InSymphony February 2019 by Artslandia

FEBRUARY 2 019

the magazine of the

Oregon Symphony

Simone Lamsma FE ATURED CONCER T S Hansel and Gretel Kodo – One Earth Tour 2019: Evolution D vořák’s Eighth Symphony V alentine’s Day with Smokey Robinson H arry Potter and the Prisoner of Azkaban™ in Concert R achmaninoff’s Second Piano Concerto

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the map is not the territory FEB 9 – MAY 5, 2019 EIGHT NORTHWEST ARTISTS EXPLORE PLACE AND BOUNDARIES.

Anette Bellamy Fernanda D’Agostino Jenny Irene Miller Mary Ann Peters Ryan Pierce Robert Rhee Henry Tsang Charlene Vickers

portlandartmuseum.org CLOCKWISE: Anette Bellamy, Moving Mountains, 2017 10 ft. T X 12 ft. W Stoneware, UV resistant line, stainless pins and epoxy Photo by Chris Arend; Fernanda D’Agostino, Borderline, 2018, 2 projectors, 13 scenes set up in a software to combine imagery in a 169 combinations; Ryan Pierce, The Free Museum, 72 x 72 inches. Flashe and spray paint on canvas over panel, 2016; Robert Rhee, Occupations of Uninhabited Space, 2013-2018, Gourd, brass-plated steel; 7x 8 x 10 inches, Photo by Fritz Rodriguez, Artwork courtesy of Steve Shane; Jenny Irene Miller, Andrew Jake Miller, 2016, 11x17, 24” x 18” framed photo Digital pigment print.; Charlene Vickers, Ominjimindaan/ to remember, Installation of Diviner’s cedar spears, fabric wrapped grasses with hair, turtles, and 2 video works, Wauzhushk Onigum and Occupy Anishinabe Park 1974 at Urban Shaman art space in Winnipeg, Manitoba 2012. Photo credit: Urban Shaman, Winnipeg, MN courtesy: C. Vickers; Mary Ann Peters, this trembling turf (the waters) courtesy the artist and James Harris Galleryphoto: Rafael Soldi; Henry Tsang, Tansy Point View 3

CONTENTS FEBRUARY 2019 12

Feature

about us LETTER FROM THE PRESIDENT 7 CONDUCTORS 9 ORCHESTRA, STAFF & BOARD 10 RECOMMENDED RECORDINGS 41 OUR SUPPORTERS 42

Pablo Sáinz Villegas

featured

Hansel and Gretel

PABLO SÁINZ VILLEGAS 12 STEEL BRIDGE 49 JOY FABOS 50 UNTITLED MURAL 54

performances HANSEL AND GRETEL 14 Kodo – One Earth Tour 2019: Evolution

FRIDAY, FEBRUARY 1, 7:30 PM S ATURDAY, FEBRUARY 2, 7:30 PM MONDAY, FEBRUARY 4, 7:30 PM

Dvořák’s Eighth Symphony

KODO – ONE EARTH TOUR 2019: EVOLUTION 22 TUESDAY, FEBRUARY 5, 7:30 PM

DVOŘÁK’S EIGHTH SYMPHONY 24 SATURDAY, FEBRUARY 9, 7:30 PM SUNDAY, FEBRUARY 10, 2 PM MONDAY, FEBRUARY 11, 7:30 PM

VALENTINE’S DAY WITH SMOKEY ROBINSON 30 THURSDAY, FEBRUARY 14, 7:30 PM Valentine’s Day with Smokey Robinson

arry Potter and the Prisoner H of Azkaban™ in Concert

Feature

HARRY POTTER AND THE PRISONER OF AZKABAN™ IN CONCERT 32 SATURDAY, FEBRUARY 16, 7:30 PM SUNDAY, FEBRUARY 17, 2 PM & 7:30 PM

RACHMANINOFF’S SECOND PIANO CONCERTO 36 SATURDAY, FEBRUARY 23, 7:30 PM SUNDAY, FEBRUARY 24, 7:30 PM MONDAY, FEBRUARY 25, 7:30 PM

Rachmaninoff’s Second Piano Concerto

Joy Fabos

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: Simone Lamsma

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LETTER FROM THE PRESIDENT Dear Friends, Throughout the 2018/19 Season, Oregon Symphony has focused on stories and the ways in which creative storytelling illuminates our lives. This month, we present Hansel and Gretel (February 1, 2, and 4), the second installment of our SoundStories series. Theatrical shadow puppetry from Manual Cinema enhances the operatic tale and reveals both the light-heartedness and the dark edges of this enduring fable. The drama continues with Kodo delivering an exhilarating performance on taiko drums (February 5). Then, Dvořák’s Eighth Symphony evokes European folk music in a piece that’s both playful and introspective (February 9–11). On Valentine’s Day, legendary singer-songwriter Smokey Robinson joins the orchestra with romantic and soulful hits from his Motown career (February 14). In our Popcorn Package this month, Harry Potter and the Prisoner of Azkaban™ in Concert continues the epic of the young wizard’s adventures (February 16–17). Finally, in the Classical Series, Marc-André Hamelin returns to Oregon Symphony to perform Rachmaninoff’s intense and exhilarating Second Piano Concerto (February 23–25). Throughout the school year, Oregon Symphony supports elementary classrooms around the area with music curriculum and instruction. In February and March, our annual Link Up program culminates in three interactive concerts. We will welcome 8,100 students and teachers from 54 schools to Arlene Schnitzer Concert Hall to sing and play along with the orchestra.

Oregon Symphony seeks to bring you music that inspires the imagination.” 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.

Please share your stories with us on social media with #SoundStories.

@OregonSymphony Scott Showalter president & ceo

orsymphony.org | 503-228-1353

Great concerts in March

Norman Huynh

2018/19

Green Eggs and Ham

Pablo Villegas

MARCH 3

MARCH 16, 17 & 18

Norman Huynh, conductor Pam Mahon, narrator Dance West Pacific Youth Choir

Carlos Kalmar, conductor • Pablo Sáinz Villegas, guitar Brahms: Serenade No. 1 • Stephen Goss: The Albéniz Concerto Turina: Danzas fantásticas

The lights go down, the music starts, the snare drum sets a steady march. One beat, Brilliant, passionate, and abundantly two beats, three beats, four – it’s Dr. Seuss’ charismatic, Pablo Sáinz Villegas never tales and more! fails to make audiences jump to their feet. Known as “the soul of Spanish guitar,” the superstar returns to perform music inspired by the great Iberian composer MARCH 9, 10 & 11 Isaac Albéniz. Carlos Kalmar, conductor • Sarah Kwak, violin * The Percussion Collective Robert van Sice MARCH 22

Mendelssohn’s “Italian” Sarah Kwak

Coraline in Concert

Wagner: The Flying Dutchman Overture * Christopher Theofanidis: Drum Circles (World premiere) • Vaughan Williams: The Lark Ascending Mendelssohn: Symphony No. 4, “Italian” Pablo Sáinz Villegas

Coraline in Concert

Mendelssohn’s radiant “Italian” Symphony remains one of the most elegant works ever written. Vaughan Williams’ ethereal “pastoral romance” bursts with lush lyricism for solo violin, eloquently performed by our own virtuosic concertmaster, Sarah Kwak.

Norman Huynh, conductor While exploring the rambling old house her family recently moved into, Coraline finds a hidden door leading to a fantasy version of her boring life. But to remain in this ideal world, she must make a frighteningly real sacrifice. Celebrate the 10th anniversary of Coraline, created by Portland’s own laika, with the visually stunning film projected on the giant screen while the Oregon Symphony performs Bruno Coulais’ haunting soundtrack live.

Unforgettable: 100 Years of Nat and Natalie Cole MARCH 23 & 24 Jeff Tyzik, conductor Dee Daniels and Denzal Sinclaire, vocals

Dee Daniels

A Nat and Natalie Cole revue starring powerhouse vocalist Denzal Sinclaire and diva Dee Daniels. Relive the finest in classic jazz, from “Stardust” and “Unforgettable” to “Superstition” and “Mona Lisa.”

orsymphony.org 503-228-1353 your official source for symphony tickets MOVING MUSIC FORWARD

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. Norman 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 Norman 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, New York, 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

CE LLO

H O RN

Carlos Kalmar Jean Vollum music director chair

Nancy Ives, Mr. & Mrs. Edmund Hayes, Jr. principal cello chair Marilyn de Oliveira, assistant principal Seth Biagini Kenneth Finch Trevor Fitzpatrick Antoinette Gan Kevin Kunkel

John Cox, principal Joseph Berger, associate principal Graham Kingsbury, assistant principal Mary Grant Alicia Michele Waite

A S S O CIATE COND U C TO R Norman Huynh Harold and Arlene Schnitzer associate conductor chair PR IN CIPAL P O P S COND U C TO R Jeff Tyzik VI O LIN Sarah Kwak, Janet & Richard Geary concertmaster chair Peter Frajola, Del M. Smith & Maria Stanley Smith associate concertmaster chair Erin Furbee, Harold & Jane Pollin assistant concertmaster chair Chien Tan, Truman Collins, Sr. principal second violin chair Inés Voglar Belgique, assistant principal second violin Fumino Ando Keiko Araki Clarisse Atcherson Ron Blessinger Lisbeth Carreno Ruby Chen Emily Cole Julie Coleman Eileen Deiss Jonathan Dubay Gregory Ewer Daniel Ge Feng Lynne Finch Shin-young Kwon Ryan Lee Samuel Park Searmi Park Vali Phillips Deborah Singer 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

