re collecting stories from you, our audience, about how music has impacted your life. We want to know about the first time you heard the Oregon Symphony, about your favorite musical memories from your childhood, and more. Share your story using the hashtag #SoundStories.
On behalf of the musicians, staff, and Board of the Oregon Symphony, I wish you a happy, healthy, and joyful season.
@OregonSymphony Scott Showalter president & ceo
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Great concerts in January Favorite Light Classics JANUARY 5 & 6 Norman Huynh, conductor
A light-hearted tour of classical music’s most popular hits, including “The Ride of the Valkyries,” William Tell Overture, and select movements from Beethoven’s beloved symphonies.
Rossini and Rimsky-Korsakov JANUARY 12, 13 & 14 Johannes Moser
Carlos Kalmar, conductor • Johannes Moser, cello Rossini: Tancredi Overture Zimmermann: Music for the Suppers of King Ubu • Shostakovich: Cello Concerto No. 1 Rimsky-Korsakov: Russian Easter Festival Overture
Two brilliant miniatures – Rossini’s Tancredi Overture and Rimsky-Korsakov’s depiction of a lively Russian cathedral on the “Bright Holiday” – bookend Shostakovich’s fiery First Cello Concerto, performed by Artist-in-Residence Johannes Moser.
2018/19 Americana with Edgar Meyer JANUARY 19 Norman Huynh, conductor • Edgar Meyer, double bass Copland: Appalachian Spring Suite • Bottesini: Double Bass Concerto No. 2 • Edgar Meyer: Double Bass Concerto No. 3 Still: Afro-American Symphony Adding virtuosity to a classical-bluegrass blend all his own, Edgar Meyer makes music that’s equal parts irresistible and astonishing. Join the “Genius” grant winner and the Oregon Symphony for an unparalleled evening of Americana, including Copland’s idyllic Appalachian Spring.
Leslie Odom, Jr. JANUARY 20 Thomas Douglas, conductor Don’t miss this exhilarating evening of jazz standards and Broadway hits from Grammy Award winner Leslie Odom, Jr., who originated the role of Aaron Burr in the Broadway blockbuster Hamilton.
Schumann’s “Rhenish” JANUARY 26, 27 & 28
Leslie Odom, Jr.
Markus Stenz, conductor • Viviane Hagner, violin Beethoven: Symphony No. 1 • Unsuk Chin: Violin Concerto Schumann: Symphony No. 3, “Rhenish”
Beethoven’s First Symphony is exquisitely rooted in the Classical Viennese tradition. His later symphonies would directly inspire Schumann’s majestic Third, an homage to the Rhineland.
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10/31/18 3:04 PM
CONDUCTORS Carlos Kalmar Jean Vollum music director chair
Carlos Kalmar is in his 16th season as music director of the Oregon Symphony. He is also the artistic director and principal conductor of the Grant Park Music Festival in Chicago. In May 2011, he made his New York debut at Carnegie Hall with the Oregon Symphony as part of the inaugural Spring for Music festival. Both his imaginative program, Music for a Time of War, and the performance itself were hailed by critics in The New York Times, New Yorker magazine, and Musical America, and the concert was recorded and released on the Pentatone label, subsequently earning two Grammy nominations (Best Orchestral Performance and Best Engineered). Under Kalmar’s guidance the orchestra has recorded subsequent cds on the PentaTone label – This England, featuring works by Britten, Vaughan Williams, and Elgar; The Spirit of the American Range, with works by Copland, Piston, and Antheil, which received another Best Orchestral Performance Grammy nomination; and Haydn Symphonies. New Yorker magazine critic Alex Ross called the Oregon Symphony’s Carnegie Hall performance under Kalmar “the highlight of the festival and one of the most gripping events of the current season.” That verdict was echoed by Sedgwick Clark, writing for Musical America, who described the performance of Vaughan Williams’ Fourth Symphony as “positively searing… with fearless edge-of-seat tempos… breathtakingly negotiated by all…” A regular guest conductor with major orchestras in America, Europe, and Asia, Kalmar recently made his subscription series debuts with three of America’s most prestigious orchestras: those of Boston, Chicago, and San Francisco. Past engagements have seen him on the podium with the Philadelphia Orchestra, the Los Angeles Philharmonic, the Minnesota Orchestra, and the New World Symphony, as well as the orchestras of Baltimore, Cincinnati, Dallas, Houston, Milwaukee, Nashville, Seattle, and St. Louis. Carlos Kalmar, born in Uruguay to Austrian parents, showed an early interest in music and began violin studies at the age of 6. By the time he was 15, his musical promise was such that his family moved back to Austria in order for him to study conducting with Karl Osterreicher at the Vienna Academy of Music. He has previously served as the chief conductor and artistic director of the Spanish Radio/Television Orchestra and Choir in Madrid as well as the music director for the Hamburg Symphony, the Stuttgart Philharmonic, Vienna’s Tonnkunsterorchester, and the Anhaltisches Theater in Dessau, Germany. He lives in Portland with his wife, Raffaela, and sons, Luca and Claudio.
Norman Huynh Harold and Arlene Schnitzer associate conductor chair
Now in his third season as Oregon Symphony associate conductor, Norman Huynh was selected from a field of over 100 candidates from around the world for his exceptional conducting technique, his passion for a wide-ranging repertoire, and his unique ability to communicate with an audience. The recipient of the 2015 Felix Mendelssohn-Bartholdy Scholarship, he previously conducted the St. Louis, City of Birmingham (uk), Baltimore, Toledo, Charlotte, and Virginia symphonies, and the Peabody Symphony Orchestra. He made his international conducting debut with the Princess Galyani Vadhana Youth Orchestra in Bangkok, Thailand, and has also conducted the Leipzig Symphony. He previously served as assistant conductor for the Spoleto Festival usa, the Portland Symphony Orchestra in Maine, Opera Carolina, the Lyric Opera of Baltimore, the Peabody Opera Theatre, and The Peabody Singers. Huynh co-founded the Occasional Symphony, an organization that presents innovative programs that resonate with eclectic venues throughout the city of Baltimore. He studied orchestral conducting at the Peabody Institute of the Johns Hopkins University, working with Gustav Meier, Markand Thakar, and Marin Alsop. For backstage stories, follow Huynh on Instagram @normanconductor. Jeff Tyzik principal pops conductor
Jeff Tyzik has earned a reputation as one of America’s foremost pops conductors and is recognized for his brilliant arrangements, original programming, and rapport with audiences. Now in his 25th season as principal pops conductor of the Rochester Philharmonic, Tyzik is also in his 12th season as the Oregon Symphony’s principal pops conductor and continues to serve in the same role with the Seattle Symphony, Detroit Symphony, Florida Orchestra, and Canada’s Vancouver Symphony. Tyzik is also highly sought after as a guest conductor across North America. He holds Bachelor of Music and Master of Music degrees from the Eastman School of Music. He lives in Rochester, ny, with his wife, Jill. orsymphony.org | 503-228-1353
O R C H E S T R A , S TA F F & B O A R D Orchestra MU S I C D IR E C TO R
H O RN
Carlos Kalmar Jean Vollum music director chair Norman Huynh Harold and Arlene Schnitzer associate conductor chair
Nancy Ives, Mr. & Mrs. Edmund Hayes, jr. principal cello chair Marilyn de Oliveira, assistant principal Kenneth Finch Trevor Fitzpatrick Antoinette Gan Kevin Kunkel
John Cox, principal Joseph Berger, associate principal Graham Kingsbury, assistant principal Mary Grant Alicia Michele Waite
PR IN CIPAL P O P S COND U C TO R
Colin Corner, principal Braizahn Jones, assistant principal Nina DeCesare Donald Hermanns Jeffrey Johnson Jason Schooler
A S S O CIATE COND U C TO R
VI O LIN
Sarah Kwak, Janet & Richard Geary concertmaster chair Peter Frajola, Del M. Smith & Maria Stanley Smith associate FLU TE concertmaster chair Martha Long, Bruce & Judy Thesenga Erin Furbee, Harold & Jane Pollin principal flute chair assistant concertmaster chair Chien Tan, Truman Collins, sr. principal Alicia DiDonato Paulsen, assistant principal second violin chair Inés Voglar Belgique, assistant principal Zachariah Galatis second violin PI CCO LO Fumino Ando Zachariah Galatis Keiko Araki Clarisse Atcherson OBOE Ron Blessinger Martin Hébert, Harold J. Schnitzer Lisbeth Carreno principal oboe chair Ruby Chen Karen Wagner, assistant principal Emily Cole Kyle Mustain Julie Coleman Eileen Deiss ENGLI S H H O RN Jonathan Dubay Kyle Mustain Gregory Ewer Daniel Ge Feng CL AR INE T Lynne Finch James Shields, principal Shin-young Kwon Todd Kuhns, assistant principal Ryan Lee Mark Dubac Samuel Park Searmi Park B A S S CL AR INE T Vali Phillips Todd Kuhns Deborah Singer B A S S O ON VIOLA Joël Belgique, Maybelle Clark Macdonald Fund principal viola chair** Charles Noble, principal* Brian Quincey, assistant principal* Jennifer Arnold Silu Fei Leah Ilem Ningning Jin Kim Mai Nguyen* Viorel Russo Martha Warrington
Carin Miller Packwood, principal Evan Kuhlmann, assistant principal Adam Trussell CONTR AB A S S O ON Evan Kuhlmann
TR UMPE T Jeffrey Work, principal David Bamonte, assistant principal, Musicians of the Oregon Symphony Richard Thornburg trumpet chair Doug Reneau TR OMB ONE Casey Jones, principal Robert Taylor, assistant principal Charles Reneau B A S S TR OMB ONE Charles Reneau TUBA JáTtik Clark, principal TIMPANI Jonathan Greeney, principal Sergio Carreno, assistant principal PE R CU S S I ON Niel DePonte, principal Michael Roberts, assistant principal Sergio Carreno HAR P Jennifer Craig, principal LIB R ARY Joy Fabos, principal Kathryn Thompson, associate Sara Pyne, assistant O R CHE S TR A PE R S ONNE L MANAGE R Leah Ilem * Acting position ** Leave of absence
Administration Scott Showalter, president and ceo Diane M. Bush, executive assistant Susan Franklin, assistant to the music director Ellen Bussing, vice president for development Charles Calmer, vice president for artistic planning Natasha Kautsky, vice president for marketing and strategic engagement Janet Plummer, chief financial and operations officer Steve Wenig, vice president and general manager B U S INE S S O PE R ATI ONS David Fuller, tessitura applications administrator Tom Fuller, database administrator Julie Haberman, finance and administration associate Randy Maurer, production manager Peter Rockwell, graphic designer Lynette Soares, finance and administration assistant
D E VE LO PMENT
Cleo Knickerbocker, patron services representative Nils Knudsen, assistant ticket office manager John Kroninger, front of house manager Lisa McGowen, patron communications manager Christy McGrew, ticket office manager Tori Miller, patron services representative Carol Minchin, patron services representative Rebekah Phillips, director of marketing, communications, and sales Amanda Preston, patron services representative Frances Yu, lead patron services representative
Hilary Blakemore, senior director of development Rene Contakos, gift officer Ella Rathman, development associate Leslie Simmons, events coordinator Courtney Trezise, foundation and corporate giving officer Nik Walton, membership manager MAR KE TING , COMMUNI C ATI ONS & S ALE S Ethan Allred, marketing and web content manager Rachel Allred, patron services representative Liz Brown, partnership marketing and group sales manager Adam Cifarelli, teleservices manager Karin Cravotta, patron services representative Katherine Eulensen, audience development manager Johnah Garcia, patron services representative Rebecca Van Halder, patron services representative ChloĂŤ Hennessy, patron services representative Emily Johnstone, patron services representative
O PE R ATI ONS Jacob Blaser, director of operations Monica Hayes, education and community programs director Susan Nielsen, director of popular programming and presentations Steve Stratman, orchestra manager Lori Trephibio, stage manager Jacob Wade, manager, operations and artistic administration
Board of Directors O FFI CE R S Robert Harrison, chair Walter E. Weyler, vice chair Nancy Hales, secretary Tige Harris, treasurer LIFE MEMB E R S William B. Early Gerald R. Hulsman Walter E. Weyler MEMB E R S Rich Baek Christopher M. Brooks Eve Callahan Cliff Deveney
Dan Drinkward Greg Ewer Robyn Gastineau Suzanne Geary Ralph C. Hamm III Jeff Heatherington J. Clayton Hering Rick Hinkes RenĂŠe Holzman Grady Jurrens Gerri Karetsky Kristen Kern Thomas M. Lauderdale Martha Long Priscilla Wold Longfield
Roscoe C. Nelson III Dan Rasay James Shields Larry Vollum Derald Walker Jack Wilborn E X- O FFI CI O MEMB E R S Scott Showalter, Oregon Symphony Association Jo Ann Young, Oregon Symphony Association in Salem
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F E AT U R E D A R T I C L E
MEET OREGON SYMPHONY ARTIST-INRESIDENCE JOHANNES MOSER.
by Elizabeth Schwartz
“A lot of people don’t understand what practicing means,” remarks Johannes Moser. “If someone asked me what is practicing about, I would say it’s an act of inspiration; it’s about getting close to something that moves you. What’s not to love?” What indeed? When not on the road, a full-time concert artist spends most of their time practicing and rehearsing; the performances themselves represent a tiny percentage of the total music-making process. Moser, who has spent the last 15 years practicing, teaching, traveling, and giving concerts around the world, seems ideally suited to the life he has chosen. “Practicing is very personal. I don’t really see it as work; it’s more meditative,” he explains. “Of course you have to work on your chops, but you get closer to the music. It’s puzzling to me sometimes that people say they don’t like practicing or traveling.” For Moser, travel, for all its logistical hassles, gives him the opportunity to meet new people and make what he calls “meaningful connections.”
I n a way, Moser was born to be a musician. Everyone in his immediate family – both parents and his brother Benjamin – is a professional performer. “[My brother and] I are the fifth generation of musicians in my family,” says Moser. Andreas Moser, Johannes’ greatgrandfather, studied and later worked
for the celebrated 19th-century violinist/ composer Joseph Joachim, a close friend of Brahms’. Moser’s grandfather was a musicologist, and his father Kai is also a cellist who played in the Bavarian Radio Symphony. Moser’s mother, Canadianborn soprano Edith Wiens, sang opera and concert music during the 1980s and ’90s with some of the world’s most renowned conductors, including Bernard Haitink, Georg Solti, and Seiji Ozawa. Today, Wiens and Kai Moser split their time between New York, where Wiens teaches at Juilliard, and Munich. oser first tried out violin, but that didn’t M last long. “I wanted to play an instrument, but the violin and I just didn’t gel.” Moser moved on to the cello “as an escape route from the violin” when he was 8, and “it’s been love at first sight ever since. I have really long fingers and hands, which are much better suited for the cello than climbing all over the violin.” lthough Moser was born into the family A business, his parents did not push him into a professional career. “Knowing how hard it is to make a living, my parents were maybe a little apprehensive when I was 16 and decided that’s what I wanted to do,” says Moser. After winning a national youth competition in his teens, Moser says, “I realized this whole practicing thing actually works. Okay, more of that!” hen Moser returns to Oregon in W January, he’ll begin the first part of his three-year artist-in-residency with the Oregon Symphony. Such residencies are created ad hoc, in collaboration with the orchestra, to tap into what is unique about the ensemble and its community. Moser’s previous residency, in Frankfurt, allowed him to work with that city’s large population of amateur musicians. “I [put out a call] for a couple amateurs to audition for the chance to perform with me on the radio, and we had almost 150 people show up,” Moser remembers. “We were blown away. I like to find those sweet spots where I really feel I can make a difference.” Here in Oregon, in addition to performing Dmitri Shostakovich’s First
Cello Concerto with the orchestra on January 12–14, Moser will give master classes to members of the Portland Youth Philharmonic and Metropolitan Youth Symphony, rehearse and perform with the students of bravo Youth Orchestras, perform at the Chehalem Cultural Center in Newberg and the St. Mary’s Home for Boys in Beaverton, and chat with host Christa Wessel and play live on All Classical Portland, with more events still to be announced. Moser’s 1694 Andrea Guarneri cello has a gender – female – but no name. “The cello is so much a part of my body now; if I gave it a name, I’d be putting distance between us,” he says. “After all, I don’t give names to my arm or my leg. We’ve been together almost nine years, but this instrument is 300 years old. I’m just playing it for a fraction of its life and then passing it on to someone else.” oser has a long history with M Shostakovich’s First Cello Concerto. “We met when I was 15, and I prepared it for the national youth competition that I later won,” he remembers. “I’ve played this piece at decisive moments in my career – winning the youth competition (on my 18th birthday), and my debut with the Royal Concertgebouw [in Amsterdam]. I also played it for the 2002 Tchaikovsky competition [Moser took second prize]. It’s defined so many moments in my career, and it’s a sign of its brilliance that it really relates to where I was [at all those points] in life. When I started out, it was just a major technical challenge. For the Tchaikovsky, I wanted to play it perfectly. Later, I realized Shostakovich was writing about things that are important to me:
struggle and the human condition. I’m going to be 40 next year, and there’s something to be said for incorporating your life experience into the pieces you work with. No matter what you play, you bring yourself to the table. You can’t cancel yourself out of a piece.” espite his long familiarity with this D concerto, Moser cannot take it for granted. “This concerto is hard when you don’t practice; it needs a lot of attention. It has very tricky passages because Shostakovich wrote it for Slava [cellist Mstislav Rostropovich].
Shostakovich wanted to give Slava a chance to be brilliant.” For all its technical difficulty, the concerto also traverses a challenging emotional arc. “It’s quite a journey,” Moser admits. “You can admire the virtuosity and the fire and also look a little deeper and see the political and personal content. For example, the second movement on to the end is one long movement without pause. Throughout the second movement, the cello gets crucified by the orchestra, and then it has a long solo cadenza, like a monologue. In the last movement, there’s a fight for prominence [between soloist and orchestra]. The excitement of the collective takes precedence in the first movement – that psychological state Shostakovich uses so successfully. In the monologue, you are thrown back on yourself in a moment of silence, without the collective backing you up.” Alone or with other musicians, Moser seems utterly content with his life.
I’ve really committed 150 percent to what I’m doing,” he says. “To travel, to go spend time with people who are as passionate as I am about what I do – who wouldn’t want to do that?”
Artist-in-Residence Johannes Moser performs Shostakovich’s First Cello Concerto with the Oregon Symphony on January 12, 13, and 14 at the Arlene Schnitzer Concert Hall, along with community activities across the region that week. Find tickets and more at orsymphony.org.
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RACHMANINOFF’S SYMPHONIC DANCES SATURDAY, DECEMBER 1, 2018, 7:30 PM SUNDAY, DECEMBER 2, 2018, 2 PM MONDAY, DECEMBER 3, 2018, 7:30 PM SPONSORED BY SALLY DRINKWARD
Eivind Gullberg Jensen, conductor James Ehnes, violin Anders Hillborg
Violin Concerto Andante tranquillo Presto capriccioso alla napolitana Vivace James Ehnes
INTERMISSION Sergei Rachmaninoff
Symphonic Dances Non allegro Andante con moto (Tempo di valse) Lento assai—Allegro vivace—Lento assai. Come prima—Allegro vivace ARLENE SCHNITZER CONCERT HALL
CONCERT CONVERSATION Conducted one hour before each performance, the Concert Conversation will feature guest conductor Eivind Gullberg Jensen and host Robert McBride. You can also enjoy the Concert Conversation in the comfort of your own home. Visit orsymphony.org/conversations to watch the video on demand.