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BASS Colin Corner, principal Braizahn Jones, assistant principal Nina DeCesare Donald Hermanns Jeffrey Johnson Jason Schooler FLU TE

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

Martha Long, Bruce & Judy Thesenga principal flute chair Alicia DiDonato Paulsen, assistant principal Zachariah Galatis

B A S S TR OMB ONE

PI CCO LO

TIMPANI

Zachariah Galatis

Jonathan Greeney, principal Sergio Carreno, assistant principal

OBOE

Charles Reneau TUBA JáTtik Clark, principal

PE R CU S S I ON

Martin Hébert, Harold J. Schnitzer principal oboe chair Karen Wagner, assistant principal Kyle Mustain

Niel DePonte, principal Michael Roberts, assistant principal Sergio Carreno

ENGLI S H H O RN

HAR P

Kyle Mustain

Jennifer Craig, principal

CL AR INE T

LIB R ARY

James Shields, principal Todd Kuhns, assistant principal Mark Dubac

Joy Fabos, principal Kathryn Thompson, associate Sara Pyne, assistant

B A S S CL AR INE T

O R CHE S TR A PE R S ONNE L MANAGE R

Todd Kuhns

Leah Ilem

B A S S O ON Carin Miller Packwood, principal Evan Kuhlmann, assistant principal** Adam Trussell CONTR AB A S S O ON Evan Kuhlmann**

* 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 of 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 Allison Bagnell, senior graphic designer 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 Meagan Bataran, annual fund director 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, annual giving manager MAR KE TING , COMMUNI C ATI ONS & S ALE S Ethan Allred, marketing and web content manager Liz Brown, marketing partnership and group sales manager Katherine Eulensen, audience development manager John Kroninger, front of house manager Lisa McGowen, patron communications manager Rebekah Phillips, director of marketing, communications, and sales O PE R ATI ONS Jacob Blaser, director of operations Monica Hayes, education and community engagement program director Susan Nielsen, director of popular programming and presentations Steve Stratman, orchestra manager Lori Trephibio, stage manager Jacob Wade, manager, operations and artistic administration

TI CKE T O FFI CE Rachel Allred, patron services representative Adam Cifarelli, teleservices manager Karin Cravotta, patron services representative Alison Elliot, patron services representative Rebecca Van Halder, patron services representative Emily Johnstone, patron services representative Chris Kim, patron services representative Cleo Knickerbocker, patron services representative Nils Knudsen, assistant ticket office manager Christy McGrew, ticket office manager Carol Minchin, patron services representative Amanda Preston, patron services representative Robert Trujillo, patron services representative Ashley Weatherspoon, patron services representative Frances Yu, lead patron services representative

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 Janet Blount Christopher M. Brooks Eve Callahan

Cliff Deveney Dan Drinkward Greg Ewer Lauren D. Fox Robyn Gastineau Suzanne Geary Ralph C. Hamm III Jeff Heatherington J. Clayton Hering Rick Hinkes RenĂŠe Holzman Sue Horn-Caskey Judy Hummelt 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

orsymphony.org | 503-228-1353 11

F E AT U R E D A R T I C L E

PABLO SÁINZ VILLEGAS by Elizabeth Schwartz With his mop of curly brown hair, a scruffy but well-trimmed beard, and a winning smile, guitarist Pablo Sáinz Villegas is warm and gregarious by nature, instantly likeable. And, to borrow a quote from composer John Corigliano, he plays like a god. With all that going for him, it’s no wonder Villegas turns heads and fills halls wherever he goes. Next month, he returns for his third appearance with the Oregon Symphony to perform a guitar concerto by Welsh composer Stephen Goss.

interpretation of the music of Albéniz. It’s well-constructed with beautiful unity, and at the same time, it’s the music of Albéniz, so it’s very Spanish.

Christians expelled the Moors from the kingdom of Granada]. During this period, many cultures lived together in Spain: Muslims, Christians, and Jews.”

“Goss uses very impressionistic sounds inspired by the aesthetic of music being written [during Albéniz’ life – 1860–1909],” Villegas continues. “It’s not a transcription but an elaboration of Albéniz’ themes.” Around the turn of the last century, composers from Spain and France were mutually enamored of each other’s music. “Spanish composers looked at Paris as a city where artistic things were happening; painters and composers had already defined an Impressionistic style, and that reflected on the music as well,” explains Villegas. “Spanish composers were also fascinated by that new French way of approaching music: creating atmospheres and layers of sound.” As for the French, Debussy and Ravel both composed several works inspired by what Villegas characterizes as the “exotic

or Villegas, this 800-year period in F Spanish history demonstrates a successful paradigm of tolerance and co-existence. “That’s one of the values that I transmit and want to spread: an example of these three cultures living together for hundreds of years,” he says. “In the 11th century, King Alfonso brought together doctors and astronomers and poets and artists, and he translated all their knowledge into the vernacular language – Latin. We have a wonderful opportunity in the 21st century to learn from one another because we all are human beings who care about the same things: family, friends, good times. My music is one of those elements that unify the human condition because it makes us all equal. We all have the ability to cry, to be sad, to be connected to the intimate parts of ourselves. Music is the key to all that.” onnecting with people through music to C discover a common humanity has been a primary motivation for Villegas since early childhood; he describes it as his “mission.” “The first time I went onstage I was seven, and I loved it,” he remembers. “I felt this communication with the audience, and it created a beautiful impact on me. We went to nursing homes in my hometown La Rioja, and I’d play, and I was making my dream come true by sharing my music and making people happy. Even as a child, I realized how powerful music is.

Villegas suggested The Albéniz Concerto – named for themes it borrows from the piano music of Isaac Albéniz – to Music Director Carlos Kalmar. “What I like about this piece is it’s a British composer looking at the guitar from the perspective of Spanish music,” says Villegas. “[Goss] makes his own

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sounds” of Spanish music, particularly its distinctive rhythms and its use of percussion instruments like castanets. “Spanish rhythm is very unique, with its combination of 2 and 3,” Villegas says. “It comes from ancestral times [between 711 ce, when the first Muslims arrived on the Iberian peninsula, and 1492, when

“I had this beautiful realization that the music is like soap bubbles I blow into the hall, and I put a message inside each bubble, and that message is what I want to transmit – an emotion, a purpose – so when people receive the bubbles they will interpret the message. That’s the power of music.” Villegas believes playing for an audience is essential. “They’re the most important part of the process – I play music for them. It’s the audience’s emotions that complete the artistic process of the music making.” And for the 41-year-old musician, who has been hailed as the heir to Andrés Segovia and

“the master of the guitar,” the audience – any audience – is what matters most. “There’s no difference between going into schools or playing in Carnegie Hall because in the end, the elements are the same: the music and the people.” Villegas sees himself as a storyteller; his performances provide a soundtrack for the audience, and each listener interprets the music to fit his or her individual life story.

I need to be vulnerable enough to connect with my emotions when I play, so the audience can connect with their own.” Villegas has a particular fondness for Oregon Symphony audiences. “They’ve always been very generous,” he says. “From the beginning, the Oregon Symphony opened its arms to me. I feel so at home with the orchestra, and I love Portland.” On one of his previous visits here, Villegas and his wife, Valeria, discovered Blue Star Donuts, which has several locations throughout Portland. “I remember we just went in and told them about the Symphony. We offered them tickets, and they were so kind; they sent the Symphony two huge boxes of donuts. We also had a beautiful experience having dinner with Arlene Schnitzer. It was lovely to meet someone who has supported the arts so much.” In the past, Villegas’ travel and rehearsal schedule haven’t allowed him to explore the Portland area in-depth. A wine lover, he hopes to visit some of the Willamette Valley’s celebrated wineries and see how Oregon’s famous pinot noirs compare with wines from northern Spain’s Rioja region. Villegas also champions contemporary works for his instrument. “The guitar repertoire is very big; we have amazing composers, both in the 20th century and now,” he says. “One composer I love is Osvaldo Golijov. He has developed a versatile idiomatic music that adapts to different expressions, but also there’s an Argentinian heartbeat in everything he does. There’s something very human, ergonomic to the soul, about what he writes. If and when Golijov writes me a guitar concerto, I’ll bring it to Portland.”

Pablo Sáinz Villegas performs Stephen Goss’ Albéniz Concerto with the Oregon Symphony March 16, 17 & 18 at the Arlene Schnitzer Concert Hall. For more information, go to orsymphony.org.

orsymphony.org | 503-228-1353 13

HANSEL AND GRETEL FRIDAY, FEBRUARY 1, 2019, 7:30 PM SATURDAY, FEBRUARY 2, 2019, 7:30 PM MONDAY, FEBRUARY 4, 2019, 7:30 PM

PRESENTING VENUE SPONSOR:

Carlos Kalmar, conductor Gregory Dahl, Father Chelsea Duval-Major, Hansel John Easterlin, Witch Maeve Höglund, Gretel Jenny Schuler, Mother Yungee Rhie, Sandman and Dew Fairy Pacific Youth Choir Mia Hall Miller, artistic director Shadow puppetry by Manual Cinema Libretto by Adelheid Wette Titles and translation by Cori Ellison Based on a fairy tale by the Brothers Grimm Engelbert Humperdinck

Hansel and Gretel Overture Act I: At Home Act II: In the Forest

INTERMISSION Act III: The Gingerbread House Sung in German with English supertitles. ARLENE SCHNITZER CONCERT HALL

CONCERT CO NVERSATION Conducted one hour before each performance, the Concert Conversation will feature Music Director Carlos Kalmar and Brandi Parisi, host at All Classical Portland. You can also enjoy the Concert Conversation in the comfort of your own home. Visit orsymphony.org/conversations to watch the video on demand. Each season, your Oregon Symphony produces renowned classical programming that’s a feast for the ears and the eyes. This year, award-winning storytellers bring standards of the repertoire to life in three unexpected, vividly imagined collaborations. 14 artslandia.com

join us april 13 as we celebrate the oregon symphony a landmark institution and the oldest orchestra in the western u.s. Through food, drink, art, and music of the Americas under the direction of Music Director Carlos Kalmar we celebrate the Symphonyâ&#x20AC;&#x2122;s history and future in one unforgettable evening.

saturday, april 13 portland art museum event chairs Dan & Kathleen Drinkward

4:30 pm 6 pm 7 pm

Tige & Peggy Harris

Rick & Veronica Hinkes

cocktail reception concert: music of the americas dinner & program ~ Black-Tie ~

reserve your table or tickets now gala2019@orsymphony.org | 503-416-6344

HANSEL AND GRETEL

Ancient history

Biographies

FOR THE MODERN WORLD

Gregory Dahl DIAMONDS SET IN 24K GOLD AND OXIDIZED STERLING SILVER

503.636.4025 DYKEVANDENBURGH.COM 27 A AVENUE, LAKE OSWEGO TUESDAY–FRIDAY 10:00–5:30, SATURDAY 10:00–4:00

With this concert, Gregory Dahl makes his debut with the Oregon Symphony. Dahl’s debut as Tomsky in The Queen of Spades for English National Opera was notable for “a splendidly oily and corrupt Count Tomsky,” while the press hailed his “appealingly lyrical baritone [that] emphasized Golaud’s inner turmoil over his villainy” in Opera Theatre of St. Louis’ Pelléas et Mélisande. During the 2018/19 Season, Dahl appears as Hermogines in the world premiere of Rufus Wainwright’s second opera, Hadrian, with the Canadian Opera Company; joins Montreal Opera for Donner in Das Rheingold; sings Messiah with the Winnipeg Symphony; and reprises the title role in Rigoletto for Calgary Opera. His 2017/18 Season included Scarpia in Tosca for Montreal Opera and Calgary Opera, Rigoletto for Quebec Opera, Sharpless in Madama Butterfly for the Manitoba Opera, and Swallow in Peter Grimes in concert with the Vancouver Symphony. On the concert stage, he sang Messiah for the Vancouver Bach Choir and returned to Halifax for Beethoven’s Symphony No. 9 with Symphony Nova Scotia. Notable recent additions to his active repertoire are the title role in Macbeth (Kentucky Opera), George in Of Mice and Men (Manitoba Opera), and High Priest in Samson et Dalila (Montreal Opera). Dahl first came to national attention as Francis Chancy in the world premiere of James Rolfe’s Beatrice Chancy, and other world premieres include Estacio and Murrell’s Filumena for the Calgary Opera, Lillian

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HANSEL AND GRETEL Alling for Vancouver Opera, and Shalimar the Clown for the Opera Theatre of St. Louis. Filumena was filmed for release in the dvd format and joins Beatrice Chancy on his list of operas-on-film.

for Women in the Arts, and Cincinnati for a benefit performance). Duval-Major received her bachelor’s and master’s degrees in vocal performance from Cincinnati College-Conservatory of Music. She currently studies with Thomas Baresel. Formerly, Duval-Major studied with baritone Francis Keeping, and she coaches regularly with Maestro Neal Goren.

Chelsea Duval-Major

eight productions with Madrid’s Teatro Real including Lady Macbeth of Mtsensk, Wozzeck, and Boris Godunov; and his Bolshoi Opera debut in Mahagonny. His cd and dvd catalogues include appearances on pbs’ Great Performances, Live from Lincoln Center, and the Live in hd Series with the Metropolitan Opera and New York City Opera. A telecast of Los Angeles Opera’s acclaimed production of The Rise and Fall of the City of Mahagonny, with Easterlin’s dual performances as Jack O’Brien and Toby Higgins opposite Audra McDonald and Patti LuPone, received 2008 Emmy and Peabody awards and two 2009 Grammy awards for Opera Recording of the Year and Classical Album of the Year.

With this concert, Chelsea DuvalMajor makes her debut with the Oregon Symphony. Duval-Major, a mezzo-soprano from Brooklyn, New York, is currently pursuing an artist diploma in opera at the University of Cincinnati’s CollegeConservatory of Music (ccm). This season at ccm, Duval-Major sang Old Lady in Candide and the title role in Ariodante. Duval-Major also covered the role of Plotina in Hadrian, a new work by Rufus Wainwright, which is a collaboration between Cincinnati Opera and the Canadian Opera Company.

John Easterlin With this concert, John Easterlin makes his debut with the Oregon Symphony.

In the 2016/17 Season, Duval-Major sang the role of Idamante in Mozart’s Idomeneo at ccm and participated in the Virginia Arts Festival Duffy Institute, singing the roles of Photographer and Mother in Vagabond by Gina Leishman. Duval-Major also performed with Opera Southwest in their production of Tancredi, singing the role of Roggiero as well as covering the title role. In 2017, Duval-Major was an encouragement award winner in the monc Auditions in the Middle/E. Tennessee District.

Tenor Easterlin has rapidly established himself as one of international opera’s most exciting performers. A compelling stage actor, his recent engagements include creating two iconic American roles: Andy Warhol in the world premiere of the Philip Glass opera The Perfect American at the Teatro Real, Madrid, and the English National Opera, London; and Larry King in the u.s. premiere of the Mark-Anthony Turnage opera Anna Nicole for the New York City Opera in conjunction with the Brooklyn Academy of Music’s Next Wave Festival. For the Metropolitan Opera, he won critical acclaim for his performances as the Scrivener in Khovanschchina, Monostatos in Die Zauberflöte, Prince Nilsky in The Gambler, the Tanzmeister in Ariadne auf Naxos, and the Hunchback Brother in Die Frau ohne Schatten.

Concert work includes Opera Delaware, Young Artist Concerts with Opera Southwest, and a production of William Bolcom’s Cabaret Songs, which has had three traveling performances (in New York City at the Neue Galerie, Washington d.c. at the National Museum

International career highlights include five productions at the Opéra National de Paris (Bastille and Garnier); Herod in Salome for his debuts with the Vienna State Opera, Monte-Carlo Opera, and Spain’s prestigious Merida Festival; three productions for the Royal Opera House;

Maeve Höglund With this concert, Maeve Höglund makes her debut with the Oregon Symphony. The New York Times praised Höglund as “a striking soprano” and one who “stands out among singers.” In her recent performance of Le nozze di Figaro with Opera Maine, Opera News proclaimed, “Maeve Höglund was a charming, fiesty Susanna, and her stellar soprano brightened the ensembles. Her fine rendition of ‘Deh vieni, non tardar’ was equally impressive for its warmth and feeling.” Höglund made her Opera Philadelphia debut in the 2017/18 Season as Lola in the world premiere of David Hertzberg’s award-winning opera The Wake World. She also made her Michigan Opera Theatre debut as Susanna in Le nozze di Figaro and was soloist in Messiah with Milwaukee Symphony Orchestra. She will sing Leïla in The Pearl Fishers with Lyric

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HANSEL AND GRETEL

Schuback Opera of Kansas Schuback:Class_Millenium NEW.qxd 9/3/09 8:41 ACity and the title role in Lucia di Lammermoor with Maryland Lyric Violin Shop Opera in the 2018/19 Season.

Her recordings include Stefan Weisman’s opera Darkling, released by Albany Records, as well as the recording of the complete vocal works of Victor Herbert, released by New World Records. A native of Olympia, Washington, was trained in piano, theater, and dance. Her exposure to both musical Consignments and dramatic theater inspired a desire Sales toRepairs master vocal technique, leading her to study classical singing and opera. She received her bachelor of music 1255 NW 9th Avenue #11 Portland, Oregon 97209 degree in voice from the New England Conservatory in Boston and master’s degree from Manhattan School of Music in New York City. Höglund Appraisals

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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.

Her distinctions include a Giulio Gari Foundation Scholarship, Gerda Lissner Award, Bel Canto Vocal Scholarship, and semi-finalist in the Rochester Classical Idol.

Yungee Rhie With this concert, Yungee Rhie makes her debut with the Oregon Symphony.