Eivind Gullberg Jensen With this concert, Eivind Gullberg Jensen makes his debut with the Oregon Symphony. 14 artslandia.com
Equally at home on the concert platform and at the opera house, Gullberg Jensen recently made his debuts at the Aix-enProvence Festival with a new Simon McBurney production of The Rake’s Progress, at the Vienna Opera House with Tosca, at the Lille Opera with Der fliegende Holländer, and with the Royal Scottish National Symphony Orchestra. Gullberg Jensen has previously conducted orchestras such as the Berlin Philharmonic, the Munich Philharmonic, the Oslo and Royal Stockholm philharmonic orchestras, and the Netherlands Radio Philharmonic Orchestra at Amsterdam’s Concertgebouw.
Over recent seasons, he has worked with soloists such as Leif Ove Andsnes, Truls Mørk, Hélène Grimaud, Gautier Capuçon, Sol Gabetta, Alban Gerhardt, Hilary Hahn, Gabriela Montero, Emmanuel Pahud, and Yefim Bronfman. In the opera world, last season he returned to the Vienna Opera House with La bohème. Previous operatic performances include appearances at the Rome Opera House with Rusalka, English National Opera with Janáček’s Jenůfa, Lyon with a double-bill of Il tabarro and Djamileh (directed by David Pountney and Christopher Alden), the
Zurich Opera House with Il corsaro and Rusalka, the Bavarian State Opera, and as part of the Festspielhaus Baden-Baden, as well as at the Norwegian National Opera with Rusalka, Eugene Onegin, and La bohème (in Stefan Herheim’s production). Equally at home on the concert platform as the opera house, Gullberg Jensen begins 2018/19 with the Hamburg Symphony, where he performs throughout the year, including Beethoven’s Symphony No. 9 for their New Year concert. Re-invitations following the 2017/18 Season see Gullberg Jensen conduct the Norwegian Arctic Philharmonic Orchestra and Ulster Orchestra, where he will conduct Anna Clyne’s This Midnight Hour. Further afield Gullberg Jensen debuts with Vancouver Symphony Orchestra and the North Carolina Symphony. Eivind Gullberg Jensen studied conducting in Stockholm with the legendary Jorma Panula and in Vienna with Leopold Hager. Previously, he studied violin and music theory in Trondheim, Norway.
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James Ehnes James Ehnes last appeared with the Oregon Symphony on March 22, 2015, when he performed Prokofiev’s First Violin Concerto with conductor Jun Märkl. Gifted with a rare combination of stunning virtuosity, serene lyricism, and an unfaltering musicality, Ehnes is a favorite guest of many of the world’s most respected conductors, including Ashkenazy, Alsop, Sir Andrew Davis, Gardner, Paavo Järvi, Mena, Noseda, and Runnicles. Ehnes’s long list of orchestras includes the Boston, Chicago, London, and Vienna symphony orchestras; the Los Angeles, New York, Munich, and Czech philharmonic orchestras; and the Cleveland, Philadelphia, Philharmonia, and dso Berlin orchestras. Alongside his concerto work, James Ehnes maintains a busy recital schedule. In
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Oregon Jewish Community Foundation 503.248.9328 l www.ojcf.org
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RACHMANINOFF’S SYMPHONIC DANCES 2016, he undertook a cross-Canada recital tour, performing in each of the country’s provinces and territories, to celebrate his 40th birthday. As a chamber musician, he has collaborated with leading artists such as Andsnes, Lugansky, Yo-Yo Ma, Vogler, and Yuja Wang. Ehnes is the artistic director of the Seattle Chamber Music Society. Ehnes has an extensive discography and has won many awards for his recordings, including a Gramophone Award for his live recording of the Elgar Concerto with Sir Andrew Davis and the Philharmonia Orchestra. His recording of the Korngold, Barber, and Walton violin concertos won a Grammy Award for Best Instrumental Soloist Performance and a juno Award for Best Classical Album of the Year. Ehnes began violin studies at the age of 4, became a protégé of the noted Canadian violinist Francis Chaplin at age 9, made his orchestral debut with Orchestre Symphonique de Montréal at age 13, and graduated from The Juilliard School in 1997. He is a fellow of the Royal Society of Canada and, in 2010, was appointed a member of the Order of Canada. James Ehnes plays the “Marsick” Stradivarius of 1715.
Program Notes ANDERS HILLBORG b. 1954
Exquisite Corpse composed: 2002 first oregon symphony performance instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, cimbasso, timpani, bass drum, bongos, chimes, 3 congas, crotales, glockenspiel, 3 log drums, marimba, opera gong, tam-tam, 5 tomtoms, triangle, vibraphone, xylophone, piano, harp, and strings estimated duration: 14 minutes
“Hillborg creates pools of liquid sound… That is to say, his is a science fiction of our time – we recognize the strangeness.” — Music critic Mark Swed, Los Angeles Times Anders Hillborg, considered Sweden’s foremost living composer, explores a wide spectrum of styles in his music, and he is equally at home in a variety of genres, including electronic, choral, film, television, chamber, and orchestral music. Since 1982, he has made his living as a full-time composer, a testament to his music’s lasting appeal to audiences around the world. Hillborg’s enduring love affair with sound – he once described the orchestra as a “sound animal” – is reflected in his use of unique timbres, artful counterpoint, and his ability to draw audiences in to his unique sonic realm. When asked which piece someone unfamiliar with his music should hear first, Hillborg replied, “Exquisite Corpse, where I succeeded in making the music precise and varied. I also believe that it makes for fairly easy listening.” This 15-minute piece takes its name from a Surrealist parlor game of the 1920s, in which participants take turns contributing a single sentence (sometimes just a single word) to a collaborative story. When finished, each player folds over the paper before passing it on, hiding their contribution from the next player. In one early example, participants came up with the sentence, “Le cadavre exquis boira le vin nouveau” (The exquisite corpse will drink the new wine). Alan Gilbert led the Royal Stockholm Philharmonic in the first performance in Stockholm, on October 24, 2002. For the Surrealists, fascinated with the concept of the unconscious mind, this game provided a means for accessing what lay beneath mindful thoughts and choices. One can hear Hillborg’s Exquisite Corpse as his musical imagining of the game played by some of the composers whose work has most deeply influenced him, including György Ligeti, Jean Sibelius, and Igor Stravinsky. Hillborg intersperses homages to his compositional mentors with a lofty brass fanfare, a ritualized
drumming section, and a thickly textured phrase for strings that recalls Paul Dukas’ Sorcerer’s Apprentice. Despite these diverse components, Hillborg manages to make Exquisite Corpse cohere from beginning to end. Listening to this music is like a dream that – while it lasts – makes a particular kind of sense, which may or may not last after the dreamer awakens.
WILLIAM WALTON 1902–83
Violin Concerto composed: 1938–39, rev. 1943 most recent oregon symphony performance: April 25, 1995; Robert Spano, conductor; Joshua Bell, violin instrumentation: solo violin, piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, cymbals, snare drum, harp, strings estimated duration: 28 minutes In 1938, violinist Jascha Heifetz asked William Walton to write him a concerto and offered a generous £300 fee. Walton accepted, but expressed his reservations in a letter: “I wasn’t all that keen, knowing how difficult it could be.” Whether the difficulty to which Walton referred was dealing with Heifetz or writing a work Heifetz would deem sufficiently virtuosic is unclear. However, despite his anticipatory concerns, Walton agreed, knowing that a commission from the world’s greatest living violinist would do much for his own status as a composer. s Walton worked on the concerto, he A was also composing a score for a film, Dreaming Lips; in addition, the bbc commissioned a march from Walton to be performed at the coronation of King George vi. Walton, whose habit was to compose slowly and methodically, found his workload unexpectedly increased by yet another request for a movie score, this time for a film version of George Bernard Shaw’s Pygmalion. “It all boils down to this: whether I’m to become a film composer or a real composer,” wrote
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RACHMANINOFF’S SYMPHONIC DANCES Walton about his dilemma. Fees for film music generally exceeded anything Walton could earn writing for the concert hall, but as his comment reveals, Walton regarded film music as a lesser genre and worried that his reputation as “a real composer” might suffer accordingly. In the end, Walton turned down the Pygmalion score and spent the spring and summer months in Italy working on Heifetz’s concerto. “ It seems to me the greatest drawback is the nature of the work itself,” Walton fretted. “It seems to be developing in an extremely intimate way, not much show and bravura, and I begin to have doubts (fatal for the work, of course) of this still small voice getting over at all in a vast hall holding 10,000 people.” Walton’s concern about what he saw as a drawback – the intimate quality of the music – turned out to be the concerto’s signature: its sweeping, rhapsodic melodies coupled with exquisitely tender interludes make it a favorite of both players and listeners around the world. The romantic nature of the concerto, as Walton acknowledged, expressed his feelings for Alice Wimborne, his lover and patron from 1934 until her death 14 years later. he Andante tranquillo establishes the T lush neo-Romantic atmosphere from the opening notes and Walton’s notation “sognando” (dreaming). The violin sings unrestrained, and the orchestra both complements and offsets the soloist – one moment yearning, the next fiery and tempestuous. Of the scherzo, marked Presto capriccioso, Walton said, “Quite gaga, I may say, and of doubtful propriety after the first movement.” The capriciousness of the tempo marking emerges throughout this delightfully unpredictable music, and the soloist revels in technical passages of eye-popping virtuosity. Walton struggled so much with the Vivace, fearing Heifetz would find it insufficiently “elaborate,” that he declared he would never again write a commissioned work. Ultimately, Heifetz was satisfied, sending Walton a telegram: “Accept enthusiastically.” Heifetz played the premiere with Artur Rodziński and the Cleveland Orchestra on December 7, 1939, in Cleveland, for an enthusiastic audience. Critics lauded “a stirring performance of a
work of character and quality… personal, intense, direct, straightforward… the use of the violin is felicitous, from soaring cantilena to brilliance.”
SERGEI RACHMANINOFF 1873–1943
Symphonic Dances, Op. 45 composed: 1940 most recent oregon symphony performance: September 24, 2012; Carlos Kalmar, conductor instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, alto saxophone, timpani, bass drum, chimes, cymbals, drum, orchestra bells, tam-tam, tambourine, triangle, xylophone, piano, harp, and strings estimated duration: 35 minutes Sergei Rachmaninoff had great regard for the Philadelphia Orchestra and its music director, Eugene Ormandy. As a pianist, he had performed with them on several occasions, and as a composer, he appreciated the full, rich sound Ormandy and his musicians produced. Sometime during the 1930s, Rachmaninoff remarked that he always had the unique sound of this ensemble in his head while he was composing orchestral music: “[I would] rather perform with the Philadelphia Orchestra than any other of the world.” When Rachmaninoff began working on the Symphonic Dances, he kept Ormandy and the Philadelphia Orchestra in mind for the premiere performance, on January 3, 1941. Several of Rachmaninoff’s other orchestral works, including the Rhapsody on a Theme of Paganini and the Piano Concerto No. 4, were also either written for or first performed by Ormandy and the Philadelphia Orchestra. he Symphonic Dances turned out to be T Rachmaninoff’s final composition; he died two years after completing them. Although not as well known as his piano concertos or the Rhapsody on a Theme of Paganini, both Rachmaninoff himself and many
others regard the Symphonic Dances as his greatest orchestral work. “I don’t know how it happened,” he remarked. “It must have been my last spark.” Nervous pulsing violins open the Allegro, over which the winds mutter a descending minor triad (three-note chord). The strings set a quickstep tempo, while the opening triad becomes both the melodic and harmonic foundation of the movement as it is repeated, reversed, and otherwise developed. The introspective middle section of the movement features the first substantial melody, played by the distinctively melancholy voice of the alto saxophone. The final section of the movement returns to the agitated quickstep and fluttering triad. The Andante con moto begins with muted trumpets and pizzicato strings executing a rather lopsided waltz rhythm that stutters fitfully, followed by a subdued violin solo. The main theme has none of the Viennese lightness of a Strauss waltz; instead its haunting, ghostly quality borders on the macabre and is suggestive of Sibelius’ Valse triste or Ravel’s eerie La valse. The waltz is periodically interrupted by sinister blasts from the brass section. In the Lento assai—Allegro vivace, Rachmaninoff returns to the haunting liturgical melody of the Dies irae (Day of Wrath) from the requiem mass. Rachmaninoff had used this iconic melody before, most notably in his Rhapsody on a Theme of Paganini. In this work, the distinctive descending line has even more suggestive power; we can hear it as Rachmaninoff’s final statement about the end of his compositional career. This movement is the most sweeping and symphonic of the three and uses the full force of the orchestra’s array of sounds, moods, and colors. In addition to the Dies irae, Rachmaninoff also incorporates other melodies from the Russian Orthodox liturgy, including Blagosloven Yesi, Gospodi, from Rachmaninoff’s choral masterpiece, All-Night Vigil, which describes Christ’s resurrection. On the final page of the manuscript of the Symphonic Dances, Rachmaninoff wrote, “I thank Thee, Lord!” © 2018 Elizabeth Schwartz
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GOSPEL CHRISTMAS 20TH ANNIVERSARY FRIDAY, DECEMBER 7, 2018, 7:30 PM SATURDAY, DECEMBER 8, 2018, 7:30 PM SUNDAY, DECEMBER 9, 2018, 4 PM SPONSORED BY KATHY & STEVE JOHNSON
Charles Floyd, conductor Northwest Community Gospel Chorus Gary Hemenway, choral director Dorothy Davis, choir manager
Soloists: MaryEtta Callier Alonzo Chadwick Quiana Crittenden Christina Estes Jelani Greenidge Tracey Harris Emmanuel Henreid Wendy Jackson Marilyn Keller Ashley Minnieweather Marla Sampson Shirrell Shephard Lamont Williams Ronnie Wright Saeeda Wright Jerry Harris, bass Rod Nightingale, drums Chris Turner, piano All orchestrations by Charles Floyd Gary Battestella, sound designer/engineer Justin Dunlap, lighting designer Calvin Rodgers/Lehman Gray/ Philip Feaster/ Tiffany Joy McGhee Isaac Cates Felix Mendelssohn/ Israel Houghton Gloria Shayne Baker/ Noël Regney
Psalm 150 Alonzo Chadwick
Strong and Mighty ark H Tracey Harris, Marilyn Keller, Ashley Minnieweather
Do You Hear What I Hear Tracey Harris
John T. McFarland/ Arr. Joubert, McElroy, Red
Away in a Manger Jelani Greenidge, Saeeda Wright
Norman Hutchins Emmanuel Lamont Williams Mykola Leontovych/ Arr. Floyd Kurt Carr
Carol of the Bells For Every Mountain MaryEtta Callier
INTERMISSION James Fortune
Holy Night Alonzo Chadwick, Marla Sampson
e Has Come H Quiana Crittenden
Katherine Kennicott Davis/ Arr. Smallwood, Pugh David Curry/Demetrius Smith John Francis Wade/Byron Cage George Frideric Handel/ Arr. Lindsey, Moore, Galbraith
Drummer Boy Ronnie Wright, Saeeda Wright
We See the Star Wendy Jackson O Come All Ye Faithful/I Can’t Hold It Alonzo Chadwick, Christina Estes, Tracey Harris, Emmanuel Henreid Joy to the World Alonzo Chadwick, Shirrell Shephard ARLENE SCHNITZER CONCERT HALL
Charles Floyd Conductor, pianist, and composer Charles Floyd has been heard in concert with more than 500 orchestras since 1991 in performances including classical music and pops. His 11-year partnership with singer Natalie Cole included such projects as the multiple Grammy Award-
winning tribute to Nat King Cole entitled “Unforgettable, With Love,” the Emmy Award-winning pbs Great Performances concert video of the same title, and the Grammy-winning releases Take a Look and Stardust. As an annual guest conductor of the Boston Pops Orchestra since 1994, his performances have included Gospel Night at Pops at Boston’s Symphony Hall, a program that features orchestral classics as well as a 120-voice gospel chorus. He has done similar concerts since 1995 with the Atlanta Symphony, the Akron Symphony, the Baltimore Symphony, the Cincinnati Symphony, the Houston Symphony, and the Saint Louis Symphony with such artists as Micah Stampley, Marvin Winans, CeCe Winans, Edwin Hawkins, Daryl Coley, Oleta Adams,
Yolanda Adams, and Patti LaBelle. Floyd now celebrates 20 years with the Oregon Symphony and Gospel Christmas. His compositions range from chamber music to large orchestral and vocal works. A tribute to the Rev. Dr. Martin Luther King, One Man’s Dream for narrator and orchestra, was commissioned and premiered by the Charlotte Symphony Orchestra in 2001. His Four Spirituals for soprano and orchestra was premiered at Boston’s Symphony Hall with the Boston Pops in 1995, and his oratorio Hosanna for gospel chorus and orchestra premiered there in 2000. Other compositions include a Cello Concerto (2014), a Piano Concerto (2014), a song cycle entitled Song of Solomon (2014), and numerous orchestral adaptations and arrangements. orsymphony.org | 503-228-1353 21
GOSPEL CHRISTMAS 20TH ANNIVERSARY The rhythm section comprises professional, highly talented, and committed musicians. The members of the trio began as local musicians who have since moved to other parts of the country. However, they return to Portland each year to accompany their family and friends in the choir.
Northwest Community Gospel Chorus This marks the 20th anniversary of Gospel Christmas, a collaboration of the Northwest Community Gospel Chorus and the Oregon Symphony. The first concert was performed in 1999 to high acclaim, and it has evolved over the years as one of the most important holiday traditions in Portland, Oregon. The multi-cultural choir consists of approximately 88 members from 33 houses of faith and organizations in the Portland area and beyond. There are approximately 20 singers who have been choir members for all 20 years.
The choir’s mission and commitment is to bring a message of faith, hope, love, and joy through the perpetuation of gospel music as an original American art form. The 20th anniversary is the culmination of hard work, dedication, and fellowship. It is a true blessing to have been able to share the Good News with our audiences for these many years and now to have the opportunity to share a 20th-anniversary recording. The founding members of the choir were Charles Floyd, conductor and orchestrator; Dorothy Davis, a highly respected leader in the Portland/ Vancouver Gospel Music Workshop of America; Terry Davis, music minister at
New Hope Missionary Baptist Church; and Susan Nielsen, director of popular programming for the Oregon Symphony. Terry Davis relocated to Columbus, oh, following the first two years, and the choir was fortunate to have engaged Gary Hemenway to serve as music director, for which he has been dedicated and committed for 18 years.
Gary Hemenway At 4 years old, Gary Hemenway’s first musical question to his mother was, “When do I get to play piano in church?” Raised in the small town of Pilot Rock
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Featuring the FLORESTAN TRIO with special guests baritone Kevin Walsh and pianist John Strege. After the festive hour-long concert, join us for a grand dessert and champagne reception.