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Jenny Schuler Jenny Schuler last appeared with the Oregon Symphony on December 31, 2018, when she performed Beethoven’s Ninth Symphony with conductor Carlos Kalmar. Soprano Schuler has earned praise in recent seasons for her powerful vocalism and compelling stage artistry. In 2018, she joined 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 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

Award-winning coloratura soprano Rhie has been acclaimed for possessing a shimmering, sparkling voice that is highlighted by her exquisite artistry and moving stage presence. Bloomington Herald Times has commended her Olympia (Les contes d’Hoffmann) as “terrifically funny and vocally agile.” The Herald Times has also recognized her portrayal of the Fairy Godmother (Cendrillon) as “enthusiastically and rightfully applauded for her vocal pyrotechnics.” Rhie also has been celebrated for having “scored heavily, eliciting extended applause from the packed house” for her Lakmé performance. Most recently, Opera Insider raved over Rhie’s Marie (La fille du régiment): “Great charm and bel canto style by Korean soprano Yungee

HANSEL AND GRETEL Rhie whose liquid trill alone will get her very far.” Last season, she started off in Los Angeles, making a recording with ChoEun Lee, piano, and Michael Couper, saxophone, on the world premiere of John Plant’s Insomnia. Rhie was invited once again by Gyeongsang Opera (Korea) to make a role debut of Adina in L’elisir d’amore in addition to singing as the soprano soloist in Handel’s Messiah with vk Chamber Orchestra and Choir. In March, she portrayed the coquette Valencienne in the operetta The Merry Widow with Gyeongsang Opera, and in May, she was invited as the soprano soloist in Mozart’s C Minor Mass with the Collegiate Singers. As a concert artist, Rhie has appeared on the stages of the Isaac Stern Auditorium and Weill Recital Hall at Carnegie Hall, Alice Tully Hall at Lincoln Center, Merkin Concert Hall, New York Austrian Cultural Forum, German Consulate, and Seiji Ozawa Hall among others.

Pacific Youth Choir 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. 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. 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 Theatre, Whitebird Dance, Trinity Choir, and Thomas Lauderdale and Pink Martini in performances and recordings, including the gold record Joy to the World. 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.

Manual Cinema Manual Cinema is a performance collective, design studio, and film/ video production company founded in 2010 by Drew Dir, Sarah Fornace, Ben Kauffman, Julia VanArsdale Miller, and Kyle Vegter. Manual Cinema combines handmade shadow puppetry, cinematic techniques, and innovative sound and music to create immersive visual stories for stage and screen. Using vintage overhead projectors, multiple screens, puppets, actors, livefeed cameras, multi-channel sound design, and a live music ensemble, Manual Cinema transforms the experience of attending the cinema

and imbues it with liveness, ingenuity, and theatricality. To date, Manual Cinema has created five original feature-length live cinematic shadow puppet shows (Lula Del Ray, ada/ava, Mementos Mori, My Soul’s Shadow, The Magic City); a live cinematic contemporary dance show created for family audiences in collaboration with Hubbard Street Dance and the choreographer Robyn Mineko Williams (Mariko’s Magical Mix); an original sitespecific installation (La Celestina); an original adaptation of Hansel and Gretel created for the Belgian Royal Opera; music videos for Sony Masterworks, Gabriel Kahane, eighth blackbird, and New York Times best-selling author Reif Larson; a live non-fiction piece for Pop-Up Magazine; a self-produced short film (chicagoland); a museum exhibit created in collaboration with the Chicago History Museum (The Secret Lives of Objects); a collection of cinematic shorts in collaboration with poet Zachary Schomburg and string quartet Chicago Q Ensemble (fjords); and live cinematic puppet adaptations of StoryCorps stories (Show & Tell). Manual Cinema has been presented by, worked in collaboration with, or brought its work to The Metropolitan Museum of Art (nyc), Under the Radar Festival (nyc), The Tehran International Puppet Festival (Iran), La MonnaieDe Munt (Brussels), BAM (nyc), Underbelly (uk), Adelaide Festival (au), The Kennedy Center (d.c.), The Kimmel Center (Philadelphia), the Museum of Contemporary Art Chicago, and elsewhere around the world. In 2018, the company had debuts in Holland, Portugal, Czech Republic, Saudi Arabia, and Egypt.

orsymphony.org | 503-228-1353 19

HANSEL AND GRETEL PACIFI C YO U TH CH O IR R O S TE R Skylar Barclay Makenzie Barclay Margaret Burden Rachel Chan Gordon Chen Ronan Cook Soren Cowell-Shah Addison Domenigoni Kaia Domenigoni Amanda Earle Thea Freitag Lydia Gonzales Lorelei Gorton Maia Gregor Annika Gupta Catherine Hartrim-Lowe Lauren Hauger Alan Kappler Bella Klucevek Gibson McCoy Rachel Modlin Audrey Opsahl Luna Palazuelos Ashley Schroeder Forrest Shaw Anneke Talke Kara Taylor Kyra Tovar Solveig VanOast Sophia Wagner Lida White

Program Notes ENGELBERT HUMPERDINCK 1854–1921

Hansel and Gretel composed: 1891–92 first complete oregon symphony performance instrumentation: solo vocalists, children’s chorus, women’s chorus, flute, 2 oboes, 3 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, 2 bass drums, castanets, cuckoo instruments, cymbals, glockenspiel, tambourine, tam tam, triangle, xylophone, harp, and strings estimated duration: 90 minutes

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Engelbert Humperdinck displayed prodigal musical ability as a young child; he wrote a piano duet at age seven and his first music for the stage at 10. If Humperdinck had had a father like Leopold Mozart, his talent would have been carefully nurtured and encouraged. Humperdinck’s parents, however, held more bourgeois aspirations for their son – namely, a career in architecture. Fortunately, Humperdinck had an early champion and mentor in composer Ferdinand Hiller, founder of the Cologne Conservatory, whose musical connections included a boyhood friendship with Felix and Fanny Mendelssohn, and music studies with Johann Nepomuk Hummel. (In 1827, the 16-year-old Hiller accompanied Hummel to Beethoven’s deathbed and clipped a lock of Beethoven’s hair.) t Hiller’s urging, Humperdinck’s A parents were persuaded to allow their son to study music, and he entered the Cologne Conservatory at 18. Humperdinck excelled as a student, winning several prestigious prizes. In 1877, Humperdinck moved to the Royal Music School in Munich, where he first encountered Wagner’s music and aesthetics, which were a radical departure from the musically conservative environment of Hiller’s conservatory. After meeting Wagner in 1881, Humperdinck accepted the older composer’s offer to come to Bayreuth and work on the premiere production of Parsifal. During the 1880s, Humperdinck immersed himself in Wagner’s music, while some of his friends and contemporaries feared Wagner’s outsized influence might smother Humperdinck’s own voice. During this time, while Humperdinck kept busy with other musical activities, including tutoring Wagner’s son Siegfried, he composed virtually nothing of his own and pondered his own operatic future. Humperdinck seems to have been stymied by standard operatic narratives; he once declared he wanted to write music for a plot that “was not made up of murders, brutal deaths, operetta-like nonsense, or sugar-sweet fairy tales.”

As Christmas 1889 approached, Humperdinck’s sister Adelheid asked her brother to write four songs for her children’s holiday puppet show. These proved so successful that Humperdinck quickly expanded the music to a singspiel (spoken dialogue between musical numbers) with piano accompaniment, based on Adelheid’s adaptation of the Brothers Grimm fairy tale Hänsel und Gretel. Soon after, Humperdinck began writing a fully orchestrated score in January 1891. Richard Strauss was one of the opera’s earliest champions, describing it as “a masterpiece of the highest quality… all of it original, new, and so authentically German.” Strauss conducted its premiere on December 23, 1893, in Weimar, where audiences and critics received it with great enthusiasm. In 1894, Hansel and Gretel was performed throughout Germany, with additional productions in England and Switzerland. It quickly became a beloved Christmas family tradition in Europe, akin to Tchaikovsky’s Nutcracker in North America. On Christmas Day 1931, the Metropolitan Opera presented Hansel and Gretel as its first-ever complete radio broadcast. he gingerbread house with spunT sugar windows notwithstanding, Hansel and Gretel, particularly in its original incarnation, is far from the “sugar-sweet” fairy tale Humperdinck scorned. The story, a stark tale of survival, so disturbed Adelheid that she omitted several of the more sinister plot points in her libretto, including the wicked step-mother, the parents’ abandonment of the children, Hansel’s imprisonment, and the children’s looting of the witch’s house after they murder her. Adelheid also added two characters, the Sandman and the Dew Fairy, who watch over the children (one brings them restful sleep while the other awakens them) and act as benevolent guides. delheid’s version accords more A appropriately with a Christmas play performed by children from a comfortably middle-class home in the 1890s. In the 80 years since Jakob and Wilhelm Grimm’s publication of Children’s and Household Tales, in 1812, societal views of children,

HANSEL AND GRETEL and childhood, had radically transformed. The Grimms did not come up with the stories; they were interested in the origins of German literature, and many of the stories they collected had roots in medieval folk tales. These stories reflect the brutal nature of a world where most people were desperately poor, and starvation was a fact of life. In fact, the Grimms themselves were severely criticized when their first edition of Tales came out because the collection’s title suggested a book for children. Children figure prominently in these stories, but their subject matter was considered unsuitable for young readers, even in 1812. (In their subsequent editions, the Grimms themselves toned down or eliminated some of the stories’ coarser elements.) By 1890, Victorian ideas of childrearing, particularly the shielding of children from life’s bitter realities whenever possible, had become the norm. In this context, Adelheid’s framing of Hansel and Gretel as a story of two essentially virtuous and resourceful children rescuing themselves from evil circumstances is wholly understandable, even laudable. umperdinck’s music accounts for H Hansel and Gretel’s staying power. He incorporated the dramatic, denselytextured orchestral writing he gleaned from Wagner’s operas, along with the concept of leitmotifs – characteristic short melodic phrases associated with different characters. The father’s recurring four-note “Tra-la-la-la” is among the most recognizable of these. To these Wagnerian innovations, Humperdinck added his own knack for simple, singable melodies in the manner of folk songs. Humperdinck also wrote deliberately childlike music for the characters Hansel and Gretel to sing, emphasizing their youth and innocence. The famous “Evening Prayer,” for example, captures the children’s ingenuousness. Humperdinck uses this melody several times in the Prelude, making it familiar to the audience by the time the children, lost and hungry in the forest, sing it at the end of Act II. The “Prayer” melody also closes out the opera, this time as a joyful anthem that, in musical terms, declares, “And they lived happily ever after.” © 2019 Elizabeth Schwartz

this music.

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MANDELRING QUARTET MON & TUE :: Mar 18 & 19, 2019 :: 7:30 pm Lincoln Performance Hall

Called “a worthy successor to the Alban Berg Quartet” (Frankfurter Allgemeine Zeitung), the Mandelring Quartet’s distinguishing characteristics are its expressivity and remarkable homogeneity. This German string quartet will perform works by Shostakovich, Borodin, Tchaikovsky, Haydn, Bartók, and Mendelssohn.

L I V E . I N T I M AT E . I N S P I R E D . orsymphony.org | 503-228-1353 21

KODO – ONE EARTH TOUR 2019: EVOLUTION TUESDAY, FEBRUARY 5, 2019, 7:30 PM SPONSORED BY THE JAY AND DIANE ZIDELL CHARITABLE FOUNDATION

Tamasaburo Bando, artistic director Martin Lechner, technical director Kenichi Mashiko (s.l.s.), lighting designer Kazuki Imagai, stage manager Kentaro Shino, assistant stage manager Yui Kawamoto, production manager Koji Miyagi, Shingo Kawamura, and Ami Akimoto, tour manager img Artists, international tour management Rebecca Davis pr, publicity Performers: Mitsuru Ishizuka Kenta Nakagome Eri Uchida Yuta Sumiyoshi Jun Jidai Yuta Sumiyoshi Kenta Nakagome Yosuke Oda Yuta Sumiyoshi Maki Ishii

Ryoma Tsurumi Kengo Watanabe Ryotaro Leo Ikenaga Hayato Otsuka Tomoe Miura

ei Kei K Phobos Mute Kusawake O-daiko

INTERMISSION Tamasaburo Bando/ Masayuki Sakamoto Yosuke Oda Yuta Sumiyoshi Yuta Sumiyoshi Tamasaburo Bando

Color Ake no Myojo Yuyami Ayaori Rasen The Oregon Symphony does not perform.

ARLENE SCHNITZER CONCERT HALL

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Mizuki Yoneyama Issei Kohira Yuta Kimura Yuki Hirata Chihiro Watanabe Taiyo Onoda

Biographies

Tamasaburo Bando Tamasaburo Bando is a leading Kabuki actor and the most popular and celebrated onnagata (actor specializing in female roles) currently on stage. He has demonstrated his profound aesthetic across numerous platforms, receiving the highest acclaim for his many artistic endeavors. Bando accepted the invitation to become Kodo’s artistic director from 2012 through 2016. In September 2012, he was recognized as an Important Intangible Cultural Property Holder (“Living National Treasure”), and in 2013, he was decorated with the highest honor of France’s Order of Arts and Letters, Commander.

Kodo Exploring the limitless possibilities of the traditional Japanese drum, the taiko, Kodo is forging new directions for a vibrant living art-form. In Japanese, the word Kodo conveys two meanings: Firstly, “heartbeat,” the primal source of all rhythm. The sound of the great taiko is said to resemble a mother’s heartbeat as felt in the womb, and it is no myth that babies are often lulled asleep by its thunderous vibrations. Secondly, read in a different way, the word can mean “children of the drum,” a reflection of Kodo’s desire to play the drums simply, with the heart of a child. Since the group’s debut at the Berlin Festival in 1981, Kodo has given over 6,000 performances in 50 countries

worldwide under the banner “One Earth Tour,” spending about a third of the year overseas, a third touring in Japan, and a third rehearsing and preparing new material on Sado Island. Kodo strives to both preserve and reinterpret traditional Japanese performing arts. Beyond this, members on tours and research trips all over the globe have brought back to Sado a kaleidoscope of world music and experiences, which now exert a strong influence on the group’s performances and compositions. Collaborations with other artists and composers extend across the musical spectrum, and Kodo’s lack of preconceptions about its music continues to produce startling new fusion and forms. Since 1971, Sado Island has been Kodo’s home and the platform from which the group reaches out to the world. With nature’s warm embrace evident in each of her four seasons, Sado is an extraordinary place where traditional ways of life and the island’s indigenous performing arts still thrive today. This island is the fountain of inspiration for Kodo and the guiding force behind the group’s creative lifestyle. Their goal is to find a harmonious balance between people and the natural world. Thanks to the support of many friends, the Kodo Cultural Foundation was established in 1997 in order to increase Kodo’s capacity for outreach projects on Sado Island. Its primary mission is to carry out non-profit activities focused on social education and the notion of giving back to the local community. The Kodo Cultural Foundation is committed to the cultural and environmental preservation of Sado Island and oversees many ambitious projects. From the conservation of local habitats to the revitalization of rare craft traditions and Noh theaters throughout Sado Island, the highly collaborative Kodo Cultural Foundation supports many vital initiatives. Its activities include holding workshops, planning the annual Earth Celebration, creating a research library, managing the Kodo Apprentice Centre and the Sado Island Taiko Centre, and carrying out research in the performing arts.

In a converted schoolhouse in Kakinoura on Sado Island, the young people who will continue and expand on Kodo’s traditions are trained, not just in musical technique but also in all matters of body and spirit. Beginning in April, apprentices live communally and train for two years. From this group, probationary members are selected in January of the second year. These chosen few spend one year as junior members, and if they are successful, they then become full Kodo members. Kodo seeks people of all backgrounds who are interested in becoming apprentices as well as the next generation of Kodo players and staff. Apprentices live communally in the Kodo Apprentice Centre where they learn taiko, dance, song, and other traditional arts.

Program Notes Kodo: Evolution Directed by Tamasaburo Bando, Evolution marks the 35th anniversary of the internationally acclaimed taiko performing arts ensemble Kodo. This brand new production is a culmination of Kodo’s ever-evolving artistic voyage, which boldly displays the future of taiko on stage. For decades, Kodo has led the genre of taiko performance with dedication and innovation. With Evolution, Kodo promises to drive its next generation to new heights of creative expression. Tamasaburo Bando has crafted a program that places Kodo’s best-known work alongside some of the latest core repertoire. Signature pieces like O-daiko and Monochrome, which have been synonymous with Kodo since the days of its antecedent group, are now integrated amongst more recent work such as Kusawake and Color. This combination of classic and current is complemented by completely new compositions that were created especially for this production. Ayaori is intricate and uplifting, while the climactic Rasen (Spiral) features motifs of an array of Kodo pieces from various eras of the ensemble’s history. The result is a rousing whirl of energy that carries the audience into a new dimension of taiko performance. orsymphony.org | 503-228-1353 23

DVOŘÁK’S EIGHTH SYMPHONY SATURDAY, FEBRUARY 9, 2019, 7:30 PM SUNDAY, FEBRUARY 10, 2019, 2 PM MONDAY, FEBRUARY 11, 2019, 7:30 PM SPONSORED BY THE LAURA AND ROGER MEIER FAMILY

Carlos Kalmar, conductor Simone Lamsma, violin Sergei Prokofiev

Aram Khachaturian

Symphony No. 1 in D Major, “Classical” Allegro Larghetto Gavotta: Non troppo allegro Finale: Molto vivace Violin Concerto in D Minor Allegro con fermezza Andante sostenuto Allegro vivace Simone Lamsma

INTERMISSION Antonín Dvořák

Symphony No. 8 in G Major Allegro con brio Adagio Allegretto grazioso—Molto vivace Allegro ma non troppo This concert is being recorded for future broadcast. We ask our audience to be as quiet as possible during the performance. ARLENE SCHNITZER CONCERT HALL

C ONCERT CONVERSATION Conducted one hour before each performance, the Concert Conversation will feature Music Director Carlos Kalmar and host Robert McBride of All Classical Portland. You can also enjoy the Concert Conversation in the comfort of your own home. Visit orsymphony.org/conversations to watch the video on demand.