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in Eastern Oregon, Hemenway’s early interest grew to encompass a wide variety of musical styles. As a pre-teen, he was captured by the sounds of André Crouch and the Disciples, Stevie Wonder, Elton John, Chicago, and The Temptations. It was while attending Warner Pacific College in arts-rich Portland, or, that Gary saw his abilities expand. With a passion for excellence and a love for many styles of music, countless doors have been opened to him. Hemenway’s diverse abilities have afforded him plentiful opportunities working in the fields of soundtrack, production, direction, composition, arrangement, teaching, workshopping, and live performance work. Hemenway has composed and arranged numerous vocal, choral, and instrumental pieces in every style including classical, film score, gospel, jazz, pop, and rock. His work has appeared in Nike and Avia videos and events, as well as at the World Olympics. His live performance work has taken him throughout the United States, Europe, and Asia.
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Amongst his many musical abilities, choral work has become one of his greatest musical strengths. As the music director for the Oregon Symphony’s Northwest Community Gospel Chorus for 18 years, he has enjoyed working with the Grammy-nominated Oregon Symphony. Hemenway also serves as the artistic director for the Walla Walla Choral Society and the director of worship at Walla Walla Presbyterian Church. He enjoys sharing his talent and expertise as a studio music instructor of jazz piano at Whitman College in Walla Walla, wa. His other credits include work with the Heritage Singers, Pink Martini, Will Vinton Studios, George Fox University, and more. His greatest joy has been found in the people that he has worked with. They include Dr. Charles Floyd, Mick Gillette and Lenny Pickett (Tower of Power), Daniel Cox, Tim Ellis, Dr. Dennis Plies, and many others. The joy of his life, his wife, Clairece, and his three daughters (Sarah, Olivia, and Amelia) are all accomplished artists in their own right. orsymphony.org | 503-228-1353 23
CIRQUE DE LA SYMPHONIE THURSDAY, DECEMBER 13, 2018, 7:30 PM Norman Huynh, conductor Christine Van Loo, Vladimir Tsarkov, Vitalii Buza, Vitaliy Prikhodko, Pavel Korshunov, and Alexandra “Sasha” Pivaral, cirque performers Leroy Anderson Franz Schubert/Arr. Dragon Leroy Anderson
A Christmas Festival Ave Maria Sleigh Ride
Pyotr Ilyich Tchaikovsky
Mother Gigogne and the Clowns from The Nutcracker
Robert Lopez/ Kristen Anderson-Lopez
Selections from Frozen
Claude Debussy Delvyn Case
Claire de lune from Suite bergamasque Rocket Sleigh
INTERMISSION Arr. Dragon Pyotr Ilyich Tchaikovsky/ Arr. Ellington, Strayhorn Georges Bizet
Deck the Halls Peanut Brittle Brigade (March) from The Nutcracker Suite Farandole from L’Arlesienne Suite No. 2
The Skater’s Overture
Pyotr Ilyich Tchaikovsky
Waltz of the Flowers from The Nutcracker
Maurice Ravel/ Katherine K. Davis/Arr. Wendel
Little Bolero Boy
We Wish You A Merry Christmas ARLENE SCHNITZER CONCERT HALL
Luci is an accomplished singer AND Intel Science Fair 2nd place winner.
Cirque de la Symphonie Cirque de la Symphonie is an exciting production designed to bring the magic of cirque to the concert hall. For more than 10 years, it has thrilled and bedazzled veteran concert goers and new patrons as they see accomplished aerial flyers, acrobats, contortionists, dancers, jugglers, balancers, and strongmen perform to live symphony music. They include world record holders, gold medal winners of international competitions, Olympians, and some of the most experienced cirque talent ever seen. Their performances are uniquely adapted to stage accommodations shared with the symphony, and each artist’s performance is choreographed to the music arranged in collaboration with the maestro. When the artists of Cirque de la Symphonie perform in front of the full orchestra, an incredible fusion of these two great art forms takes place. The aerialists and acrobats turn the concert into a three-dimensional entertainment extravaganza, and the orchestra seems to play with enhanced enthusiasm.
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March 15 & 17, 2019 BARBER | BRITTEN BEETHOVEN: Violin Concerto Tomás Cotik, violin
Slavic Spectacular May 3 & 5, 2019 LISZT | DVORÁK | BARTÓK KODÁLY: Suite from Háry János columbiasymphony.org | 503.234.4077
orsymphony.org | 503-228-1353 25
TIM BURTON’S THE NIGHTMARE BEFORE CHRISTMAS IN CONCERT SATURDAY, DECEMBER 15, 2018, 2 PM SATURDAY, DECEMBER 15, 2018, 7:30 PM SUNDAY, DECEMBER 16, 2018, 2 PM SUNDAY, DECEMBER 16, 2018, 7:30 PM SPONSORED BY RICK & VERONICA HINKES
Norman Huynh, conductor Featuring the voice talents of: Chris Sarandon Catherine O’Hara Ken Page William Hickey Glenn Shadix Paul Reubens A burton/di novi Production Music, lyrics, and score by Danny Elfman Based on a story and characters by Tim Burton Adaptation by Michael McDowell Screenplay by Caroline Thompson Produced by Tim Burton and Denise Di Novi Directed by Henry Selick This film is rated pg. There will be one intermission. ARLENE SCHNITZER CONCERT HALL
DISNEY TIM BURTON’S THE NIGHTMARE BEFORE CHRISTMAS FILM CONCERT PRODUCTION CREDITS President, Disney Music Group Ken Bunt SVP/GM, Disney Concerts Chip McLean Business Affairs, Disney Concerts Meg Ross Gina Lorscheider Film and Audio Preparation Ed Kalnins
Music Preparation Booker T. White Productions Booker White Marshall Bowen Operations, Disney Concerts Royd Haston Mae Crosby Marketing & Publicity, Disney Concerts Laura Gonzalez Lisa Linares Maria Kleinman For Bookings Inquiries: Columbia-Artists Tim Fox Emily Yoon Erika Noguchi
Presentation licensed by:
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COMFORT AND JOY: A CLASSICAL CHRISTMAS MONDAY, DECEMBER 17, 2018, 7:30 PM Norman Huynh, conductor Oregon Chorale Jason Sabino, conductor
Mykola Leontovych/Arr. Dragon Victor Herbert/Arr. Dragon Traditional Traditional/Arr. Campbell Pyotr Ilyich Tchaikovsky
Maurice Ravel/ Katherine K. Davis/Arr. Wendel
A Christmas Festival Carol of the Bells “Toyland” from Babes in Toyland O, Tannenbaum A Celtic Nativity Oregon Chorale
Selections from The Nutcracker Kingdom of Sweets Spanish Dance Chinese Dance Trepak Dance of the Reed Pipes Pas de deux Little Bolero Boy
INTERMISSION John Henry Hopkins, Jr./ Arr. O’Loughlin Antonio Vivaldi
John Rutter Todd Smith/Arr. Holmes
George Frideric Handel
We Three Kings Selections from Gloria Gloria in excelsis deo Et in terra pax Cum sancto spiritu Oregon Chorale What Sweeter Music Oregon Chorale
Noel Jason Sabino, conductor Oregon Chorale “Hallelujah” from Messiah Oregon Chorale
Leroy Anderson Traditional/Arr. Finnegan
Sleigh Ride Christmas Carol Sing-a-long Oregon Chorale with the audience ARLENE SCHNITZER CONCERT HALL
Oregon Chorale The Oregon Chorale is a 60-voice symphonic choir directed by Jason Sabino. Founded by Bernie Kuehn and based in Hillsboro, or, the Oregon Chorale has been delighting audiences since 1985,
performing choral music from around the world and maintaining an appreciation for technique, while exhibiting flexibility of musical style. The passion for singing challenging, beautiful music is matched only by a love of the community and the fun created together. The Chorale has sung in over 40 languages, traveled all over the world, and is constantly looking for the next big work to perform. Its formal concerts showcase a variety of styles from Classical to Baroque, Renaissance to contemporary. Less formal presentations include world folk music, spirituals, dinner theater, and staged shows. The Chorale has toured in Europe six times (1989, 1993, 1998, 2003, 2008,
2014) and has produced four cds. It performs six concerts per year, every year since its inception, including seven original musicals under the direction of Linda Needham. In addition to its regular concert series, the Chorale has performed regularly in the Grottoâ&#x20AC;&#x2122;s Festival of Lights and other choral events from Astoria to Hillsboro to Portland. The Chorale is committed to fostering the musical development of young people in Washington County. The internship program started in 2000 and continues to offer 12 talented high school singers the opportunity to rehearse and perform with the Chorale each year.
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orsymphony.org | 503-228-1353 29
BIG BAND AND BEETHOVEN: NEW YEAR’S CELEBRATION SUNDAY, DECEMBER 30, 2018, 7:30 PM MONDAY, DECEMBER 31, 2018, 7:30 PM SPONSORED BY MICHAEL, KRISTEN, ANDREW, & ANNA KERN
Carlos Kalmar, conductor Jenny Schuler, soprano Siena Licht Miller, mezzo-soprano Andrew Haji, tenor Richard Zeller, bass-baritone Singers from Portland State University Choirs, Oregon Repertory Singers, and Pacific Youth Choir Ethan Sperry, artistic director Pyotr Ilyich Tchaikovsky/ Arr. Ellington, Strayhorn, Tyzik
Selections from The Nutcracker Suite Overture Sugar Rum Cherry Peanut Brittle Brigade
James P. Johnson
Drums: A Symphonic Poem
James P. Johnson
INTERMISSION Ludwig van Beethoven
Symphony No. 9 in D Minor, “Choral” Allegro ma non troppo, un poco maestoso Molto vivace—Presto—Tempo 1 Adagio molto e cantabile—Andante moderato Finale: Presto—Allegro assai—Allegro assai vivace
Auld Lang Syne ARLENE SCHNITZER CONCERT HALL
Jenny Schuler With this concert, Jenny Schuler makes her debut with the Oregon Symphony. Soprano Schuler has earned praise in recent seasons for her powerful vocalism and compelling stage artistry. In 2018, she joins Indiana University as a guest artist in the title role of Ariadne auf Naxos and debuts in the comic role of Berta in Il barbiere di Siviglia
with Sugar Creek Opera. In February 2019, Schuler will return to the Oregon Symphony for Hansel and Gretel. In 2017, Schuler debuted in the title roles of Ariadne auf Naxos and Catán’s Florencia en el Amazonas, both with the A.J. Fletcher Opera Institute, and covered the role of Leonore in the Princeton Festival’s production of Fidelio. Additional roles in her
repertoire have included Micaëla in Carmen, Anaide in Nino Rota’s Il cappello di paglia di Firenze, Female Chorus in The Rape of Lucretia, and Alice Ford in Falstaff. Schuler has recently placed as a semifinalist in Shreveport Opera’s Mary Jacobs Smith Competition, finalist in the Marcello Giordani International Voice Competition, and first prize recipient in the Heafner-Williams Vocal Competition. Schuler earned her artist diploma from the A.J. Fletcher Opera Institute, her master of music from Chicago College of Performing Arts, and a double Bachelor of Arts in music and graphic design from Trinity Christian College.
Siena Licht Miller With this concert, Siena Licht Miller makes her debut with the Oregon Symphony. German American mezzo-soprano Miller is quickly making a name for herself in both the opera and concert worlds. After her professional debut as Second Lady in Die Zauberflöte with Opera Philadelphia, Miller returns this season in two recitals as a part of their ground-breaking O18 Festival and as Hermia in A Midsummer Night’s Dream. Last summer, she was a member of Santa Fe Opera’s apprentice program, covering Kitty Oppenheimer in Doctor Atomic and Suzuki in Madame Butterfly. Highlights for the 2018/2019 season include the title role in Dido and Aeneas, Dinah in Trouble in Tahiti, and a recital with the Carnegie Hall Citywide Concert Series, which she will take on tour to the United Kingdom and Germany. Recent engagements included the title role in L’enfant et les sortilèges with the Aspen Music Festival and appearances with Curtis Opera Theatre in the title role in The Rape of Lucretia, as Kitty
Oppenheimer in Doctor Atomic, and as Baba in The Medium. Miller is an alumna of the Oberlin Conservatory of Music, the Gerdine Young Artist Program at Opera Theatre of Saint Louis, the Chautauqua Institute, and the Aspen Music Festival. Originally from Portland, or, she entered the Curtis Institute of Music in 2016 and is currently based in Philadelphia.
Andrew Haji With this concert, Andrew Haji makes his debut with the Oregon Symphony. Canadian tenor Haji is quickly becoming one of the most sought-after voices on both the operatic and concert stage. Winner of the Grand Prix at the 50th
BRAVO Youth Orchestra wind students, recipients of Oregon Cultural Trust grants. Photo by Richard Kolbell.
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BIG BAND AND BEETHOVEN: N E W Y E A R ’ S C E L E B R AT I O N Schuback Schuback:Class_Millenium NEW.qxd 9/3/09 8:41 A International Vocal Competition in 31, 2017, when he performed Beethoven’s Violin Shop ‘s-Hertogenbosch and the Montreal International Music Competition’s Oratorio Prize, he looks forward to Bach’s St Matthew Passion with Pinnock and the National Arts Centre Orchestra, Messiah for the Toronto Symphony with Debus conducting, Rodolfo in La bohème and Cassio in Otello for the Canadian Opera Appraisals Company (coc), and Bach’s Mass in B Consignments Minor for the Amadeus Choir.
Haji is an alumnus of the coc Ensemble Repairs Studio, and on the mainstage at the Four Seasons 1255 NW 9th Avenue #11 Portland, Oregon 97209 Centre, he has been heard as Alfredo in La traviata and Tamino in Die Zauberflöte. During his time as a member of the Ensemble Studio, his leading roles included Almaviva in Il barbiere di Siviglia and Ferrando in Così fan tutte.
Over Over 47 40 years years of of Sales Supporting Repairs Portland’s Appraisals Fine Musicians (503) 916-‐4430 www.schuback.com
Trinity Music & Portland Baroque Orchestra
The Salzburg Festival featured Haji in its 2017 production of Donizetti’s Lucrezia Borgia – his festival debut – and for the Wexford Festival he starred as Hélios in Félicien David’s Herculanum. The music of Beethoven and Handel claimed his attention in performances with the Kitchener Waterloo Symphony and the Grand Philharmonic Choir. Haji holds both a bachelor’s and a master’s degree from the University of Toronto’s Faculty of Music, where he performed in productions of Les mamelles de Tirésias, Don Giovanni, Candide, Il mondo della luna, and Rob Ford – The Opera, among others. A native-born Ontarian, has received awards from the Marilyn Horne Song Competition in Santa Barbara and the coc’s annual Ensemble Studio Competition.
J.S. BACH: CHRISTMAS ORATORIO Cantatas 1-3: Fri., Dec. 14 – 7pm Cantatas 4-6: Sat., Dec. 15 – 7pm
NEW YEAR’S EVE CONCERT
Mon., Dec. 31 - 7 pm With emcee Bill Crane, Portland Symphonic Girlchoir, jazz trio, bagpipes, and more! All tickets available now at www.trinity-episcopal.org/events
Richard Zeller Richard Zeller last appeared with the Oregon Symphony on December 30 and
Ninth Symphony with conductor Norman Huynh.
American baritone Zeller has consistently received high acclaim. For his portrayal of Scarpia, the Calgary Herald wrote, “His performance was entirely authentic and wholly dominating,” and commended his “flawless vocal mastery.” A frequent performer on concert stages, Oregon Music News praised him as “a commanding presence housing a brilliant vocal instrument.” Since making his Metropolitan Opera debut, he has appeared with the Met in such roles as Marcello in La bohème, Ernesto in Il pirata, Eddie in A View from the Bridge, Coroebus in Les Troyens, and Enrico in Lucia di Lammermoor. His other opera appearances include Germont in La traviata with Scottish Opera, Hamburgische Staatsoper, Deutsche Opera am Rhein, Portland Opera, and San Diego Opera; productions of Boris Godunov and Andrea Chénier with the Lyric Opera of Chicago; Athanaël in Thaïs with English National Opera at the Barbican in London; and in the title role in Verdi’s Macbeth with Opera de Bordeaux, Opera de Vichy, and Portland Opera. Concert appearances include the title role in Mendelssohn’s Elijah with the Chicago Symphony and Cleveland Orchestra; Les Troyens with the Boston Symphony; Handel’s Messiah with the Philadelphia Orchestra; Carmina Burana with the Buffalo Philharmonic and Huntsville Symphony; and appearances with the symphony orchestras of Baltimore, Cincinnati, Dallas, Detroit, Minnesota, San Francisco, Seattle, and St. Louis. Zeller’s recordings include the critically acclaimed Merry Mount by Howard Hanson and Deems Taylor’s Peter Ibbettson, both with Naxos, and the world premiere of Henri Lazarof ’s Fifth Symphony on Centaur Records, all recorded with Gerard Schwartz and the Seattle Symphony Orchestra.
B I G B A N D A N D B E E T H O V E N : N E W Y E A R ’ S C E L E B R AT I O N
Portland State University Choirs
Oregon Repertory Singers
Pacif ic Youth Choir
Choral music at Portland State University now includes six choirs with over 300 singers. Members of three of those choirs are featured in these performances: Rose Choir (tenor/bass choir), Thorn Choir (soprano/alto choir), and the Portland State Chamber Choir.
Oregon Repertory Singers (ors) is a premier choral arts nonprofit organization founded in 1974, presenting world-class choral music accessible to all. The professional caliber adult choir of over 100 members was recently lauded as Portland’s “finest large choir.” The ors Youth Choir, an education- and performance-based program for students ages 4–18, is unmatched in the Portland area. Oregon Repertory Singers is committed to nurturing the singers, listeners, and supporters of this generation and the next. ors celebrates its 45th anniversary in the 2018–19 season.
Pacific Youth Choir (pyc) serves over 300 singers in ten auditioned flagship choirs from kindergarten through 12th grade. Established in 2003 by Artistic Director Mia Hall Miller, pyc has become a cultural resource that changes lives through high-level choral artistry in an open, joyful, and nurturing environment.
The Oregon Repertory Singers adult choir performs repertoire both rare and recognizable, encompassing a multitude of eras, languages, and musical styles. With over 100 members, this close community of singers comes from all walks of life and many different communities throughout the Portland metro area. Oregon Repertory Singers presents a wide variety of programming that promotes music from the newest generation of great composers alongside celebrated choral masterworks. In October 2018, ors released Shadows on the Stars through Gothic Records. The album includes live and in-studio recordings of the music of Morten Lauridsen and other composers from the Pacific Northwest.
pyc, honored to be “in residence” at Trinity Cathedral, collaborates regularly with Oregon’s top musical organizations including the Oregon Symphony, Metropolitan Youth Symphony, Oregon Ballet Theater, White Bird Dance, Trinity Choir, and Thomas Lauderdale and Pink Martini in performances and recordings, including the “Gold” Joy to the World.
Classics Today calls The Portland State Chamber Choir “amongst the finest choirs in the world.” Since its founding in 1975, the Chamber Choir has performed and competed in venues across the country and around the world, earning over 30 medals and awards in international choir competitions including being the only American choir to have won the Seghizzi International Competition for Choral Singing in Italy (2013) and the Bali International Choral Festival in Indonesia in (2017). The Chamber Choir has performed multiple times at national and divisional conferences of the American Choral Director’s Association and The National Association for Music Education, and in 2014, it hosted the 2014 National Conference of the National Collegiate Choral Organization. The Chamber Choir’s 2012 cd A Drop in the Ocean was favorably reviewed in both Fanfare and Stereophile magazines and was a finalist for the 2012 American Prize in Choral Music. Their 2014 recording Into Unknown Worlds was named a “Recording to Die For” by Stereophile magazine. It was the first-ever student recording to receive this distinction. Their latest album, The Doors of Heaven – Music of Eriks Esenvalds, was released by Naxos, the largest classical label in the world. It debuted at number one on the Billboard Traditional Classical Chart (a first for a university choir) and was also a number one seller on Amazon and iTunes.
In 2016, after being awarded the Oregon Symphony’s Schnitzer Wonder Award, pyc broadened its choral reach by providing a free after-school choir program at Whitman Elementary in Portland. Following the success of that program, pyc expanded this year with two additional locations, Marysville Elementary and the Wattles Boys and Girls Club in se Portland.
This season, in addition to regularly scheduled concerts, pyc is excited to perform with the Oregon Symphony, Metropolitan Youth Symphony, Chanticleer, and Dr. Rollo Dilworth in workshops and mini concerts. pyc enjoys regional and national recognition. Last spring pyc was honored to perform for their sixth American Choral Directors Association Convention. Please see pacificyouthchoir.org for more information.
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Just do you. A Community for People 62+ TerwilligerPlaza.com 503.808.7870
If what you love is always right around the corner, the whole city gets to love you right back. Whether you’re up for a paleontology talk, tea-making workshop, square-dance hoedown, or just grilling your own choice steaks, the options at Terwilliger Plaza are only limited by . . . um, you.
Audit i by ap on now point ment
2018-2019 Downtown Series CANTANDO | Symphony Orchestra JANUARY 6, 2019 AT 7:30PM | NEWMARK THEATRE
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IN COLLABORATION WITH PACIFIC YOUTH CHOIR An evening of music for choir and orchestra from Latin American composers including Piazzolla, Guzmán, and Márquez
BIG BAND AND BEETHOVEN: N E W Y E A R ’ S C E L E B R AT I O N PORTLAND ARTS
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BIG BAND AND BEETHOVEN: N E W Y E A R ’ S C E L E B R AT I O N Program Notes PYOTR ILYICH TCHAIKOVSKY/ DUKE ELLINGTON/ BILLY STRAYHORN/JEFF TYZIK 1840–93/1899–1974/1915–67/b.1951
Selections from The Nutcracker Suite composed: 1960 most recent oregon symphony performance: November 11, 2011; Gregory Vajda, conductor instrumentation: 2 flutes, oboe, English horn, 2 clarinets, bass clarinet, 2 bassoons, alto saxophone, 4 horns, 2 trumpets, 2 trombones, tuba, percussion, jazz bass, and strings estimated duration: 30 minutes By 1960, Duke Ellington had nothing left to prove. He was America’s foremost big band composer, a formidable pianist, and the creator of an elegant style of jazz and swing that became an indelible part of the American sound. He had crisscrossed the country with his band dozens of times since the 1930s and had stretched the boundaries of jazz harmony and structures with compositions like “Mood Indigo” and Black, Brown, and Beige.
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reservation 503.688.5952 littlebirdbistro.com 215 SW 6TH AVE. PORTLAND, OR 97204
When Ellington teamed up with composer, lyricist, and arranger Billy Strayhorn in 1939, the two men formed a unique partnership that lasted until Strayhorn’s untimely death in 1967. Strayhorn wrote his share of jazz hits – he is best known for “Take the A Train” and “Lush Life” – but he also brought a deep knowledge of classical music to his work with Ellington. It is significant that the first time Strayhorn’s name appeared alongside Ellington’s on a record is their 1960 Columbia album of Tchaikovsky’s Nutcracker Suite, which Strayhorn arranged.
Strayhorn and Ellington transformed more than the music; the familiar movement titles also underwent what Ellington called “reorchestration.” Dance of the Sugar-Plum Fairy changes its character entirely, shifting from a delicate interlude featuring celeste to a down-and-dirty striptease known as Sugar Rum Cherry, while with added syncopation, the March becomes the Peanut Brittle Brigade. In adapting The Nutcracker for big band, Strayhorn wrote for particular members of Ellington’s orchestra. The gorgeous trumpet solo in the Overture was made for Ray Nance, and no one but “Booty” Wood could make his trombone with plunger mute growl in quite the same way. Ellington’s biographer John Edward Hasse suggests that in creating this adaptation, Ellington and, to a lesser extent, Strayhorn were “putting one over” on the public. Hasse asks, rhetorically, “Why did Ellington and Strayhorn adapt the Tchaikovsky and Grieg suites? [The duo also made jazz versions of Grieg’s suites from Peer Gynt] As part of the time-honored traditions of ragging or jazzing the classics, to make Tchaikovsky and Grieg hip, to make them swing?… Was it at least partly to put people on?” Perhaps. Ellington, caught in an unguarded moment on tape, once described himself as “not a bank robber, but a sneak-thief.” Whatever their motivations, Ellington and Strayhorn’s version of The Nutcracker lends this beloved music a wholly unique sensibility – in the words of one reviewer, “transformed into jazz with affection, skill, and humor.”
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PASSIONATE ABOUT VOLVOS SINCE 1957 21ST & W BURNSIDE “UNDER THE BIG VOLVO SIGN” Sales showroom hours: 8:30-7:00 Monday-Friday, 9:00-6:00 Saturday, 11:00-5:00 Sunday Customer parking in our fenced lot on SW 21st avenue
Modern American Realism: Highlights from the Sara Roby Foundation Collection is organized by the Smithsonian American Art Museum. Image Caption: Wolf Kahn, High Summer, 1972. Oil on canvas, 50 x 58 5/8 in. (126.9 x 149.0 cm).
B I G B A N D A N D B E E T H O V E N : N E W Y E A R ’ S C E L E B R AT I O N JAMES PRICE JOHNSON 1894–1955
Victory Stride/ Drums: A Symphonic Poem composed: 1920s; 1944/1942 first oregon symphony performance instrumentation: Victory Stride: solo alto saxophone, solo trumpet, flute, oboe, 3 clarinets, bassoon, 2 horns, 3 trumpets, 3 trombones, tuba, percussion, piano, harp, strings Drums: A Symphonic Poem: 2 flutes, 2 oboes, 3 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, strings estimated duration: 15 minutes “James P. Johnson was an astounding musician, arguably the most important black musician in New York during the decade of the 1920s,” writes biographer Scott E. Brown. Johnson excelled at the piano and was known as the “Father of Stride,” a reference to the stride piano style of jazz popular in the 1920s and 30s. Stride players combined a strong rhythmic bass line with dazzling improvisations and large octave leaps. Johnson, along with Willie “The Lion” Smith, Jelly Roll Morton, Fats Waller, and others, held “cutting contests,” in which stride pianists competed to show off their skills. J ohnson was equally famous for his compositions; he wrote the most popular dance tune of the 1920s, “The Charleston,” which was featured in his 1923 hit musical Runnin’ Wild. After the stock market crashed in 1929 and “The Charleston” faded from popularity, Johnson turned his attention to symphonic music. “Johnson applied for fellowships to support his studies,” writes Brown, “and he wrote to many conductors and musical benefactors for his pieces to be given a performance. His scrap books are filled with rejection letters… Despite little recognition and limited encouragement, James P. Johnson would write two symphonies, a piano and
a clarinet concerto, two ballets, two one-act operas and a number of sonatas, suites, tone poems, and a string quartet.” Johnson’s best-known work from this period is his 1932 Harlem Symphony, a successful hybrid of jazz and classical music. orn in New Brunswick, nj, Johnson began B attending symphony concerts in New York in 1905. As an 11-year-old boy, Johnson was struck by what he called “the full symphonic sounds,” which “made a great impression on me.” Those experiences stayed with Johnson for more than 30 years, and he made use of them when he began writing orchestral music of his own. ictory Stride, as its name suggests, was V probably first conceived as a stride piano solo in the 1920s. Johnson recorded it in 1944 with a small jazz combo; that same year, Victory Stride was arranged for combo and full orchestra. In the middle section, the orchestra drops out while the combo takes turns passing the solos around. rums: A Symphonic Poem opens with D a muscular timpani solo, which recurs in abbreviated form several times during the piece. The music itself showcases two primary melodies or riffs, both of which combine big band swing with the syncopations of ragtime.
LUDWIG VAN BEETHOVEN 1770–1827
Symphony No. 9 in D Minor, Op. 125, “Choral” composed: 1817–18; 1822–24 most recent complete oregon symphony performance: December 31, 2016; Carlos Kalmar, conductor; Amber Wagner, soprano; Kelley O’Connor, mezzo-soprano; Anthony Dean Griffey, tenor; Dashon Burton, bass instrumentation: soprano, alto, tenor, and bass soloists; four-part mixed chorus; piccolo; 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; contrabassoon; 4 horns; 2 trumpets; 3 trombones; timpani; bass drum; cymbals; triangle; and strings estimated duration: 70 minutes
The Ninth Symphony extends beyond the realm of the concert hall and has permeated our culture on a variety of levels, including the socio-political and commercial arenas. The music of the Ninth, particularly the “Ode to Joy” melody of the final movement, is so familiar to us that it has almost lost its unique character and taken on the quality of folk music; that is, it has lost its “composed” identity as a melody written by Ludwig van Beethoven and simply exists within the communal ear of our collective consciousness. While some classical works are inextricably linked to the time in which they were written, Beethoven’s profound musical statements about freedom, equality and humanity resonate just as powerfully today as they did at the Ninth’s premiere. This was evident to the entire world when Leonard Bernstein conducted an international assembly of instrumentalists and singers in a historic performance of Beethoven’s Ninth at East Berlin’s Schauspielhaus (now Konzerthaus) on December 22, 1989, three days after the fall of the Berlin Wall. To emphasize the historic event, Bernstein substituted the word “freedom” for “joy” in the famous lyrics by the poet Friedrich Schiller in the final movement. The performance aired on worldwide television, attracting more than 200 million viewers, and the cd became a global bestseller. It is hard to imagine, but there was a time when Beethoven’s Ninth Symphony was not the iconic work we know and revere; it took 50 years to enter the standard orchestral repertoire, thanks to Richard Wagner, who programmed it at the dedication of the Bayreuth Festspielhaus in 1872. Only then did Beethoven’s Ninth became a part of the classical canon and took its rightful place as, in the words of Philip Huscher, “a cultural symbol of unsurpassed importance.” By 1822, Beethoven was completely deaf and emotionally isolated. Five years earlier, at the age of 47, Beethoven had written in his journal, “Before
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B I G B A N D A N D B E E T H O V E N : N E W Y E A R ’ S C E L E B R AT I O N my departure for the Elysian fields, I must leave behind me what the Eternal Spirit has infused into my soul and bids me complete.” Alone and embittered, Beethoven focused almost exclusively on his musical legacy. he lofty salute to the human spirit T expressed in Schiller’s poem An die Freude (To Joy) had resonated with Beethoven for many years; in 1790, he set a few lines in a cantata written to commemorate the death of Emperor Leopold II; he also included portions in his opera Fidelio in 1806. “The search for a way to express joy,” as Beethoven described it, was the subject of his final symphony. To that end, Beethoven edited and arranged Schiller’s lines to suit his musical and dramatic needs, using a melody from his Choral Fantasy, written 20 years earlier. espite his deafness, Beethoven insisted D on conducting the May 7, 1824, premiere at the Kärntnerthor Theater in Vienna. His gesticulations were out of time with the orchestra and singers, although they had been told beforehand to ignore
Beethoven’s movements and watch the concertmaster instead. One of the most poignant moments came at the Ninth’s conclusion. Unable to hear the audience’s applause, Beethoven continued to face the orchestra until the mezzo-soprano soloist tapped his shoulder, and he turned around to see the cheering crowd. he symphony begins quietly and T ambiguously, with a series of hollow open fifths played by the strings. The fifths build into a massive statement featuring a weighty dotted rhythmic theme. The power and overall intensity of this movement foreshadows the finale. s was his wont, Beethoven broke with A symphonic convention by writing a second-movement scherzo. The music bursts forth with dramatic string octaves and pounding blows from the timpani. The main theme, a contrapuntal fugue, gives way to a demure melody for winds. Underneath its playful simplicity, the barely contained agitation of the scherzo pulses in the strings, like a racehorse pawing at the starting gate.
I n a symphony synonymous with innovation, Beethoven’s most significant departure from convention is its inclusion, for the first time, of a chorus and vocal soloists. The cellos and basses play an instrumental recitative, later sung by the baritone, which is followed by the unaccompanied “Joy” melody. Beethoven then presents several instrumental variations, including a triumphal brass fanfare. The baritone soloist introduces Schiller’s poem with words by Beethoven: “O friends, not these tones; instead, let us strike up more pleasing and joyful ones.” The chorus repeats the last four lines of each stanza as a refrain, followed by the vocal quartet. A famous interlude, the Turkish March, follows (this music was considered “Turkish” because of the inclusion of the triangle, cymbals, and bass drum, exotic additions to the orchestra of Beethoven’s time). After a number of variations, the chorus returns with a monumental double fugue, to cap off one of the most superlative expressions of the human spirit. © 2018 Elizabeth Schwartz
RECOMMENDED RECORDINGS RACHMANINOFF’S SYMPHONIC DANCES Hillborg: Exquisite Corpse Alan Gilbert – Royal Stockholm Philharmonic Orchestra bis 1406 Walton: Violin Concerto James Ehnes, violin Bramwell Tovey – Vancouver Symphony cbc 5241 Rachmaninoff: Symphonic Dances Vladimir Ashkenazy – Philharmonia Orchestra Signum Classics 540
BIG BAND AND BEETHOVEN: NEW YEAR’S CELEBRATION
Ellington/Strayhorn: The Nutcracker Suite Duke Ellington Orchestra Columbia Jazz Masterpieces 0886972386621 James P. Johnson: Victory Stride Marin Alsop – Concordia Orchestra Nimbus 2745 Beethoven: Symphony No. 9, “Choral” Jessye Norman, Brigitte Fassbaender, Placido Domingo, and Walter Berry Karl Böhm – Vienna Philharmonic Orchestra and Vienna State Opera Chorus Deutsche Grammophon 445503
Recordings selected by Michael Parsons, who studied music at Lewis & Clark College and has worked professionally with classical recordings for several decades.