Biography

Simone Lamsma Hailed for her “brilliant… polished, expressive and intense” (Cleveland Plain Dealer) and “absolutely stunning” (Chicago Tribune) playing, Dutch violinist Simone Lamsma is respected by critics, peers, and audiences as one of classical music’s most striking and captivating musical personalities.

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With an extensive repertoire of over 60 violin concertos, Lamsma’s recent seasons have seen her perform with many of the world’s leading orchestras. Notable highlights include performances with the Chicago Symphony, described by the Chicago Tribune as “piercingly beautiful,” as well as the Cleveland Orchestra, San Francisco Symphony, Dallas Symphony, and Royal Concergebouw Orchestra.

PORTLAND PIANO INTERNATIONAL IS THRILLED TO ANNOUNCE Mr. Hamelin will play the opening performances in October and select the season’s other five SOLO artists. Stay tuned for more information about next season. Or join our mailing list to receive regular updates!

MARC-ANDRÉ HAMELIN AS GUEST CURATOR FOR OUR 2019 / 2020 SOLO PIANO SERIES

Subscriptions available on April 1 and single tickets on August 1.

ANGELA HEWITT MAY 3 7:30PM & MAY 5 4PM LINCOLN HALL

BENJAMIN GROSVENOR MAR 16 & 17 4PM LINCOLN HALL

PORTLANDPIANO.ORG 503.228.1388

DVROŘ ÁK’S EIGHTH SYMPHONY Highlights from recent seasons include debuts with the New York Philharmonic, Detroit Symphony, Houston Symphony, Oslo Philharmonic, and Sydney Symphony, and returns to the Warsaw Philharmonic, Copenhagen Philharmonic, and the Yomiuri Nippon Symphony Orchestra in Tokyo. Past seasons also marked several premieres of new works, including the world premiere of a violin concerto by Matijs de Roo during the ZaterdagMatinee series at the Concertgebouw in Amsterdam and a French premiere of Michel van der Aa’s Violin Concerto with the Lyon National Orchestra. Lamsma’s most recent recording featuring Shostakovich’s First Violin Concerto and Gubaidulina’s In Tempus Praesens with the Netherlands Radio Philharmonic under James Gaffigan and Reinbert de Leeuw was released in 2017 on Challenge Classics and received high accolades from the press,

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as did her previous Mendelssohn, Janáček, and Schumann cd with pianist Robert Kulek. Lamsma began studying the violin at the age of 5 and moved to the uk at age 11 to study at the Yehudi Menuhin School with Professor Hu Kun. At the age of 14, Lamsma made her professional solo debut with the North Netherlands Orchestra, performing Paganini’s First Violin Concerto. She continued her studies at the Royal Academy of Music in London with Professor Hu Kun and Professor Maurice Hasson, where she graduated at age 19 with first class honors and several prestigious awards. Lamsma currently lives in The Netherlands. Lamsma plays the “Mlynarski” Stradivarius (1718), on generous loan to her by an anonymous benefactor.

Program Notes SERGEI PROKOFIEV 1891–1953

Symphony No. 1 in D Major, Op. 25, “Classical” composed: 1917 most recent oregon symphony performance: January 25, 1999; James DePreist, conductor instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings estimated duration: 13 minutes At age 17, full of youthful arrogance, Sergei Prokofiev asked, rhetorically, “What can be worse than a long symphony? To me, the ideal of a perfect size for a symphony is one that runs for 20, maximum 30 minutes.” True to his word, Prokofiev’s first symphony, known as the “Classical” Symphony, is approximately 13 minutes long. Within its brief confines,

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.

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OS Program Book: 1/3 Square (4.812 x 4.812)

10/31/18 10:19 AM

DVROŘ ÁK’S EIGHTH SYMPHONY the “Classical” Symphony sparkles with wit, style, and mirth, an homage to the music of Joseph Haydn that inspired it. Prokofiev described the genesis of the “Classical” Symphony in his autobiography: “Until then [1917], I had always composed at the piano, but I noticed that thematic material composed away from the piano was often better… such a piece would have more natural and transparent colors… I had come to understand a great deal about Haydn’s technique from [Nikolai] Tcherepnin [at the St. Petersburg Conservatory] and thought it would be less scary to embark on this difficult pianoless journey if I were on familiar stylistic ground. It seemed to me that if Haydn had lived to our day, he would have retained his own style while absorbing something new at the same time. This was the kind of symphony I wanted to write: a symphony in the classical style.”

strings’ ascending explosion in D major, Prokofiev abruptly moves to C major, a distinctly un-Classical harmonic choice. The exaggerated daintiness of the second theme – staccato octaves ornamented with violin grace notes, accompanied by bassoon – reflects Prokofiev’s humor as he gently mocks Classical norms. he Larghetto opens with a delicate violin T melody. One of Prokofiev’s goals was to write a symphony without the overwrought romanticism typical of the symphonic music of his time. In this movement, he succeeds brilliantly: there is not a shred of emotionalism anywhere. Instead, we hear intricate, lyrical interplay among the instruments, with textures as transparent and crystal clear as a freshly washed window.

I nstead of a typical Classical minuet, Prokofiev features a gavotte, a Baroque dance with a gentle galumphing beat. The trio, a prim musette for winds with an Prokofiev begins by pairing a standard first- accompanying drone, is another departure from Classical convention, and before movement structure with unmistakably we know it, Prokofiev tears into the final 20th-century harmonies. Just after the movement with breathtaking speed. In all

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the hustle and bustle, it is easy to overlook the daunting technical skill required to play this music. The Molto vivace tempo never slackens, and Prokofiev’s dynamic contrasts add still more excitement as the music ends with a triumphant flourish.

ARAM KHACHATURIAN 1903–78

Violin Concerto in D Minor composed: 1940 most recent oregon symphony performance: March 14, 2011; Carlos Kalmar, conductor; Baiba Skride, violin instrumentation: solo violin, piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, cymbal, snare drum, tambourine, harp, and strings estimated duration: 35 minutes “I wrote music as though on a wave of happiness; my whole being was in a

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Audition June, August or by appointment

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DVROŘ ÁK’S EIGHTH SYMPHONY state of joy, for I was awaiting the birth of my son. And this feeling, this love of life, was transmitted to the music.” – Aram Khachaturian, on writing his Violin Concerto During the summer of 1940, as Aram Khachaturian excitedly anticipated his son’s birth, he also worked on a violin concerto he was writing for David Oistrakh. As the concerto took shape, Oistrakh gave Khachaturian technical suggestions and overall advice, which proved invaluable. The two men were close friends as well as creative partners; each man’s esteem for the other was so great that Oistrakh, who described Khachaturian as possessing “the feelings of a true virtuoso and inspired artist,” credited Khachaturian’s concerto for Oistrakh’s renown as a violinist. Khachaturian, in turn, insisted that Oistrakh’s performances and recordings of the violin concerto were central to its fame, inside the Soviet Union and abroad. Aleksandr Gauk led Oistrakh and the ussr State Symphony in the premiere of the concerto on November 16, 1940, at Tchaikovsky Hall in Moscow, as part of a ten-day Soviet music festival. he Violin Concerto was Khachaturian’s T second foray into concerto writing, and as he discovered while composing his Piano Concerto four years earlier, he had an affinity for the genre. “Probably thirst for ‘concerto’ music, for the colorfulvirtuoso style, is inherent to my creative individuality,” Khachaturian explained. “I am fond of the task of creating a composition where the cheerful principle of free competition between a virtuososoloist and a symphony orchestra prevails.” Khachaturian finished the concerto in just two months and later remembered, “I worked without effort. Sometimes my thoughts and imagination outraced the hand that was covering the staff with notes. The themes came to me in such abundance that I had a hard time putting them in some order.” fficially a Soviet citizen, Khachaturian O was fiercely proud of his Armenian heritage. “My whole life, everything that I have created, belongs to the Armenian people,” he declared. Fellow composer Dmitri Kabalevsky observed, “The especially attractive features of

Khachaturian’s music are in its roots in national folk fountainheads. The captivating rhythmic diversity of dances of the peoples of Transcaucasia and the inspired improvisations of the ashugs [Armenia’s native bards] – such are the sources from which have sprung the composer’s creative endeavors.” he Andante sostenuto reflects this ashug T style. A bassoon solo introduces the quasi-recitative melodies, in the manner of improvised song-speech. The outer movements, by contrast, are full of the rhythmic fire and colorful brilliance of Armenian folk dance. As a unifying summation, Khachaturian reprises a theme from the first movement in the finale.

ANTONÍN DVOŘÁK 1841–1904

Symphony No. 8 in G Major, Op. 88 composed: 1889 most recent oregon symphony performance: October 14, 2015; Paul Ghun Kim, conductor instrumentation: 2 flutes (1 doubling piccolo), 2 oboes (1 doubling English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings estimated duration: 36 minutes From its inception, Antonín Dvořák’s Symphony in G Major was more than a composition; in musical terms, it represented everything that made Dvořák a proud Bohemian. Trouble started when Dvořák’s German publisher, Fritz Simrock, wanted to publish the symphony’s movement titles and Dvořák’s name in German translation. This might seem like an unimportant detail over which to haggle, but for Dvořák, it was a matter of cultural life and death. Since the age of 26, Dvořák had been a reluctant citizen of the Austro-Hungarian Empire ruled by the Hapsburg dynasty. Under the Hapsburgs, Czech language and culture were vigorously repressed. Dvořák, an ardent Czech patriot who resented the Germanic norms mandated by the Empire, categorically refused Simrock’s request.