Wednesday, January 9 | 7â&#x20AC;&#x201C;8:30 p.m. PRE-K THROUGH GRADE 12 oes.edu/admissions
Event open to all parents and to students in fifth grade and older. 6300 SW Nicol Road
Portland, Oregon 97223
OUR SUPPORTERS The Oregon Symphony thanks these individuals for their generous contributions received from September 1, 2017, to October 12, 2018. We apologize for any omissions or misspellings. Please notify us of any adjustments. TRANSFORMATIONAL: $100,000–ABOVE Anonymous (3) Rich* & Rachel Baek Karen & Bill* Early Harold & Arlene Schnitzer care Foundation Robert* & Janis Harrison Michael & Kristen* Kern Lynn & Jack Loacker Stephanie McDougal+ Estate of Minerva T. Nolte, M.D. + Arlene Schnitzer & Jordan Schnitzer
MOZART SOCIETY: $10,000–$24,999
Anonymous (5) A&E Tax Service, Inc Peter & Missy Bechen Robert & Jean Bennett Susan & Larry Black Mr. & Mrs. Thomas Boklund Evona Brim Mr. & Mrs. Peter Brix William M. Brod Fund of the Oregon Community Foundation Richard Louis Brown & Thomas Mark Cascadia Foundation VIRTUOSO SOCIETY: Chocosphere The Coit Family Foundation $50,000–$99,999 Truman Collins, Jr. Anonymous (1) Mark & Georgette Copeland The William K. Blount Daniel* & Kathleen Drinkward Family Fund of the Cecil & Sally Drinkward Fund Oregon Community of the Oregon Community Foundation Foundation Duncan & Cynthia Campbell Wayne & Julie Drinkward of the Campbell John S. Ettelson Fund Foundation of the Oregon Community Drs. Cliff* & Karen Deveney Foundation Elizabeth N. Gray Fund of the Oregon Community Robyn* & John Gastineau Barbara & Jerry Giesy Foundation Frank & Mary Gill Brookby Foundation Jonathan‡ & Yoko Greeney Harriet Sterling Hayes Trust Charles & Nancy* Hales Jeff Heatherington* Hedinger Family Foundation Jim & Karen Halliday Mr. & Mrs. Stephen J. Harder The Mary Dooly and Thomas W. Holman Fund Bonnie Haslett & Terry Strom of the Oregon Community Mr. & Mrs. J. Clayton* Hering Robert & Marilyn Hodson Foundation Hank & Judy Hummelt Holzman Foundation/ Gerri Karetsky* Renée* & Irwin Holzman & Larry Naughton Beth & Jerry* Hulsman Lamb Family Foundation (wa) James and Shirley Rippey Richard & Delight Leonard Family Foundation Mr. and Mrs. Robert McCall Carlos§ & Raffaela Kalmar Michael & Susan Mueller Nancie S. McGraw Roscoe* & Debra Nelson Laura S. Meier An Advised Fund The Leonard and Lois of the Oregon Community Schnitzer Family Fund Foundation of the Oregon Jewish Charles & Jennifer Putney Community Foundation Dan Rasay* Hank Swigert & Katherine FitzGibbon Nancy & Walter* Weyler Richard Rauch Jack* & Ginny Wilborn Rutherford Investment The Jay & Diane Zidell Management Charitable Foundation & William D. Rutherford Pat Zimmerman & Paul Dinu Daniel Sanford & Anna Kern Sanford OPUS SOCIETY: In Memory of Mayer Schwartz $25,000–$49,999 Scott Showalter§ Anonymous (1) The Nancy & Richard Ken Austin Silverman Charitable Judith M. Erickson Foundation Richard & Janet Geary Bill+ & Anne Swindells Foundation Victoria Taylor Suzanne Geary* Don & Marian Vollum Dr. Thomas & Alix Goodman Jean Vollum Fund Tige* & Peggy Harris Dr. Derald Walker* Rick* & Veronica Hinkes & Charles Weisser The Keller Foundation Walters Family Foundation Priscilla Wold Longfield* Gary Whitted Ann Olsen Dr. & Mrs. Michael Wrinn Harold & Jane Pollin Eleanor & Georges St. Laurent Swigert Warren Foundation Dan G. Wieden & Priscilla Bernard Wieden
SILVER BATON: $6,000–$9,999
Reynolds Potter and Sharon Mueller Pat Reser Anonymous (5) John & Charlene Rogers Anonymous Fund #16 of the Oregon Community Rosemarie Rosenfeld Janet C. Plummer§ Foundation & Donald S. Rushmer Richard & Judith Audley Holly & Don Schoenbeck The Breunsbach Family John & June Schumann Kay Bristow Diana & Hal Scoggins Deanna Cochener Bill Scott & Kate Thompson Jane & Evan Dudik Michele Mass & Jim Edwards Jo Shapland & Douglas Browning Bruce & Terri Fuller Mrs. and Mr. Francine Dennis & Marie Gilliam Shetterly Robert L. Ladehoff Sue & Drew Snyder Ronald & Phyllis Maynard George & Molly Spencer Jill McDonald R. Kent Squires Gil & Peggy Miller Mrs. James G. Stevens Millicent Naito N. Robert & Barre Stoll Janice Phillips Patricia Struckman Travers & Vasek Polak Davida & Slate Wilson Bonnie & Peter Reagan Paul M. Work Rod & Cheryl Rogers & DeAnn Fairfield Work Rebecca Rooks Jeffrey Yandle John Runyan & Molly Moran-Yandle Carol+ & Frank Sampson Cookie & Merritt Yoelin Ann Ulum Fund of the Oregon Jewish & Robert Nickerson Community Foundation Richard H. & Linda F. Ward Dean E. & Patricia A. Werth CONDUCTOR’S CIRCLE: Nancy & Herb Zachow $2,500–$3,999 Jason Zidell Anonymous (5) Julie E. Adams BRONZE BATON: Ajitahrydaya $4,000–$5,999 Trudy Allen & Bob Varitz Anonymous (3) Meredith & Robert Amon Kirby & Amy Allen John & Yvonne Branchflower Estate of Betty Amundson+ Eve Callahan* & Scott Taylor An Advised Fund of the Oregon Community Rick Caskey Foundation & Sue Horn-Caskey Art of Catering Margery Cohn Patti & Lloyd Babler & Marvin Richmond David & Jacqueline Backman Dr. and Mrs. David Cutler Anne M. Barbey J. M. Deeney, M.D. Ed & Becky Bard Robert & Carol Dodge David E. & Mary C. Becker Mr. & Mrs. Dale Dvorak Fund of the Ericksen Foundation Oregon Community Susan & Andrew Franklin Foundation Friends of the Tabitha & Patrick Becker Oregon Symphony Michael and Barbara Besand Dr. Steve Grover in Memory of Chuck & CreeAnn Henderson Lillian (Lee) Besand Hibler Franke Foundation Stan & Judy Blauer Marsh Hieronimus David Blumhagen Carrie Hooten Josh & Wendie Bratt & David Giramma Gregory & Susan Buhr William H. Hunt Ellen E. Bussing§ Oregon Symphony Mrs. Robert G. Cameron Association Fund Joan Childs & Jerry Zeret Jeff & Krissy Johnson Nicholas & Jamie Denler Lance & Carey Killian Allen L. Dobbins Fernando Leon, M.D. Richard B. Dobrow, M.D. & Dolores Leon, M.D. Leigh & Leslie Dolin Terence McCarthy Sterling Dorman & Ed Valencia David & Erin Drinkward June McLean Stephen & Nancy Dudley Violet & Robert+ Metzler Family Fund of the Oregon Monday Musical Club Community Foundation of Portland Dr. Pamela Edwards Larry & Caron Ogg & Mr. Thomas Clark Michael & Janice Opton Donald & Katharine Epstein Barbara Page Frank and Mary Gill Jane Partridge Foundation Franklin and Dorothy Kenneth & Carol Fransen Piacentini Charitable Trust Y. Fukuta Fedor G. Pikus
Richard Gallagher Daniel Gibbs & Lois Seed Don Hagge & Vicki Lewis Robert & Dorothy Haley Drs. James & Linda Hamilton Kirk & Erin Hanawalt Sonja L. Haugen Dennis & Judy Hedberg Diane M. Herrmann Dan & Pat Holmquist Brad Houle Dennis Johnson & Steven Smith Estate of David Karr+ Susan D. Keil David & Virginia Kingsbury Drs. Arnold & Elizabeth Klein Lakshman Krishnamurthy & Rasha Esmat Mary Lago Dorothy Lemelson Cary & Dorothy Lewis Jerome Magill Dana & Susan Marble M. & L. Marks Family Fund of the Oregon Community Foundation Bonnie McLellan Chris & Betsy Meier Jean & Walter Meihoff Mia Hall Miller & Matthew Miller Anne K Millis Fund of the Oregon Community Foundation Dolores & Michael Moore Lindley Morton & Corrine Oishi John & Nancy Murakami Bill & Kathy Murray Hester H. Nau Susan Olson & Bill Nelson Ward & Pamela Nelson John & Ginger Niemeyer George & Deborah Olsen Thomas Pak George & Mary Lou Peters Charles & Ruth Poindexter Jeff & Kathleen Rubin Drs. Emilia & Jon Samuel Susan Schnitzer Dr. & Mrs. G.E. Sebastian Peter Shinbach Jaymi & F. Sladen Ms. Barbara A. Sloop Annetta & Ed St. Clair Jack & Crystal Steffen Mr. & Mrs. W. T. C. Stevens Cheryl & Harvey Storey Eustacia Su Scott Teitsworth & Deborah Buchanan Drs. John & Betty Thompson Robert Trotman & William Hetzelson Charles & Alice Valentino Erica Van Baalen & David Hicks David & Christine Vernier Drs. Bastian & Barbara Wagner Pat Wasp & Lou Ann Bennett Wells Family Foundation John & Traci Wheeler Elaine M. Whiteley Robert & Margaret Wiesenthal Zephyr Charitable Foundation Inc. Charlene Zidell
CONCERTO SOCIETY: $1,000–$2,499 Anonymous (11) Anonymous Fund #26 of the Oregon Community Foundation Carole Alexander Jonathan & Deanne Ater Arthur & Joann Bailey Steve & Mary Baker Alfred & Cara Jean Baker Charles G. Barany Karin & Brian Barber Keith & Sharon Barnes Arleen Barnett David Barrett & Michelle Lowry James & Kathryn Bash Steven Bass Alan & Sherry Bennett Dr. & Mrs. Robert Berselli Broughton & Mary Bishop Family Advised Fund of cfsww Paul Black Lynne & Frank Bocarde Henry Bodzin Benjamin & Sandra Bole Fred & Diane Born Christopher Brooks* Barry & Barbara Caplan Rhett & Tiffanie Carlile Donald W. Carlson Melissa Carter & Nevada Jones Carlos Castro-Pareja Helen Chadsey Charles Clarkson Classical Up Close‡ Cynthia & Stanley Cohan Jeffrey G. Condit James & E. Anne Crumpacker Estate of Joyle Dahl Nima & Nicole Darabi David & Alice Davies Mike & Becky DeCesaro Ginette DePreist Robert & Janet Deupree William Dolan & Suzanne Bromschwig Philip & Nancy Draper Gerard & Sandra Drummond Charlene Dunning & Donald Runnels Ronald E. & Ann H. Emmerson Nancy C. Everhart Lee & Robin Feidelson Mr. & Mrs. Paul Fellner Carol L. Forbes Liz Fuller Brian & Rhonda Gard Carolyn Gardner Michael & Gail Gombos Harriet & Mitch Greenlick Dr & Mrs Price Gripekoven Hank & Margie Grootendorst Jeffrey & Sandy Grubb Louis & Judy Halvorsen James Hampton & Ashley Roland Kregg & Andrea Hanson Howard & Molly Harris Pamela Henderson & Allen Wasserman Jane & Ken Hergenhan John Hirsch Joseph & Betty Hirsch Margaret & Jerry Hoerber
OUR SUPPORTERS Eric & Ronna Hoffman Fund of the Oregon Community Foundation Susan, Diane & Richard Hohl Joseph Holloway, Sr. Lee & Penney Hoodenpyle Pamela Hooten & Karen Zumwalt Jack Horne & Mary Rodeback Bruce & Margo Howell Georgia+ & Doug Inglis Lou & Kathy Jaffe Jon Jaqua & Kimberly Cooper David Jentz Candace Jurrens Bob Kaake Barbara Kahl & Roger Johnston Peter & Patricia Kane Eric Karl & Ana Quinones Carol Brooks Keefer Georgina Keller Tom & Lauren Kilbane Fred Kirchhoff & Ron Simonis Sarah Kwak‡ & Vali Phillips‡ Thomas M. Lauderdale* Paul W. Leavens Dr. & Mrs. Mark Leavitt Dr. John & Elaine Lemmer, Jr. Carol Schnitzer Lewis Fund of the Oregon Community Foundation Joanne Lilley Eric & Hollie Lindauer Richard & Diane Lowensohn Gayle & Jerry Marger Bel-Ami & Mark Margoles Robert & Gwynn Martindale
Sir James and Lady McDonald Designated Fund of the Oregon Community Foundation Carolyn McMurchie Karen McNamee Lois R. Mills Drs. Beth & Seth Morton Jonathan Nagar Chris & Tom Neilsen Ralph & Susan Nelson Libby Noyes Wanda & George Osgood Jim Palmer Barbara & Art Palmer Parsons Family Fund of the Oregon Community Foundation Duane & Corinne Paulson Mr. & Mrs. Donald E. Petersen Vic Petroff Tod Pitstick Diane Plumridge David & Marian Poindexter Wally & Bettsy Preble William Pressly & Carole Douglass Dr. & Mrs. Kevin Proctor Ronald & Lee Ragen Brian Ramsay Vicki Reitenauer & Carol Gabrielli Dr. Gerald & Alene B. Rich Charles & Selene Robinowitz Dr. Lynne Diane Roe Charles & Katherine Rood Debora Roy
Robert & Ann Sacks April Sanderson Brian & Sue Schebler Steven & Karen Schoenbrun Anna Roe & Ken Schriver Cynthia Shaff Hadel John Shipley Jinny Shipman & Dick Kaiser Dr. Rick Simpson Al Solheim David Staehely Doug Stamm & Jackie Gordon Jack & Charlene Stephenson Anne Stevenson Zachary & Vasiliki Stoumbos Straub Collaborative, Inc. Barbara J. & Jon R. Stroud Sandra Suran Drs. Donald & Roslyn Elms Sutherland Erik Szeto & Anita Chan David Thompson Mike & PriscillaThompson Angelo Turner Tony & Bianca Urdes Ann Van Fleet Missy Vaux Hall Bill & Janet Wagner Charles & Cherie Walker Hans & Naomi Wandel Kevin & Sharon Wei Joan & David Weil David & Leigh Wilson Loring & Margaret Winthrop Bing Wong Jane Work Lawrence & Jo Ann Young
SONATA SOCIETY: $600–$999
Richard & Jane Groff Elvin Gudmundsen Rachel Hadiashar Anonymous (7) Frances F. Hicks Carole Asbury Arvin & Kari Hille Michael Axley & Kim Malek Kenneth Holford & Harry Hum Gerald & Lori Bader Maryanne & David Holman Tom Bard Pam Horan Robert & Sharon Bennett Donna Howard Homer & La Donna Berry Laurence & Janis Huff Robert & Gail Black Janice & Ben Isenberg Alice Pasel Blatt Philanthropic Fund Markus & Gloria Bureker Nancy Ives‡ Craig & Karen Butler Drs. Susan & Jeffrey Johnson Mary Bywater Cross Katherine Joseph Martin & Truddy Cable Gerald Calbaum & Jan Marie Aase S. Kendall Andrew Kern Fortier-Calbaum James & Lois King Cecile Carpenter Paul & Marijke Kirsten Frank & Val Castle Mark Koenigsberg Thomas & Cara Crowder & Polly Alexander Enrique deCastro Willa Fox & Becky Kreag Edward & Karen Demko Moshin & Christina Lee Kay Doyle Robert & Nancy Leon Tom Drewes Herman Taylor & Leslye Epstein William Liedle Laura Fay & John Holzwarth Pamela MacLellan Jim & Midge Main JoAnn Ferguson Marta Malinow The Flesher Family Fund Gail & Jim Manary of InFaith Community Linda & Ken Mantel Foundation Geoffrey McCarthy Peter*‡ & Laurie Frajola John & Ann Moore Thomas & Rosemary Franz Jeffrey Morgan Gerald Fritz Greg & Sonya Morgansen Ted Gaty Jane & John Morris Willis & Liz Gill Roger & Joyce Olson Richard & Susannah Goff Goldy Family Designated Fund Phil & Gretchen Olson Alfred & Eileen Ono
William O’Shea Terry Pancoast & Pamela Erickson Lance Peebles Vicki Perrett Sandford B. Plant H. Roger Qualman Kim & Roger Reynolds Eric & Tiffany Rosenfeld Mr. David Roth & Ms. Tangela Purdom Jane Rowley Julie & David Sauer Hubert & Ludmila Schlesinger Fund of the Oregon Community Foundation Douglas & Ella Seely Leslie and Dorothy Sherman Fund of the Oregon Community Foundation The Shulevitz Family Sara Stamey Michael & Judy Stoner Brian Thomas & Susan Morgan Richard & Larie Thomas Dave Thompson Jon Vorderstrasse Mr. and Mrs. Steve§ & Alexandra Wenig Roberta Lee White Gordon D. Wogan & Patricia Hatfield Susan E. Wohld Darrell & Geneva Wright P. J. & Donald Yarnell
Music from the beloved 1990s animated series
SATURDAY, JANUARY 12 | 7:30PM Emmy winner Rob Paulsen as “YAKKO”
Emmy winner Randy Rogel Composer
INFO & TICKETS: PORTLAND5.COM | PH: 800.273.1530 | PORTLAND’5 BOX OFFICE | TICKETSWEST OUTLETS
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OUR SUPPORTERS OVERTURE: $300–$599 Anonymous (26) Cherrie Abraham & Rosalie McDougall Susan Ackerman Kelly & Karen Adams George Adlhoch Maria Agoston Mrs. Roudabeh Akhavein William Apt & Grant Molsberry Ross A. & J. Alexandra Arnold Annette Arrieta Roberta Badger-Cain & Leonard Cain Vlasta N. Barber Don & Joan Batten Donna & Leo Bauer John & Claudette Beahrs Bruce Beattie Dr. Douglas Beers & Leslie Taylor Inara Beitlers Joy Belcourt Barry & Jacqueline Bennett P. & P. Benninghoff Joseph Berger & Carol Williams Jonathan Betlinski John & Carol Betonte Angela Blizzard William Bloom Victor Bloomfield Bettie Bowen Dr. Bruce D. Boyd Dean Boyd & Susan Wickizer Jane Bradley Stephen & Marge Brenneke Ivan & Denise Brink Bill Britton Jann Brown William & Morgan Brown Mrs. Fred M. Buchwalter A. Sonia Buist, MD Virginia V. Burgess Lucien Burke Mr. & Mrs. Roger Burpee Jean Butcher & Tom DeLoughery Martha M. Butler Dr. James Buxman Michael & Ida Rae Cahana Mark & Tracy Cahill Charles Calmer§ & Tom Lewis Jeffrey Carlson & Lori Makinen Karen Carnahan Dr. and Mrs. Walter & Carolyn Carr Janice E. Casey, M.D. Joe & Sandy Cecchini Deborah & George Chaltas Paula Chernoff Myles & Linda Clowers John & Kathryn Cochran Janie & Richard Cohen Alice Bergman & Ralph Cohen Susan & Mark Cooksey Dan Corcoran J. Neal Cox Neale E. & Marian Creamer Brian Cremeans James Crino Susan Cyganiak Eloise Damrosch & Gary Hartnett Joseph & Carol Davids David & Courtney Davies Natasha Dayna Roland & Judy de Szoeke Anthony Defriez Dale & Constance Denham Gary and Sahni Denton René Deras & Joshua V. Burns Al Didier & Sherry Holley Alfred Dowrie Edward Doyle M.D. Pat J. Doyle
John & Anita Drew Allan & Margaret Dunn Lisa & Jerry Eckstein Barbara Edwards Douglas Egan & Susan Bach Jeffrey Eisen & Mark Bruns Bill & Elizabeth Eklund Pamela & Paul Elsner Kevin & Cinda Embree Lawrence R. Erickson Miriam and Gunther Erlebacher Philanthropic Fund Theresa & Robert Eubanks Rachel Fenton & Kris Martinez Virginia Finch Richard & Cindy Finlayson Ruth Fisher Nina & Al Fleckenstein Michael & Karen Foley Heather Folts Marsha & Randy Freed Ian & Judy Freeman Margaret Freese Gerald & Olivia Froebe Barbara Zappas Erin Furbee‡ & Mitch Schain Betty Lee Fyan & Allison Howard Morris J. Galen William & Bev Galen Mary Ellen Gardner Hugh & Coleen Garrabrant Lee Ann Garrison & Tom Strini Paul Gehlar Kenneth Gengler Gary & Janet Goby Constance Gohlman Marvin & Barbara Gordon-Lickey David & Caroline Greger Kerry Griffin & Dr. Eilis Boudreau Louise & Herbert Grose Paul Gunderson James Hall Rosemary Hamerton-Kelly David & Erika Hammond Ulrich H. Hardt & Karen Johnson Judith Hatton Grant Hay & Christine Placek Paula Heimberg Patsy Heinlein Tom & Holly Henderson Gina Henderson Rosemary Hendrickson Deborah Henry Pamela Henry Shirley & Walter Hercher Gary L. Hewitt Lane Hickey Jimmy Hicks Judy Ho Ron & Suzanne Hockley Mike Ossar & Gretchen Holden Claire & Kendall Horn Robert & Jill Hrdlicka Robert & Cecelia Huntington Carolyn Hymes Darwin & Mary Isensee Jack & Sheila Jakobsen Saad & Grace Jazrawi Joanne Jene, M.D. Sharon Johnson & Bill Patten Alison Jones Becky & Jarrett Jones Wallace Jones Richard Josephson Helga P. Joyce Leslie E. Kahl Myrna M. Kane Mark & Ethel Katz Judy C. Kelley William & Delores Kelly Joan Kingsley Todd & Michelle Kohlbush Eliana Kozin
Teresa Kraemer & Margaret Carley Becky Kuhn & James Gorter Kathleen Kusudo Susan Lair & Douglas Trobough Carole Laity Paul Lambertsen Wayne & Carolyn Landsverk Frank Langfitt & Mary Steen Jim Lathrop Jenny Lauder Yvonne L. Laun Mary Lou Leahy Wilma M. Lee Phyllis J. Leonard Kathleen Lewis Richard Lewis & Margaret Larson Peter Lidskog Jane & Robert Lightell Susan Lindauer & Chris Maloney Craig & Anne Lindsay Janice Linsky Lydia & Derek Lipman Judith K. Litt Leo & Sharon Little Barbara Loehr Martha Long‡* Maureen S. Long Donna Loveland Gary & Jerrie Lovre May Lu Frederic & Carina Luyties Jackie MacGregor Roderic & Priscilla MacMillan Sydney Maehara A. & Neena Maldikar Linda L. Mann Ben & Cecile Manny Judith & Michael Marcus Sylvia Marks Carl & Linda Marschall Margaret Marshall Micah Martin Oscar Mayer Raymond Allen Mayer, Jr. Gregg McCarty & Karen Henell Pete McDowell Bryce & Cynthia McMurdo Bill McRae Ted Meece Debra Meisinger & Barry Buchanan Toinette & Victor Menashe David Menashe & Deborah Goldberg Mark & Brenda Merizan Lora & Jim Meyer Susan & Dennis Meyer Rick & Sharon Meyer Louis R. Miles Dr. Valdine and Jonathan Mishkin James Mitchell & Elise Legere James Mitchell Laveta Moles John & Shanna Molitor Robert & Dee Moore Diane & Greg Morgan Carol Morgan Pat Morris-Rader Juanita Muntz John Murphy & Evelyn Mareth Michael Nagel Steven C. Neighorn Gerald & Mary Nelson Debra Nippert Mari Nirschl Greg Nissl Matt Norman Elizabeth O’Callaghan Paul & Mary Oldshue Carillon Olmsted
Dr. Barry Olson Erika & Jack Orchard Milo & Beverly Ormseth Marianne Ott Karen & Abby Oxendine Jeffrey & Suzanne Parker Rod & Mary Anne Parrott Linda Schuld Paulson Norman Pearson Jennifer Pedersen Jim & Sally Petersen Dr. Ron & Patrice Petersen Rebekah Phillips§ & Lars Campbell Richard & Helen Phillips Robert L. & Leslie Phillips Walter & Susan Piepke Diane Pinney & Clifford Droke Carl & Cynthia Pixley Peter & Josphine Pope Morgan & Constance Pope Karen E. Price Roberta Jean Pullen Willis & Anne Rader Richard & Susan Radke Meenakshi Rao Steven A. Rapf Carol & Walter Ratzlaf Richard & Mary Raub Randi Reeder Kangail Robert C. Reis Rod & Sheila Renwick Ruth & Phil Rhoads Forrest & Sharon Rae Richen Philip Riedel & Carolyn Bailey Lee A. Rodegerdts James & Elinore Rogers Crystal Rose Mary Rose & Maxwell Whipps Ellen Rosenblum & Richard Meeker Alan S. & Eve O. Rosenfeld LaRayne & Leo Rowland Alise Rubin & Wolfgang Dempke Scott & Joan Rustay Michael Sands & Jane Robinson Anne Savaria Elaine Savinar James & Julianne Sawyer Eric Schaefer Janet Schaefer Rod & Vicki Schmall Holly Schmidt Peter & Elaine Schmidt Fedor & Claudia Scholtz Jack & Barbara Schwartz Sheila & Gary Seitz Peter & Penny Serrurier Jon & Linda Sewell Barbara & Gilbert Shibley James Shields‡ Joan Shireman Brian & Kathy Shoemaker Barbara Short & Linda Wood Gwen & Alan Shusterman Joseph Sillay & Laila Raad-Sillay J. & C. Skuster Damon & Kristen Smedley Marjorie M. Smith V. L. Smith & J. E. Harman Pat Southard John Southgate Mary & Gordon Spezza Tom & Joan Stamper Nicholas & Carolyn Stanley Robert Staver Paul Steger & Pat Ferguson-Steger Scott Stephens & Leslie Houston David & Deborah Stewart Marjorie Stewart Annette Swartz & Daniel Palka Bobbi & Aron Swerdlin
Pete Barkett Marian Barney Norma & Peter Barnhisel Harry & Jan Barrett Wayne Bartolet & Susan Remick Elizabeth Wagner Paul Bascom Dorothy Bauer Todd & Lori Bauman Kathleen Bauska Mary Beach Robert & Carolyn Beall Howard Beckerman Michael Beeson Yelena Benikov George & Mary Benson Debora Bergeron Sara & Tim Berglund Karen Berkowitz & Robert Rutenberg Sally Byrd & Luiz Bermudez Gert Bernstein & Ed McVicker Dee Bierschenk§ Donald B. Billings Peter Bilotta & Shannon Bromenschenkel Bill & Elouise Binns Ann M. Blanton Jo-Ann Bleich Ms. Florence Blitch Colleen Blohm Bob & Susan Boal Egon & Diana Bodtker Ralph Bolliger Suzanne Bonamici & Michael Simon Chris Bonnell Christine & Mark Bonney Fanny Bookout Sherwood & Pamela Bosworth Claude Bosworth Richard Botney Michelle Bounds Colleen & Anna Bourassa Robert Bowen Tracy & Melody Boyce Lawrence & Daniela Brandt Julie Branford Sherry A. Brazda H. William Brelje Leslie Brenton PRELUDE: Nancy & Bob Briand William & Barbara Briare $100–$299 Glenn W. Bridger Anonymous (100) & Karen Bridger Cleve Abbe & Trish Brown David Brook Paul & Nancy Abbott Dennis Brophy Geri Abere David Brothers & Asha Singh Kyle Adams & Jack Wussow Jean Brown Roger & Barbara Alberty Rich & Stephanie Brown Gregory & Susan Aldrich Patsy Bruggere Antoinette Aljibury Peggy Archer Bryant Debbie Allaway Nancy Bubl Dan Allie Bonnie Buckley Miguel Alonso Lee & Jan Buddress Flora Amir-Alikhani Daniel Anderson & Joy Strand John & Malinda Bukey Joseph E. Buley Janet Anderson Richard & Ruthanne Bullock Tom Anderson Richard & Ruth Bunker & Joan Montague Linda Hathaway Bunza Jacqueline Andrews JoAnn Burch Richard & Kristin Angell Brenda & Scott Burg Ruby Apsler Elizabeth Burke Jacque Arellano Susan Burke & Clive Thomas Richard & Caroline Arnold Mary Butler James & Mary Ann Asaph Anne Byrd Stephen & Judith Auerbach Gary & Ulrike Calaba Nicolette Augustine Carolyn Call & Thomas Beck John & Barbara Camp Ted* & Kathi Austin William & Carla Canfield David & Louise Avery June Canty Susannah Axelrod Tim & Susan Carey & Bill Gillispie Suzanne Carlbom John T. Bagg John Wacker Sharon Baker & Susanne Carlson Marius Balanescu Kay Carlson-Bilbao Cindy Banzer & John Kilian & Richard Carlson
Kunal Taravade Jill Thacker Christopher & Emily Thomas Matt Thomas John Thompson & Mary Amdall-Thompson Grant & Sandra Thurston Dr. Elizabeth Tierney Laura Tomas Misty Tompoles Julie Lou Tripp Juliana Trivers & Matt Donahue Charlotte Tsai Jacques & Mary Vaillancourt Linda & Stephen VanHaverbeke Louise Varley Peter Vennewitz Mr. & Mrs. David Verburg Dan Volkmer & Frank Dixon Edward & Mary Vranizan+ Carol Walker David & Julie Wall W. Michael Warwick & Susan V. Bailey Claudia & Ken Weber Bruce Weber Carolyn & Gary Weinstein Judith Weintraub & Gregory Dubac Weiss Fund of the Oregon Community Foundation Robert & Frances Weyant Diana & James M. White Merlin White Drs. Arthur & Carol Wilson Margaret Wilson Alan Winders Lewis & Susan Van Winkle Ted & Sheila Winnowski Carol S. Witherell Nancy Wolff & E. David Booth Richard & Leslie Wong Brian Young Jonathan & Pearl Yu Tamara Yunker John & Nancy Zernel David & Eliese Zonies Floyd Michael Zula
Ray & Betsy Carnes Tom Carney William & Gail Carr Geoffrey Carr Sergio Carreno‡ and Lizbeth Dreier‡ Andrew & Monica Carter Duncan & Jan Castle Jean Cauthorn Tracy Ceccacci Gary Chapman Deanna Chappell Robert & Mee Lun Chau Yvonne Chen & Jeremy Crown Ann Chilcote Ilze Choi Bob & Sue Christenson Robert Church Hillary Churchill JáTtik Clark‡ P Bradford Cobb Bill & Kathryn Coffel Sandra Coila Marilyn A. Coldwell William B Cole Ms. Beverly Collins Mr. Craig Collins Brooke Collison Jenn Columbus & Alex Paraskevas Janet Cooke Deborah & Jim Coonan Carol & Ken Cooper Elburn & Elizabeth Cooper Chris & Kathy Copeland Abigail Corbet Jerry & Jean Corn Kristin Cornuelle Nathan Corser & Kristen Minor Paul & Kathleen Cosgrove Rosanne Costanzo Dennis & Wanda Costi Jacob & Jessica Cottam Thomas & Marilyn Councell Jennifer & Diego Covarrubias Ann & John Cowger John C. Cowles & Mary Ellen Ulmer Cynthia Cristofani, MD Bruce Cuthbertson Fran & Rod Daggett John & Mary Lou Daily James Dalrymple Karen Dalrymple Brad Daniels Arthur & Winnifred Danner Marcia Darm, M.D. & Bruce Berning Ilene Davidson Pamela & Tony H. Davidson Clifford & Mary Davis Abby & Marvin Dawson John & Rocio Deatherage Peter & Patrice DeGraff Pat Demeo Richard Denman John & Nancy Dennis Niel B. DePonte‡ Chuck & Patt DeRousie Austin DeSimone Brian Detman & Katherine Deumling Loree Devery & Robert Trachtenberg Di Loreto & Associates, Consulting Civil Engineers Margaret Dickerson Jon Dickinson & Marlene Burns Dorothy K. Dinneen Mrs. Henry Dixon John Dobson Alan & Davina Doby Arleigh & Marion Dodson Norma Dody
Carol Doehne David & Rita Doerfler Carole & Dan Doerner David & Wendy Doerner Bruce & Janet Doerr Phil Dollar Chris Domschke Mary & Robert Donley Thomas & Nancy Doulis Mark & Denise Downing Ken & Gail Doxtader Dena & George Drasin Timothy & Emily Duerfeldt Dianne Dukelow & Shawn Redfern Carol & Sam Duncan Julie Duncan Janet Dunn Laurence & Wendy Dunn Elaine Durst Robert & Elizabeth Dyson Dale & Edith Dzubay Heather Eberhardt Vida Edera Jane Edwards Vickie Edwards David Eiseman Mihail Elisman Julie Ellis Jerry & Donna Elsasser Jackie Endicott Joanne Engels Robert Enman Robert & Miriam Epstein Joan Erath Robert Ericson & Pam Martin Tom Kuffner Ervin Czimskey Steve & Bonnie Esbensen John Etter Martha E. Evans Gregory Ewer‡ & Becky Hornsten Malini Jayaraman George Fabel Kenneth & Lori Faris Dale Farley Al & Yoli Feiner In Memory of Wayne Felder Ed & Lynn Ferguson Muriel Feuer Amy Fields Kathy Fischer Bill Fish James & Emily Fishback Ross Fisher & Marie Weiskopf Diana Fisher Aaron Flatten Rebecca Fleischman Phoebe Flynn James Fontaine Kevin Foren Sam Foulger Georgie Fox Gerald & Heidi Fox Natalie Frajola Kenneth A. Franceschi Ian Frank Pamela Frankel Marc Franklin Julie Frantz Debbie & Bill Franzke Paula Frechen Emily Free Louis & Debbie Freeman Tom Freeman & Monique Hayward Louise Freeze Douglas R. French Merilee Frets Bonnier George Freyer Paul & Nancy Frisch Mary Fromwiller John Funatake Virgil Funk Zach Galatis‡
Headwaters at The Heathman Hotel now offers a prix fixe menu before every performance at the Arlene Schnitzer Concert Hall. We are serving three-courses for $37 or two-courses for $31. We would love to have you join us for dinner before your next show! Why wait? Come by and have a drink and a dessert after tonight’s performance.
1001 SW BROADWAY HEADWATERSPDX.COM artslandia_THIRD_Headwaters.indd 1
10/31/18 10:19 AM
OS Program Book: 1/3 Square (4.812 x 4.812) Runs: December Artist: Headwaters at the Heathman
NOV 25 - DEC 30
DEC 6 - DEC 30
ft. Chris Harder & Susannah Mars
A HEARTWARMING HOLIDAY CLASSIC
THIS HOLIDAY SEASON, ARTISTS REP HAS SOMETHING FOR EVERYONE. 5 0 3 . 24 1 .1 2 78 • a r t i s t s r e p . o r g • 1 5 1 5 S W M o r r i s o n S t .
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OUR SUPPORTERS Samuel C. Galbreath, Jr. Ms. Jean Gale Jeri L. Gamaney Kathleen Gannett Susan & Richard Garber Raelyn & Jack Garland Caroline Garland Catherine Garman Carolyn Garnaas Carolyn Gassaway J. M. & Nancy Gaston Stephanie Gates Patricia Gauer Lucile Gauger Charles & Charline Gebhardt Michael J. Gentry Katherine Giachetti Barbara Gicking Bryan & Mary Gilbert Warrene Gill & Richard Loomis Bob & Janette Gill Arthur & Judith Ginsburg Barbara Glazewski Marlene Gleason Susan Glosser Kathy Goeddel John & Jackie Goldrick Tom & Linda Goldsmith Raul Gomez & Sarah Smith Laura Good Sarah Goodlin Mrs. Rosalie Goodman Robert Gordon Russell & Jan Gorsline Daniel Gouger G. & Jeanine Gougler Lynette Graap John Grant Linda Graves David Gray & Joan Hamilton Lynn Green Nathan & June Greene Michele & Mark Greenwood Betty Greer James Grew & Leslie Neilson Noel Grey Bette J. Grimm Marilyn Guarino Marsia Gunter Carl & Charleen Gutmann Carolyn I. Hale Karen & Daniel Halloran Robert & Paula Hamm David & Erika Hammond Carl & Peggy Hammond Audria Hampshire Victoria L. Hanawalt Irv & Gail Handelman Diane & Westley Hanken Jack & Barbara Hansen Henry Happel Marilyn J. Harbur Thomas Hard & Mary Stevens Dr. Wesley & Virginia Harper Elicia M. Harrell Joan Harris Sigler Mr. Philip Harris & Ms. Debi O’Donnell Drs. Hugo & Linda Hartig Frances Hartwell Michael & Josephine Hatfield Roland Havens Insurance, Inc Josephine Hawthorne Michael & Nikki Hayes Jean Healy Jim & Lauren Hearn Irene Hecht & Ron Saroff Andrea Heid M.J. & Lee A. Helgerson Diana Helm Ray & Doren Helterline Stokley & Roswitha Helton Jeff Hemmerling Richard & Margaret Henkel
Janice Hennessey Jerry & Donna Heppell Jim Herb Don Hermanns‡/arc publishing Kim & Celia Heron Mary Jo Hess Nancy Hill Kirk Hirschfeld Diane Hitti Andrea Hollingshead Robert & Karen Holman Eugene & Linda Holt John & Susan Hoover Ellen Hopper Albert Horn Dr. Elizabeth Horn Don & Sharon Houck Celeste Howard Doris Howard Patricia Howard Tom Hudak Jeff Huff Charles & Doris Hull Nancy Hull Clare E. & Rosalie Humphrey Stacy Humphrey Sarah & Ann Hunt Gabe & Mike Hunter-Bernstein Jan Hurst JK & Carolyn Hussa John & Delores Hutcheon Hilary Hutchinson Norman Huynh‡ Roger Ikert & Katie McRae Lech & Elizabeth Ilem Marita Ingalsbe Ruth Irons In Memory of Patricia Iverson Janice Jacobs Jon & Henrietta Jacobson Steven Jacobson Dick & Mary Jaffe Janie Jameson Judy & Paul Janssen Roberta M. Janssen Elizabeth Jay Linda & Richard Jenkins James A. Jerde Carolyn & J. Michael Johnson Shirley Johnson Ellin & Fletcher Johnson Jeffrey W. Johnson Karen Johnson Mary Johnson Michael & Lynne Johnson Vernon & Margaret Johnson Barbara & Chris Jones Edi Jones Harlan Jones Marilyn Jones Renate Jordan Igo & Cookie Jurgens Jack & Farol Kahle Mike & Sherrie Kaiel Dr. Robert & Mrs. Becky Kalez Jack & Geneal Kanalz Ross & Paula Kaplan Nina Kapur & Sidharth Bhardwaj Diana Karabut Janice Karpenick Ken Karsted Mrs. Marilyn Kaufmann Natasha Kautsky§ Andrew R. & Carol Kay Arthur & Kristine Keil Edward & Elaine Kemp Nancy G. Kennaway Jeanne Kennedy Sue & Rich Kennedy Rhonda & Jim Kennedy Mrs. Donald Kephart Thomas Kettle Paul J. Killorin Foster Kimble
Joani Kimoto Mary & Timothy Kingsbury Lois & Willard Kleen Cynthia Kleinegger & Roger Carpenter Paul & Susan Knoll James & Morley Knoll Herbert Koenig Bruce & Jan Koepke Franki Kohler Judith & Fritz Kokesh Curt Kolar & Georgann Wingerson Van & Sonja Kollias Malle Kollom Kathryn Kolonic Paul & Lori Kondrath Stan & Greta Kopec Karl Kosydar Charles & Gloria Kovach Robert Kravitz Sophia Kremidas Tammie Krisciunas Valery Kriz William Kroonen Leonard Kuhl Charles & Donna Kuttner Dr. and Mrs. Bruce LaBrack George & Donna La Frazia William & Joyce LaBarre Mr. & Mrs. B. Robert LaFord Roy Lambert & Mary Maxwell Catherine & Loran Lamb-Mullin Priscilla Lane & Joji Kappes Nancy Lapaglia & Stephen Slusarski Lynn Larsen & Kristan Burkert Steve Laveson & Lesley Isenstein Lyndon Lawless Thomas & Fonda Lawson Martha E. Leachman David & Janna Lebakken Barbara A. Lee Eugene & Patsy Lee Thomas & Marcia Lee Roger J. Leo David Leonard Mel & Sheila Leskinen Olga Levadnaya James & Mary Lewis Scott Likely Nadja and David Lilly Ernest & Judith Lindahl Patricia Lindquist Natalie Fay Linn Leo & Shirley Lippincott Jeffrey Littman Hu & Mai Lo Stan & Joyce Loeb Renate Long Sara Longworth Glenna Lopez Henry Louderbough Dennis & Linda Loveland Eini Lowell & James Ammeson David & Kate Ludwig Karen Lyman Darlene Lynch & Gerhard Meng Bruce & Barbara MacIntyre Sandra and Jack MacPhail Ian Madin & Hilary Johnson Larry Madson & Lynne Johnson Linda Magness Ralph & Merrill Maiano Ryan Malarkey & Jean McFarlane-Malarkey Dr. Gary Malecha & Dr. Linda Gammill James Mallay & Nancy Zacha Barbara Manildi Bob & June Manning Eileen Markson