For his part, Simrock was not especially enthusiastic about publishing Dvořák’s symphonies, which didn’t sell as well as Dvořák’s Slavonic dances and piano music. Simrock and Dvořák also haggled over the composer’s fee; Simrock had paid 3,000 marks for Dvořák’s Symphony No. 7 but inexplicably and insultingly offered only 1,000 for the Eighth Symphony. Outraged, Dvořák offered his Symphony No. 8 to the London firm Novello, which published it in 1890. The Eighth Symphony broke new ground from the moment of its premiere, which Dvořák conducted in Prague on February 2, 1890. Opus 88 was, as the composer explained, meant to be “different from the other symphonies, with individual thoughts worked out in a new way.” This “new way” refers to Dvořák’s musical transformation of the Czech countryside he loved into a unique sonic landscape. Within the music, Dvořák included sounds from nature, particularly hunting horn calls and birdsongs played by various wind instruments. Biographer HanzHubert Schönzeler observed, “When one walks in those forests surrounding Dvořák’s country home on a sunny summer’s day, with the birds singing and the leaves of trees rustling in a gentle breeze, one can virtually hear the music.” Serenity floats over the Adagio. As in the first movement, Dvořák plays with tonality; E-flat major slides into its darker counterpart, C minor. Dvořák was most at home in rural settings, and the music of this Adagio evokes the tranquil landscapes of the garden at Vysoká, his country home. In a manner similar to Beethoven’s “Pastoral” Symphony, the music suggests an idyllic summer’s day interrupted by a cloudburst, after which the sun reappears, striking sparkles from the raindrops. During a rehearsal of the trumpet fanfare in the last movement, conductor Rafael Kubelik declared, “Gentlemen, in Bohemia the trumpets never call to battle – they always call to the dance!” After this opening summons, cellos sound the main theme. Quieter variations on the cello melody feature solo flute and strings, and the symphony ends with an exuberant brassy blast. © 2019 Elizabeth Schwartz

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VALENTINE’S DAY WITH SMOKEY ROBINSON THURSDAY, FEBRUARY 14, 2019, 7:30 PM SPONSORED BY DUNCAN AND CINDY CAMPBELL

Norman Huynh, conductor Smokey Robinson, vocalist Demetrios Pappas, musical director and keys S’Von Ringo, keys Tony Lewis, drums Gary Foote, bass Robert “Boogie” Bowles, guitar Ken Gioffre, sax and flute Lindsay Russell-Walker, backing vocals Amon Bourne, backing vocals Karrie Benoit-Morales, backing vocals Program will be announced from the stage. ARLENE SCHNITZER CONCERT HALL

Biography

Smokey Robinson Once pronounced by Bob Dylan as America’s “greatest living poet,” acclaimed singer-songwriter Smokey Robinson’s career spans over four decades of hits. He has received numerous awards including the Grammy Living Legend Award, naras Lifetime Achievement Award, Honorary Doctorate (Howard University), Kennedy Center Honors, and the National Medal of Arts Award from the president of the United States. He has also been inducted into the Rock ‘n’ Roll Hall of Fame and the Songwriters’ Hall of Fame. Born and raised in Detroit, Michigan, Robinson founded The Miracles while still in high school. The group was Berry 30 artslandia.com

Gordy’s first vocal group, and it was at Robinson’s suggestion that Gordy started the Motown Records dynasty. Their single of Robinson’s “Shop Around” became Motown’s first #1 hit on the R&B singles chart. In the years following, Robinson continued to pen hits for the group including “You’ve Really Got a Hold on Me,” “Ooo Baby Baby,” “The Tracks of My Tears,” “Going to a GoGo,” “More Love,” “Tears of a Clown” (co-written with Stevie Wonder), and “I Second That Emotion.” The Miracles dominated the R&B scene throughout the 1960s and early 70s, and Robinson became vice president of Motown Records, serving as in-house producer, talent scout, and songwriter. In addition to writing hits for The Miracles, Robinson wrote and produced hits for other Motown greats, including The Temptations, Mary Wells, Brenda Holloway, Marvin Gaye, and others. “The Way You Do the Things You Do,” “My Girl,” “Get Ready,” “You Beat Me to the Punch,” “Don’t Mess with Bill,” “Ain’t That Peculiar,” and “My Guy” are just a few of his songwriting triumphs during those years.

John Lennon of The Beatles made countless remarks regarding Robinson’s influence on his music. The Beatles had recorded Robinson and The Miracles’ “You’ve Really Got a Hold on Me” in 1963, and in 1982, The Rolling Stones covered the Robinson and the Miracles’ hit “Going to a Go-Go.” He later turned to a solo career, where he continued his tradition of hit-making with “Just to See Her,” “Quiet Storm,” “Cruisin’,” and “Being with You,” among others. He remained vice president of Motown Records until the sale of the company, shaping the label’s success with friend and mentor Gordy. Following his tenure at Motown, he continued his impressive touring career and released several successful solo albums. During the course of his 50-year career in music, Robinson has accumulated more than 4,000 songs to his credit and continues to thrill sold-out audiences around the world with his high tenor voice, impeccable timing, and profound lyrical sense. Never resting on his laurels, Robinson remains a beloved icon in our musical heritage.

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HARRY POTTER AND THE PRISONER OF AZKABAN TM IN CONCERT SATURDAY, FEBRUARY 16, 2019, 7:30 PM SUNDAY, FEBRUARY 17, 2019, 2 PM SUNDAY, FEBRUARY 17, 2019, 7:30 PM Justin Freer, conductor Portland State University Chamber Choir Ethan Sperry, artistic director Directed by Alfonso Cuarón Produced by David Heyman, Chris Columbus, and Mark Radcliffe Written by Steve Kloves Based on Harry Potter and the Prisoner of Azkaban by J.K. Rowling Starring: Daniel Radcliffe Rupert Grint Emma Watson Robbie Coltrane Michael Gambon Richard Griffiths Gary Oldman

Alan Rickman Fiona Shaw Maggie Smith Timothy Spall David Thewlis Emma Thompson Julie Walters

Music by John Williams Cinematography by Michael Seresin Edited by Steven Weisberg Produced by Heyday Films, 1492 Pictures Distributed by Warner Bros. Pictures

ARLENE SCHNITZER CONCERT HALL

Warner Bros. Consumer Products, a Warner Bros. Entertainment Company, is one of the leading licensing and retail merchandising organizations in the world. HARRY POTTER characters, names, and related indicia are © & ™ Warner Bros. Entertainment Inc. J.K. ROWLING’S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © jkr. (s19).

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CINE CON CE R T S Justin Freer, president/founder/ producer Brady Beaubien, co-founder/ producer Jeffery Sells, director of production George Valdiviez, director of marketing Andrew Alderete, head of publicity and communications Nicolas Rehm, general manager Maâ&#x20AC;&#x2122;ayan Kaplan, brand/marketing/ ip acquisition Brittany Fonseca, brand/marketing manager Molly Kossoff, brand/marketing and pr Manager Si Peng, brand/marketing manager Gabe Cheng, office manager wme Entertainment, worldwide representation

By Regina Taylor Directed by Patdro Harris

Adapted from the book by Michael Cunningham and Craig Marberry

March 13 - April 7

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JoAnn Kane Music Service, music preparation Ed Kalnins, music editing iMusicImage, playback operation and synthesizer production Justin Moshkevich, Igloo Music Studios, sound remixing Merchandise by FireBrand

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HARRY P OT TER AND THE PRISONER OF A ZK ABAN TM IN CONCERT Biographies

Continually composing for various different mediums, he has written music for world-renowned trumpeters Doc Severinson and Jens Lindemann and continues to be in demand as a composer and conductor for everything from orchestral literature to chamber music around the world.

Justin Freer American composer/conductor Justin Freer was born and raised in Huntington Beach, California. He has established himself as one of the West Coast’s most exciting musical voices and has quickly become a highly sought-after conductor and producer of film music concerts around the world. Freer began his formal studies on trumpet but quickly turned to piano and composition, composing his first work at age 11 and giving his professional conducting debut at age 16.

He has served as composer for several independent films and has written motion picture advertising music for some of 20th Century Fox Studios’ biggest campaigns including Avatar, The Day the Earth Stood Still, and Aliens in the Attic. As a conductor, Freer has appeared with some of the most well-known orchestras in the world, including the Chicago Symphony Orchestra, London Philharmonic, New York Philharmonic, and San Francisco Symphony. In upcoming seasons, he will guest conduct the Minnesota Orchestra as well as the orchestras of Dublin, Paris, Philadelphia, Sydney, Toronto, and others. Renowned wind conductor and Oxford Round Table Scholar Dr. Rikard Hansen

has noted that, “In totality, Freer’s exploration in musical sound evoke moments of highly charged drama, alarming strife, and serene reflection.” Freer has been recognized with numerous grants and awards from organizations including ascap, bmi, the Society of Composers and Lyricists, and the Henry Mancini Estate. He is the founder and president of CineConcerts, a company dedicated to the preservation and concert presentation of film, curating and conducting full-length music score performances live with film for such wide ranging titles as Gladiator, The Godfather, Breakfast at Tiffany’s, It’s A Wonderful Life, and most recently Harry Potter and the Sorcerer’s Stone. Freer earned both his b.a. and m.a. degrees in music composition from ucla, where his principal composition teachers included Paul Chihara and Ian Krouse. In addition, he was mentored by legendary composer/conductor Jerry Goldsmith.