Victor & Kathleen Marquardt MacKenzie Martin D. J. Martsolf Construction Janice Marvin Nicole Mathes Sharon Mathes Mrs. Robert Mausshardt Diane Maxon Zana Mays John & Christine McAfee Pat McAleer Galen & Kathy McBee Robert McBride John & Jean McCabe Kermit Mccarthy & Maria Hein Sean McCombe Bill & Beth McDonald Grant McFarland & Elaine LaJoie Bernard & Suzanne McGrath Sue McGraw/Robert Owens Lois McIntosh Ed & Judy McKenney Ann McKinney Martha McKinnon Phyllis A. McLaughlin Edna McLean Cleo McLeod Andy Mcmillin John & Candace McMunn Elizabeth Mehren Anne Meixner Kathy Melzer Dr. Bob Mendelson George Mercer Jeff & Teresa Metke Marion Meyer Diane Miller Lori Miller Philip Mirkes Alison Mitchell Lois Mitchell Heather Moats Randy & Tammy Moe Daniel Montag & Kathryn Martinson Barbara Moore Ve Anna Morgan & Pam Town Lawrence and Shirley Morrell Marianne & Stephen Mortenson David & Margaret Moser Arthur & Nancy Moss John & Donna Muehleck Martin Muller William Mullette-Bauer Archie Mulvena Richard & Sarah Munro Judith Munter Kathleen Murphy Denise Myrick John & Debbi Nagelmann Carol Nelson & Glen Rea Debbie Nelson Richard & Diana Nelson Jill Neuwelt Loraine Nevill Jeanne Newmark James & Emaline Newton Rose Neyman Mary & Ken Nichols Erling & Satoko Nielsen Ms. Elaine Noonan Steve & Sandy Norcross Anne North Mary Nunamaker Mary Lynn O’Brien Hilary O’Hollaren James O’Keefe Robert & Bonnie Olds George P. & Reba O’Leary Neal & Kathe Oliver Kris Oliveira Deborah Olson Janet Olson
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Eike & Kathleen Richter Michael and Suzanne Rieger Mary Wing Riley Mark Rittenbaum Beverly & Charles Roberts Adrian & Susan Roberts Caroleigh & Jack Robinson Ruth Robinson Terence Rokop Greta & Pieter Rol Charlotte & Carol Roop Steve Rosenberg & Ellen Lippman Norman & Judith Rosenbloom David & Diane Rosencrantz Hal & Ann Rosene Revs Eugene & Patricia Ross Mrs. Dorothy Rotolo Mark & Lorraine Rowlette Ted & Davia Rubenstein Andrew Russell & Brigitte Kolloch-Russell Beverly Russell Verna Russell Elaine C. Ruys Jean Rystrom Bunny & Jerry Sadis Faye Samuels Mark Sanborn & Sandra Linnerud Stan Sandberg Rebecca Sanders Patricia Sandholm Clint & Sandra Sanford Kevin Savetz Tad & Kate Savinar Kathleen Scanlan Brent & Diane Schauer Patricia Scheans Bill & Kathleen Schlaudecker Richard & Kathryn Schneider William & Donna Schoen Jason & Cymbrie Schooler Mary Lou Schrader Tanya Schroder Marc Schuette Ursula & Eric Scriven Donald Scrivens Jill & Lew Seager Glenn & Anne Seim Virginia Sewell Dr. & Mrs. Robert Shangraw Dave Shanley Lynda Shapiro Justin Sharp & Clarisse Messemer Ann & David Shearer Harriet Sheridan Karen Sheridan Joe & Joan Shipman Mr. & Mrs. James Shotwell Gary & Darsein Shull Mark Siegel & Patricia Casey David Siegel & Elaine Smith Bob & Maxine Silverman Wendy & Ross Simmons Steve Simonds Steven & Bonnie Simonson Kathleen Sims Dana & Robert Skelly Lydia & Gary Slangan Helen Slater Carol Sloan Peter & Gillian Smith Paige & Larry Smith Richard & Leonie Smith Merriley Smith Monne Smith Terry Smith E. Ned & Carolyn Snow Thomas and Kim Spathas Dan Spencer & Laurie Louden Mike Sprager Charles & Karen Springer Lewis & Judy Sprunger
The Broadway Rose 2019 Season of Musicals • Wishes m a
Lisa Watson Marjan Wazeka Dr. Frederick & Maureen Wearn Donald & Lois Weber Vivian Weber Dana & Steve Weiner Darcy Weir William Weiss Jennifer Welford Kim Weller and Doug Gordon Johnna Wells Burton & Patricia Went Ken & Deborah Wenzel Michael & Lisa Wenzlick Christa Wessel The Westling Family Vikki Wetle Pat Wheeler Jarvis & Cleo White James White and Wendy McKee Ann Whitehouse Valerie Whittlesey Lee Ann Wichman Lucy Wiegand Elaine Wilderman Carl & Carolyn Wilhelm John & Judy Wilkinson Margaret Willer Dr. Andrew and Margery Williamson Jennifer Wilson Julie Wilson Mary Ann & James Wilson Fendall Winston Mary Ann Wish Lynn & Paulette Wittwer Sabina Wohlfeiler Don & Jan Wolf Dr. and Mrs. James T. Wolfe III Diana Woll Dennis & Valerie Wood Ray Wood Robert & Suzanne Wood Anne Woodbury Linda Wooden Barbara Woodford Anita Woodside Jon and Jill Woodworth Patricia Woolsey Elaine & Steven Worral Barbara Wyse Audra Yancheck Philip & Barbara Yasson Lewis & Ann Young Susan Zall Greg Zarelli Janet Zell Jim & Claudia Zinser Arleen & Bob Zucker Agnes Zueger
Julia Staigers & Gerard Koschal Emily Standish Drs. Robert & Nancy Stepsis Helen & Jerry Stern Daniel Steves Sandra Stewart Sandy Stewart Richard Stiggins Dale Stitt & Esther Elizabeth Michael & Mary Stock Edmund Stone & Cynthia Scheel Jim & Cheryl Stonier James & Joan Strassmaier Richard Strauss Henry Stromquist Fred Strong & Sandra Brown Christina Strong Chenaya Strutton Jan Sturdevant Alfred & Anne Sturtevant George Su Peter & Joyce Swan Donna Swanson Rick Swee John & Janet Switzer Patricia Tangeman Emanuel & Amy Tanne Judson Taylor Sarah & Robert‡ Taylor Leif & Marjorie Terdal Shreekant & Kit Thakkar Amie Thomas Betty Thompson Philip Thor & Elizabeth Pratt Romona & Patrick Thornburgh Ms. Elizabeth Thorpe Alexander Thurber David and Lucy Anne Tillett Linda & W. Tittle Thomas & Katherine Tomaszek James & Josie Tomes Melina Tomson Elizabeth Touchon Sally Townend Wayne D. Trantow & Toni Parque Susan Auerbach Triplett Leslie & Scott Tuomi Thomas & Priscilla Turner Helen Unfred Catherine Unis Richard & Ann Uphoff Roberta & Ward Upson Susan Van Lente Barbara Van Ness Richard & Kendra Van Patten Tom Van Raalte & Pamela Peck D.T. Van Wart Fund Jerry & Thuy Vanderlinde David & Janice VanDyke Leo VanSwam Stanley Vernon & Thomas Fischer Beverly Vogt Dorothy & James Waddell Karen Wagner William and Leslie Waldman George & Marilou Waldmann Dr. Michael A. Wall Charles Wallace, Jr. Eric & Kristi Wallace Frances Walsh Nik Walton§ & Leslie Simmons§ Sandy Wang Roland Ward Richard Wasserman
JANUARY 24 - FEBRUARY 24
MARCH 28 - APRIL 28
MAY 30 - JUNE 30
AUGUST 1 - SEPTEMBER 1
OCTOBER 3 - 27
NOVEMBER 27 - DECEMBER 23
*current board ‡current musician §current staff
503.620.5262 • www.broadwayrose.org Bonnie Conger
SEASON TICKETS ON SALE NOW!
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OUR SUPPORTERS Corporate Partners The Oregon Symphony thanks these corporations for their generous contributions received from September 1, 2017, to October 12, 2018. TR ANS FO RMATI ONAL $10 0 , 0 0 0 A ND A B OV E
VIR T U O S O S O CIE T Y $5 0 , 0 0 0 – $ 9 9,9 9 9
O P U S S O CIE T Y $ 2 5 , 0 0 0 – $ 49,9 9 9
M OZ AR T S O CIE T Y $10 , 0 0 0 – $ 24 ,9 9 9
SAMUEL I NEWHOUSE FOUNDATION
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OTHE R S P ONS O R S
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THE AV DEPARTMENT
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CGC FINANCIAL SERVICES
ROCKWELL COLLINS CHARITABLE
MAGAURN VIDEO MEDIA
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DOCUMART COPIES & PRINTING
ONPOINT COMMUNITY CREDIT UNION
Runs: December Advert: Development - Encore Society
ENCORE SOCIETY Ordinary People making Extraordinary Gifts
Stephanie Eubanks McDougal Stephanie McDougal – Stevie to all who knew her – played her 1790 Thomas Dodd cello in the Oregon Symphony for nearly four decades. She loved to play, and she loved to teach, touching the lives of so many budding musicians. She had a great wit, and a laugh that was memorable. Over the years, Stevie made faithful annual donations to support our work – even including the Symphony in her estate plans. When she passed away in 2016, the Oregon Symphony received a generous “finale” from her estate – plus an encore: her beloved cello. The Oregon Symphony family is proud to honor Stevie’s gift. Please consider the Oregon Symphony as you plan your own estate. Contact Ellen Bussing: 503‑416‑6339 | email@example.com
11/6/18 1:33 PM
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orsymphony.org | 503-228-1353 49
OUR SUPPORTERS Foundation and Government Support The Oregon Symphony thanks these organizations for their generous contributions received from September 1, 2017, to October 12, 2018. GLOBE FOUNDATION
TR ANS FO RMATI ONAL $10 0 , 0 0 0 A ND A B OV E
ANN AND BILL SWINDELLS CHARITABLE TRUST
VIR T U O S O S O CIE T Y $5 0 , 0 0 0 – $ 9 9,9 9 9
JAMES AND SHIRLEY RIPPEY FAMILY FOUNDATION
O P U S S O CIE T Y $ 2 5 , 0 0 0 – $ 49,9 9 9
WILLIAM AND FLORA HEWLETT FOUNDATION
THE JAY AND DIANE ZIDELL CHARITABLE FOUNDATION
MAYBELLE CLARK MACDONALD FUND ROSE E. TUCKER CHARITABLE TRUST
M OZ AR T S O CIE T Y $10 , 0 0 0 – $ 24 ,9 9 9
HAMPTON FAMILY FOUNDATION OF OCF
ANONYMOUS (1) AARON COPLAND FUND FOR MUSIC, INC
LAMB FAMILY FOUNDATION
ROBERT & MERCEDES EICHHOLZ FOUNDATION
HERBERT A. TEMPLETON FOUNDATION
S ILVE R B ATON $ 6 , 0 0 0 – $ 9,9 9 9
JUAN YOUNG TRUST
B R ONZ E B ATON $ 4 , 0 0 0 – $5 ,9 9 9
E. NAKAMICHI FOUNDATION
COND U C TO R ’ S CIR CLE $ 2 , 5 0 0 – $ 3 ,9 9 9
CON CE R TO $1, 0 0 0 – $ 2 , 49 9
H.W. & D.C. IRWIN FOUNDATION
DAVID & LOA MASON CHARITABLE TRUST
KINDER MORGAN FOUNDATION
WHEELER FOUNDATION (WA)
TR IB U TE Tribute gifts March 17, 2017– October 12, 2018
In Memory of Dr. Michael Baird Marta Malinow In Memory of Katherine Forrest Althea Jordan In Memory of Lynn Getz-Riley Julie & Wayne Anderson Catherine Bentley Fran & Fritz Bloemker Don Carson
In Memory of Mary Rose Guimond Travel Portland In Memory of Marjorie Gray Hindman Anne Black
RESER FAMILY FOUNDATION WALTERS FAMILY FOUNDATION THE WOLLENBERG FOUNDATION
SCHLESINGER FAMILY FOUNDATION
Tom & Maggie Churchill Chase & Lynne Curtis Julie Firestone David Grainger Robert Lynn Gregory Mast Andrew & Joan McKenna Joseph & Tracy Merrill In Memory of Isabel and A. Sheridan Grass Isabel Sheridan
Don Miles Frank & Bonnie Nusser The Redd Family Karen Spangler In Memory of Mike Hertz Judith Hertz
In Memory of Arnetta Turner Ingamells Mary Tuck Eleanore Turner In Memory of Dorothy Millikan Barbara Millikan In Memory of Richard Oliverio Les Vuylsteke
WINTZ FAMILY FOUNDATION
In Memory of Gregory Pikus, Irma Lapis, and Alexander Lapis Fedor G. Pikus
In Memory of Carol Ann Sampson Frank Sampson In Memory of Sue Showalter Renée* & Irwin Holzman In Memory of Julie Underwood Jean Cauthorn In Honor of Sarah Kwak and the Oregon Symphony Kay Bristow In Honor of Dylan Lawrence Dan & Lesle Witham
Artist: Volunteer Appreciation
Encore Society The Oregon Symphony Encore Society was established to thank and recognize those generous individuals who have remembered the Oregon Symphony in their estate plans. For more information, please contact the Development Office at 503-416-6325. Anonymous (10) Markus Albert Kirby & Amy Allen Margaret A. Apel Margaret & Scott Arighi Laurel Bardelson Lynda R. Bell Steve & Patt Bilow Leola J. Bowerman Dean Boyd & Susan Wickizer John & Yvonne Branchflower Steve & Kristine Brey Ellen E. Bussing§ Craig & Karen Butler Elaine Calder & William J. Bennett Carl & Connie Clark Helen Kirkpatrick+ Debi Coleman Terry & Peggy Crawford Dr. Jim Darke Niel B. DePonte‡ Ginette DePreist Jess Dishman Allen L. Dobbins William Dolan & Suzanne Bromschwig Clarke Donelson Kay Doyle Gerard & Sandra Drummond Bill* & Karen Early Herman Taylor & Leslye Epstein Judith M. Erickson The John S. Ettelson Fund of ocf George Fabel Louise P. Feldman Beulah Felt+ Bill Findlay+ Ed Reeves & Bill Fish Harry & Gladys Flesher Mark Gardiner & Mary Nolan Robyn Gastineau* Jim & Karen Halliday Susan Halton Betsy & Gregory Hatton Diane M. Herrmann Carol Herron Henry M. Hieronimus Rick* & Veronica Hinkes Renée* & Irwin Holzman Donna Howard Beth & Jerry* Hulsman Judy & Hank Hummelt Anne & Charles Jochim Karen & Keith Johnson Dennis Johnson & Steven Smith Susie Kasper Richard & Ruth Keller Georgia A Koehler Sally & Tom Kuhns Kyle & Marcia Lambert Wayne & Carolyn Landsverk Barbara A. Lee Fernando & Dolores Leon Cary & Dorothy Lewis Ardath E. Lilleland
A. G. Lindstrand Lynn & Jack Loacker Linda & Ken Mantel Michele Mass & Jim Edwards Dr. Louis & Judy McCraw Roger & Pearl McDonald Stephanie McDougal+ Duane & Barbara McDougall Edward+ & June McLean Sheila McMahon Karen McNamee Ruben J. & Elizabeth Menashe Robert & Violet Metzler Bruce F. Miller Mia Hall Miller Hannelore Mitchell-Schicht Richard Patrick Mitchell Carol N. Morgan Christi R. Newton Ann H. Nicholas Minerva T. Nolte, M.D. + Ann Olsen Roger N. & Joyce M. Olson Marianne Ott Jane S. Partridge Janice E. Phillips Arnold S. Polk Harold & Jane Pollin David Rabin Tom & Norma Rankin Richard & Mary Raub Barbara Perron Reader William L. & Lucille Reagan+ Mary & Mike Riley Peter Rodda & Vincenza Scarpaci Betty Roren Walt Rose Janet Plummer§ & Don Rushmer Betsy Russell William C. Scott Sara Seitz Sherry Robinson & Steve Shanklin Richard Kaiser & Virginia Shipman Scott Showalter§ V. L. Smith & J. E. Harman George & Molly Spencer Anne Stevenson Mrs. John Stryker Henry Swigert Diane Syrcle & Susan Leo Bruce & Judy Thesenga Mike & Diana Thomas Leslie & Scott Tuomi Linda & Stephen VanHaverbeke Randall Vemer John & Frances von Schlegell Les Vuylsteke Joella B. Werlin Jack* & Ginny Wilborn Gary Nelson Wilkins Roger & Kathleen Wolcott Nancy Wolff & E. David Booth + in memorium
THANK YOU TO OUR VOLUNTEERS The Oregon Symphony gratefully acknowledges the work of the volunteers and organizations who give their time and talent to support our work on the stage and in the community. Volunteer Organizations: Friends of the Oregon Symphony | Parties of Note
Individual Volunteers: Bob Abbey Julie Adams Sara Amend Mary Lou Anderson Amy Barnhart Joe Bashaw Joy Belcourt Lynda Bell Diana Blebea Sorin Blebea Bob Boster Julie Bowker Kay Bristow Justin Burton Lars Campbell Joe Cantrell Madeleine Denko Carter Louise Choate Laura Coddington Diane Collier
Robert Costello Rhonda Costello Kay Courtney Wendy Craig Kayla Dunn Charlene Dunning Loris Eastman Elizabeth Eklund Harold Englet Alyson Evans Greg Filardi Laura Fitzpatrick Heidi Fox Susan Franklin Pamela Freedman Ladan Ghahramani Bryan Gilchrist Keith Haberman Cleo Hehn Whitney Henion
Carol Herzberg Lynne Heuberger Allison Howard Beth Hulsman Joyce Iliff Donna Internicola Joan Jozwiak Isaac Kindel Lois King Richard Kolbell Gary Kruger Martha Kruger Suellen Lacey Lauren Le Catherine Levi Val Liptak Jim Liptak Katherine Lynch Pam Mahon Vicky Mainzer Phil Mandel Nancy Markin
Sylvia Marks Priscilla Maughn Ocha McGowen Airin Miller Pam Mlady Sue Morgan Rebekah Morris Danny Nelson Greg Nissl Stephanie Noble Karen Oxendine Pat Peterson Bob Phillips Leslie Phillips Michael Powers Ellen Pullen Dick Raub Mary Riley Michael Riley Charlie Rogers Don Rushmer Mari Schay
Lucy Minett Shanno Allison Silverberg Jill Simmonds Ross Simmons Wendy Simmons Bill Slater Carol Sloan Justin Smith Susan Steele Bill Steele Genevieve Stevens-Johnson Teresa Tse Emily Tucker Sue Ulbricht Ken Wells Valerie Whittlesey Leslie Wong Sheryl Wood Susan Wright Agnes Zueger
Interested in getting involved? Contact firstname.lastname@example.org to learn more.
11/5/18 3:44 PM
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503.223.1513 orsymphony.org | 503-228-1353 51
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THEN & NOW
The Portland Oregon Sign Past & Present 1986
White Stag Sign, 12/18/1986, Daily Journal of Commerce, Greg Paul. Bb001709.
Courtesy of Scott M.
The Hirsch-Weis Manufacturing Co. moved into its newly constructed warehouse and manufacturing facility at the corner of what is now nw Naito Parkway and w Burnside Street in 1907. Harold, the son of one of the Hirsch brothers who founded the business with Harry Weis, launched an offshoot of the business in 1931 using the factory resources to produce ski apparel. He named his venture White Stag (a transposed, literal German translation of the original company name). Meanwhile, in 1940, White Satin Sugar rented space on the roof of the factory to place a 50-by-52-foot, glowing silhouette of Oregon surrounding text that read “White Satin Sugar.” By 1956, White Stag overtook Hirsch-Weis and went public, reporting revenues of $14 million in 1958. Amidst the transition, White Stag purchased the sign in 1957, changed the text to its own name, and added a leaping stag. The stag’s neon nose changed from white to red annually during the holidays, even as the text changed to “Made in Oregon” in 1997 when that company purchased the sign. The city of Portland acquired the sign in 2010 and changed the text once more to “Portland Oregon Old Town.” The sign remains an icon of the city and the glowing snout a beloved harbinger of the holidays.
Historic photographs for this series are provided by the Oregon Historical Society, a museum, research library, archive, and scholarly asset located in the heart of Portland’s Cultural District. View more photos of historic Portland on the new ohs Digital Collections website at digitalcollections.ohs.org/ portland-cityscapes.
Have an anecdote or old school photograph of you posing in front of the sign? Post it! Don’t forget to tag #Artslandia and #ThenAndNow.
orsymphony.org | 503-228-1353 53
IN THE SPOTLIGHT
women in charge
The Armoryâ&#x20AC;&#x2122;s Fuhrman & Wolf
by Marty Hughley
Cynthia Fuhrman, managing director, and Marissa Wolf, artistic director of Portland Center Stage at The Armory. Photo by Christine Dong.
in 1988, when the Oregon Shakespeare Festival agreed to open a northern branch in Portland, one of the staff members sent to launch the project was a young pr and marketing whiz named Cynthia Fuhrman. In 2017, after holding various positions within that company – which spun-off in 1994 as Portland Center Stage – and at other organizations, Fuhrman became managing director of pcs. In the late summer of 2018, a young director and play-development specialist named Marissa Wolf left Kansas City Rep to replace Chris Coleman as Portland Center Stage’s artistic director. Together, Fuhrman and Wolf will lead what has become one of the most prominent regional theaters in the country into its fourth decade. Shortly after Wolf’s arrival, they each sat down with Artslandia to talk about how they arrived at this point and where they’re ready to take things. The following is excerpted from those conversations.
what drew you to theater and to the kind of work you do? fuhrman: When I was in high school, I had a teacher who took us to osf on a field trip; that was the first professional theater I’d ever seen. Then I went to college in London and saw tons of theater there. The summer I finished my master’s degree, at Southern Oregon State College, I was living in Ashland, didn’t have a job, and had no clue what I wanted to do. The way I occupied myself that summer was going to different park talks at the festival where they’d have staff members outside the Lizzy (the Elizabethan) talk about what they do. There was a guy talking about writing press releases, working with the press when they visited, occasionally teaching a class about Shakespeare. I thought, “I could do all those things.” Even though I’d been a theater fan, it never occurred to me there were jobs in theater other than being an actor or making costumes. Then he mentioned that he was moving at the end of the summer, and I thought, “Oh! Job opening!”
wolf: It goes back to when I was 3 years old, and I saw Goldilocks and the Three Bears performed for a children’s theater in Connecticut. My parents tell
me that I was completely riveted; I barely blinked. And that after the play I cried because it was over. Then, in what I think was my early director coming out, I made my mom act it out with me over and over. She tells me that I kept saying, “That’s not the right line!” All of my earliest memories are of me knowing I would be in theater. Like a lot of directors and producers, I started as an actor, because that’s what you see and what you think theater is at first. I just consumed as much theater as I could – read, watched, did a lot of plays in my public schools. It wasn’t until college that I realized I was a director. That was a powerful time, learning to look at, shape, and question a whole world onstage, instead of just one character. Even as a young person, the questions of why this is relevant, why must this be told onstage now, felt immediate to me. I felt frustrated as an
it’s a really powerful, thrilling moment to look at each other – across the nation – and say, ‘now, let’s do this together.’” actor, feeling like I wasn’t positioned in the room to ask that question. I am so much a new-play director. I love to bring a playwright’s work to life, to honor what’s on the page and make it live and breathe in the room. I find that collaboration exhilarating, as the playwright and director work together to make the play sing.
has theater been a conducive environment for you as a woman? fuhrman: I started working in theater 36 years ago. Looking back at the first eight or nine years, I think it was not friendly to women. Even though my first boss in Ashland was a woman,
the powers she reported to were all men. It was the ‘80s, and I think there still was a lot of sexism: Men rule, women are pretty. I don’t think I was ever disrespected for what I could do in my job, but it was very much a male-run organization. That was partly the times. I left to go to StageWest, in Massachusetts, and the Artistic Director there was Gregory Boyd, one of the most prominent artistic directors ousted in the past year – he was running the Alley Theater in Houston – because of #MeToo. In 1988, while I was working at StageWest, a group of staff, both men and women, met with the board to complain about his leadership. We didn’t have the language then. People didn’t say things like “toxic environment,” “sexual harassment.” But it was not a pleasant place to work; people felt uncomfortable, threatened. And in those days, nobody knew how to respond. It was just, “Well, we’ll talk to him.” Then six months later, he gets one of the top jobs in the country, and he’s there for 32 years. So that’s the kind of environment I started in, but I think that’s changed radically over time – although there are still things to change. Of the lort (League of Resident Theaters) companies – and we’re one of those – two years ago, 14 percent were led by women Artistic Directors. As of now, that’s 38 percent, and it’s changing almost daily. There’s a generation that’s starting to retire, so there are lots of openings. So it’s interesting to me to think about how the field is going to change now that we’re seeing not only more women in leadership but also the generational change that we’re finally making room for. What kind of energy are they going to fuel each other with?
wolf: I will say that when I was starting out, trying to figure out how to build a career, with the goal of being an artistic director at a lort theater, I looked around the country and felt a bit demoralized by the lack of female leadership. And that number (of Artistic Directors) shrinks way down when you talk about women with >>> CONTINUED ON PAGE 56 orsymphony.org | 503-228-1353 55
<<< CONTINUED FROM PAGE 55
An hour from Portland. A world away.
Discover the Black Walnut. WWW . BLACKWALNUTVINEYARD . COM
children. I knew I wanted a kid, and I have one now. I spent a lot of time thinking about it, asking questions, and seeking mentorship and models. Now, I’m proud to be part of this cohort of new female leadership across the country. We’ve all been talking to each other for 10 years. It’s a really powerful, thrilling moment to look at each other – across the nation – and say, “Now, let’s do this together.”
when did you start to see running a company as both a goal and a possibility? fuhrman: I remember Liz Huddle, who ran pcs its first four years, was the first person who told me, “You should run a theater.” When we split off from osf, we were on skeleton staff. So my last year in that stint there, my title was Director of Marketing & Communications/Dramaturge & Literary Manager. So I think she saw someone who was an administrator and had a business mind but also had a strong connection to the work that goes onstage. My reaction at the time was, “I don’t want to run a theater!” Because the management side, I felt, was so removed from the art – dealing with money, donors, contracts. What I loved about doing the marketing and public relations was that I felt those were the administrators who were closest to the art, dealing with the artists to try to interpret for the public what they were trying to do. Later, when I was at Seattle Rep, my mentor there, Ben Moore, approached the Managing Director job as more of a producer, and I began to see that you could do that job without losing the connection. But it was only about four years ago that I began to think, “Maybe…” “I’ll give Chris credit. After Greg Phillips left in about 2009, we didn’t have a Managing Director, and Chris was the sole head of the organization. He had to rely on us as a team, and I started diving in with him more on bigger-picture strategy, planning and ideas, and I realized that’s a great way to support artists as well.
Photo by Dan Kvitka.
he mural depicted, Pambiche, was completed in 2011 by Emily Beeks and Rachel Oleson. It “is a cultural depiction of Cuba, inspired by its history, people, and traditions. It blends Cuba’s unique music, dance, architecture, historical figures, and natural beauty. The mural gives visibility to the historically misconstrued people and culture of Cuba and provides an educational opportunity for the community at large,” according to Oleson. The
colorful display, funded by the Regional Arts & Culture Council along with private donations, is located in an area of Portland frequented by Cuban refugees. The iconography depicted includes La Virgen de la Caridad del Cobre (Our Lady of El Cobre) – The Virgin of Charity and patroness of Cuba – and the myth of her guiding islanders to safety; famed Cuban singer Benny Moré; salsa great Celia Cruz; sugarcane, Cuba’s principal crop; and the Cuban coat of arms.
Of the work, Oleson told Artslandia, “It was an honor to be part of the collaborative process of visually bringing to life the stories behind this mural. From our shared impression of the massive wall with challenging architecture to the natural dovetailing of our individual styles as we pieced together ideas, Emily and I were committed to taking viewers on a journey through some of Cuba’s beloved history.”
Congratulations to Caroline Oblack, winner of the Art Dept contest for correctly identifying the location of Capax Infiniti by Faith XLVII. Enjoy your Artslandia Box, Caroline! For your chance to win, email email@example.com with the location of the mural featured above.
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ON A HIGH NOTE You might consider asking Charles Reneau to share some breath control techniques before reading on, as the recitation of his career highlights is enough to leave anyone breathless. The bass trombone virtuoso joined Oregon Symphony in 2007 after earning degrees in music performance from University of Georgia and Juilliard. In addition to a season with the Honolulu Symphony, his performance record includes the symphonies of Seattle and Atlanta, the Seattle and Metropolitan operas, the Israel Philharmonic, and a number of notable orchestras. A twotime winner of the u.s. Army Band’s Bass Trombone Solo Competition, he also took the top spot at the International Trombone Association’s Donald Yaxley Bass Trombone Competition and the Minnesota Orchestra’s Zellmer Trombone Competition. Reneau has been a member of the faculty at Portland State University since 2009, a regular coach for the Portland Youth Philharmonic since 2007, and a private instructor since 2002.
What led you to choose the bass trombone as your instrument? I took piano lessons as a child, but my mother made me join the middle school band during the 8th grade. I threatened to run away, but Mom always wins. I played trombone for several years before getting braces that made it hard to play in the high register, so I switched to bass trombone. As it turns out, the bass trombone parts in an orchestra are more fun than the other trombone parts and less stressful, too! I was hooked. How does the experience of playing in a festival compare to playing in a traditional orchestra setting? I love getting to play with a different bunch of players during my summer work – brass players are cool people. It’s a more social experience, too, because many of us are away from home and have free time to relax.
Oregon Symphony trombone/bass trombone
Photo: Christine Dong, Artslandia.
The accomplishments of your students are exceptional, including the award of scholarships to Northwestern, Columbia, Central Washington University, and the University of Oregon. What draws you to work with young musicians? My grandfather, grandmother, mother, father, and brother are all music educators. I grew up hearing my mother and father’s students play their lessons in the living room. I could say that I didn’t have a choice, but that’s not quite right: I chose to be a musician because I get to work with some of the world’s most exceptional people, in service of a great cause. What role do you think music education plays for youth? What are your thoughts on the current state of music instruction in our public education system? Youth can be stressful, and I think that every kid needs some central pursuit to keep their life focused and purposeful. For a lot of kids, that can be sports, academics, or faith. For others, music provides a central obsession or love. It’s our job as adults to find that activity for each student, and my job as a music teacher is to make sure my students work their hearts out for the love of music. What keeps me going is the one-on-one mentorship I experience with my students. While, on the surface, I’m teaching how to play trombone, deep down I’m teaching these kids to be engaged citizens, critical thinkers, and clear communicators. I think my greatest joy is teaching the high school students who have decided that they’d like to become music educators themselves because, in that case, transmitting my enjoyment of organized sound is the whole point. Regarding music in the public schools, we suffer from two challenges: disinvestment in arts programs and 21st-century distractions. A lot of schools in the suburbs and down the valley have robust programs, such as the SalemKeizer school district, but I feel pps could do a better job of supporting its music educators and band/orchestra programs. Second, when every high
school student carries a highly addictive electronic entertainment machine in their pocket, we educators have to work much, much harder to inspire them to interact with the real world. Since the real world is challenging (and learning an instrument is even more challenging), and online distraction is very easy, we have to keep the students engaged and enthused without dumbing down our artistic goals. As a culture, we ought to be plowing as many resources as we can afford into getting kids off of their screens and out into the real world, whether that’s performing on their trombone, playing with sharp things in shop class, or riding through the forest on a mountain bike. How much time do you spend practicing in a week? Where do you practice most often? I have a basement practice space where I can spread out and make noise. Thank goodness I live in a house! My practice schedule varies with the season and ranges from a minimum of seven hours a week to about 21 hours a week. If you could master any other instrument in addition to the trombone, what would it be? Guitar. No question. As much as I like the trombone, it’s not an instrument that I could take to, say, a hospital or bar and play to entertain people for an hour. The bass trombone is one of the more fun orchestral instruments, but for portability and sonic potential, the guitar has just about all the other instruments beat! Aside from music, what do you like to do for fun? In the mountains, I like to ski crosscountry, backcountry, and skimountaineer; hike and backpack; climb; mountain bike; and shoot film photography. Around the home, my wife and I have a large garden and orchard on our double lot, so there’s lots of pruning, watering, harvesting, and other associated homesteading activities.
Mainstage in Portland Monday, December 10 at 7:30 p.m. Arlene Schnitzer Concert Hall Tickets at Portland5.com
Literary Arts and The Moth are bringing a new lineup of storytellers to Portland. Reserve your seats early and experience unforgettable stories told live!
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#AR T SL ANDIAWA SHERE @kelsey.leonard
educationofpj When your favorite part of the weekend involves two underage gangsters, some contemporary dance, and these smiles. Thank you @whitebirddance and @pilobolus! #bestoforegon #kidsbabylove #oregonexplored #portlandnw #kidfashmagazine #ig_fashionkiddies #momtogs #exploreoregon #exploregon #faces obsessed #pixel_kids #pdxkids #freshface #futurefaces #giantjr #instakids #jrmodelmag #ArtslandiaWasHere
kelsey.leonard The beauty of improv is you can look back and have no idea what you created. A completely unique moment in time. Thanks @nicholestewart_hairdesign for the picture. #tapdance #themanwhoforgot #pta #portlandtapalliance #capezio #k360 #tap #tapdancer #portland #ArtslandiaWasHere #artslandia #oregon #performingarts #dancing #culture #happyfeet
artslandia ON SET: A tiny sneak peek of our adventures with @stormof69, @jimmie_herrod, and @hunternoack today. They are “doubling the love” for @orculturaltrust’s 4th quarter campaign. Official promo video coming soon! #ArtslandiaWasHere #pdx #pdxarts #stormlarge #oregonculturaltrust #impact Use hashtag #ArtslandiaWasHere on your social media posts, and they could end up here!
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O N A N U N R E L AT E D N O T E PATRICK WAL SH Stage Director Patrick Walsh kicked off 2018 with a run of his adaptation of Chekhov’s Three Sisters at Northwest Classical Theatre Collaborative. He’s recently completed a project to bring a production of The Iliad to correctional facilities in Oregon. For more information about Walsh’s work connecting incarcerated adults to theater, contact him through his website: patrickwalsh.org.
Susannah: What’s the most interesting thing you’ve seen or read this week? Patrick: I am reading a book right now called There There by Tommy Orange, which is absolutely fantastic. I got it from the library. It’s all about the modern Native American experience and is helping me look at the world in a different way than I have before. It’s Orange’s first novel; he’s just graduated from his mfa program.
This podcast transcript has been edited and condensed for print.
UPCOMING GUESTS: Scott Showalter BodyVox Fear No Music Jennifer Gritt, Pittock Mansion
HAVE AN ADVENTURE IN ARTSL ANDIA? EMAIL SMARS@ARTSL ANDIA .COM.
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“This is how you bring Jane Austen to the stage ... irresistible.” - The Washington Post
This bold theatrical experience is an Austen-tatious delight!
Portland Center Stage at
JAN. 12 – FEB. 10 503.445.3700 | pcs.org
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SEEN ON THE SCENE
Antonio Sonera, director, and Steve Knox, executive producer, of Lakewood Theatre Company.
Patrons playing Oregon Cultural Trust’s Make a Match game before the show.
Bill & Barbara Warner, Inherit the Wind sponsors.
Portlanders lined up bright and early to see Tom Hanks at the Portland Book Festival.
A packed house made for palpable anticipation!
Tom Hanks onstage with New York Times literary critic Parul Sehgal.
Attendees enjoying the art of mingling.
Young Patrons Society members and Portland Opera staff.
Hannah Penn, former Portland Opera resident artist.
OPENING NIGHT OF INHERIT THE WIND
LITERARY ARTS PORTLAND BOOK FESTIVAL 2018
f irst row of photos
second row of photos
PORTLAND OPERA’S YOUNG PATRONS SOCIETY
Artslandia and the Oregon Cultural Trust brought the Double the Love campaign to Lakewood Theatre for the opening night of Jerome Lawrence and Robert E. Lee’s enduring courtroom drama.
This year’s event, presented by Bank of America, featured 100+ authors who presented on 9 stages, pop-up readings throughout the Portland Art Museum galleries, and 13 writing workshops.
Artslandia spent a lovely evening at WeWork for a fabulous pre-season social for young arts lovers and theatergoers.
Don’t forget to tag #Artslandia and #ArtslandiaWasHere on your event photos for the chance to be featured!
third row of photos
PHOTO CREDITS: Max McDermott, Artslandia (Inherit the Wind Opening Night and Young Patrons Society). Katrina Ketchum, Artslandia (Portland Book Festival).
A PASSION FOR SHARING ART
FOR ALL OUR FRIENDS IN PORTLAND, we want you to know about our exhibition
program. If you happen to be nearby, please stop and visit these wonderful museums! If you have friends or relatives near these museums, ask them to visit these exhibitions! — Jordan D. Schnitzer
Second Look, Twice Museum of the African Diaspora San Francisco, CA September 21 – December 16, 2018
Amazing!: Mel Bochner Prints Philbrook Museum of Art Tulsa, OK October 14, 2018 – January 6, 2019
Witness: Themes of Social Justice in Contemporary Printmaking and Photography Hallie Ford Museum of Art Salem, OR September 15 – December 20, 2018
Enrique Chagoya: Reverse Anthropology Hallie Ford Museum of Art Salem, OR November 3, 2018 – January 27, 2019
Terrain: The Space Between Schneider Museum of Art Ashland, OR September 27, 2018 – January 5, 2019
OPENING SOON! Social Space Jordan Schnitzer Museum of Art at Washington State University Pullman, WA January 15 – March 16, 2019
Since 1997, the Jordan Schnitzer Family Foundation has organized over 160 exhibitions and has had art exhibited at over 110 museums across the country. We provide exhibitions at no cost, pay for shipping and brochures and most importantly, fund outreach programs bringing in students, seniors, and special needs individuals. We especially take pride in helping lower income families be able to visit these exhibitions at no cost.
NEVER STOP DISCOVERING
See. Feel. Climb. First in. Last out. Look around corners. Look in crannies. Go down dark alleys. Lose yourself. Catch a lift. Push boundaries. Break new ground. Turn things inside out. Go walk about. Get set. Go after the goosebumps. Never Stop Discovering. Designed and engineered to meet any challenge or opportunity in the great Northwest. Visit Land Rover Portland to experience the 2019 Discovery. Land Rover Portland A Don Rasmussen Company 720 NE Grand Avenue 503.230.7700 landroverportland.com