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Season Superstars

HARRY P OT TER AND THE PRISONER OF A ZK ABAN TM IN CONCERT

John Williams In a career spanning more than five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music and served as music director for more than 100 films, including all eight Star Wars films, the first three Harry Potter films, Superman, jfk, Born on the Fourth of July, Memoirs of a Geisha, Far and Away, The Accidental Tourist, Home Alone, and The Book Thief. His 45-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, e.t. The Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Munich, Saving Private Ryan, The Adventures of Tintin, War Horse, Lincoln, The bfg, and The Post. His contributions to television music include scores for more than 200 television films for the groundbreaking, early anthology series Alcoa Theatre, Kraft Television Theatre, Chrysler Theatre, and Playhouse 90, as well as themes for nbc Nightly News (“The Mission”), nbc’s Meet the Press, and the pbs arts showcase Great Performances. He also composed themes for the 1984, 1988, and 1996 Summer Olympic Games, and the 2002 Winter Olympic Games. He has received five Academy Awards and 51 Oscar nominations, making him the Academy’s most-nominated living person and the second-most nominated person in the history of the Oscars. He has received seven British Academy Awards (bafta), 24 Grammys, four Golden Globes, five Emmys, and numerous gold and platinum records. In 2003, he received the Olympic Order (the ioc’s highest honor) for his contributions to the Olympic

movement. He received the prestigious Kennedy Center Honors in December 2004. In 2009, Williams was inducted into the American Academy of Arts & Sciences, and he received the National Medal of Arts, the highest award given to artists by the u.s. government. In 2016, he received the 44th Life Achievement Award from the American Film Institute – the first time in their history that this honor was bestowed upon a composer. In January 1980, Williams was named 19th music director of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the title of Boston Pops Laureate Conductor, which he assumed following his retirement in December, 1993, after 14 highly successful seasons. He also holds the title of Artist-in-Residence at Tanglewood. Williams has composed numerous works for the concert stage, among them two symphonies, and concertos commissioned by several of the world’s leading orchestras, including a cello concerto for the Boston Symphony Orchestra, a bassoon concerto for the New York Philharmonic, a trumpet concerto for The Cleveland Orchestra, and a horn concerto for the Chicago Symphony Orchestra. In 2009, Williams composed and arranged Air and Simple Gifts especially for the first inaugural ceremony of President Barack Obama, and in September 2009, the Boston Symphony premiered a new concerto for harp and orchestra entitled On Willows and Birches.

become one of the most sought-after conductors of film music, with a long list of full symphonic live to projection projects. He has appeared with some of the world’s leading orchestras, including the Chicago Symphony Orchestra, London Philharmonic Orchestra, New York Philharmonic, Philadelphia Orchestra, Philharmonia Orchestra, San Francisco Symphony, and Sydney Symphony Orchestra. From full-length movie screenings with live orchestra, to musicinteractive sporting event experiences, to original 3d-environment holiday programming, CineConcerts is at the forefront of live entertainment.

Portland State University Chamber Choir

CineConcerts

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 (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.

CineConcerts is one of the leading producers of live music experiences performed with visual media. Founded by producer/conductor Justin Freer and producer/writer Brady Beaubien (Star Trek: The Ultimate Voyage and DreamWorks Animation in Concert), CineConcerts has engaged millions of people worldwide in concert presentations that redefine the evolution of live experience. Recent and current live concert experiences include Gladiator, The Godfather, It’s a Wonderful Life, DreamWorks Animation In Concert, Star Trek: The Ultimate Voyage 50th Anniversary Concert Tour, and Breakfast at Tiffany’s. Freer has quickly

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. orsymphony.org | 503-228-1353 35

RACHMANINOFF’S SECOND PIANO CONCERTO SATURDAY, FEBRUARY 23, 2019, 7:30 PM SUNDAY, FEBRUARY 24, 2019, 7:30 PM MONDAY, FEBRUARY 25, 2019, 7:30 PM SPONSORED BY THE HOLZMAN FOUNDATION/RENÉE AND IRWIN HOLZMAN

James Feddeck, conductor Marc-André Hamelin, piano John Adams

Doctor Atomic Symphony The Laboratory Panic Trinity

Sergei Rachmaninoff

Piano Concerto No. 2 in C Minor Moderato Adagio sostenuto Allegro scherzando Marc-André Hamelin

INTERMISSION Richard Strauss

Death and Transfiguration ARLENE SCHNITZER CONCERT HALL

C ONCERT CONVERSATION Conducted one hour before each performance, the Concert Conversation will feature guest conductor James Feddeck and Brandi Parisi, host at All Classical Portland.

Biographies

James Feddeck With this concert, James Feddeck makes his debut with the Oregon Symphony. Feddeck is an orchestral conductor whose musicianship is recognized worldwide. Recent seasons have seen debuts with the Vienna Radio Symphony, German Symphony Orchestra Berlin, Royal Stockholm Philharmonic, Helsinki Philharmonic, Royal Flemish 36 artslandia.com

Philharmonic, Belgian National Orchestra, French National Orchestra, the bbc Philharmonic, bbc Symphony Orchestra, Royal Scottish National Orchestra, the Hallé Orchestra, and New Zealand Symphony Orchestra. In particular, he has been regarded for his interpretations of the music of Anton Bruckner, with a number of acclaimed performances of the composer’s symphonies: the Eighth with the San Francisco Symphony Orchestra, the Fifth on tour with the Belgian National Orchestra, and the Sixth and Ninth with the rté Dublin National Orchestra and City of Birmingham Symphony Orchestras, respectively. In North America, he has conducted The Cleveland Orchestra and the Chicago, Dallas, Seattle, San Francisco, Toronto,

and Montreal symphony orchestras. Born in New York and a graduate of Oberlin Conservatory, Feddeck is a winner of the Solti Conducting Award from the Solti Foundation u.s., the Aspen Conducting Prize, and was recognized by his alma mater as the first recipient of the Outstanding Young Alumni Award for professional achievement and contributions to society. In August 2017, his first cd was released in collaboration with the German Symphony Orchestra Berlin and the radio station Deutschlandfunk Kultur. It features the music of one of Germany’s leading neo-romantic musical figures, Georg Schumann (1866–1952). This recording marks the first to be made of the Opus 42 Symphony in F Minor (1905).

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R ACHMANINOFF’S SECOND PIANO CONCERTO the Keyboard Virtuoso Series plus recitals in Montreal, Seattle, Berlin, Florence, Salzburg, Wigmore Hall, and Istanbul, among others. Hamelin appears with the Los Angeles, Stuttgart, and Moscow State philharmonics; the Vancouver, Cincinnati, and Oregon symphonies; and tours in Europe with the Amsterdam Sinfonietta.

Marc-André Hamelin Marc-André Hamelin last appeared with the Oregon Symphony on October 10, 2016, when he performed Rachmaninoff’s Third Piano Concerto with conductor Nicholas Carter. Pianist Hamelin is known worldwide for his unrivalled blend of consummate musicianship and brilliant technique in the great works of the established repertoire as well as for his intrepid exploration of the rarities of the 19th, 20th, and 21st centuries, both in concert and recordings. The 2018/19 Season includes Hamelin’s return to Carnegie Hall for a recital on

He was a distinguished member of the jury of the 15th Van Cliburn International Piano Competition in 2017, where each of the 30 competitors performed Hamelin’s Toccata on L’Homme armé, which marked the first time the composer of the commissioned work was also a member of the jury. Although primarily a performer, Hamelin has composed music throughout his career; the majority of his works are published by Edition Peters. Hamelin records exclusively for Hyperion Records. His most recent releases are Schubert’s Piano Sonata in B-flat Major and Four Impromptus, a landmark performance of Stravinsky’s

The Rite of Spring and Concerto for Two Pianos with Leif Ove Andsnes, and Medtner’s Piano Concerto No. 2 and Rachmaninoff ’s Piano Concerto No. 3 with the London Philharmonic Orchestra and Vladimir Jurowski. He was honored with the 2014 echo Klassik Instrumentalist of Year (Piano) and Disc of the Year by Diapason Magazine and Classica Magazine for his three-disc set of Busoni: Late Piano Music and an album of his own compositions, Hamelin: Études, which received a 2010 Grammy nomination (his ninth) and a first prize from the German Record Critics’ Association. Hamelin makes his home in the Boston area with his wife, Cathy Fuller. Born in Montreal, Hamelin is the recipient of a lifetime achievement award from the German Record Critic’s Association. He is an Officer of the Order of Canada, a Chevalier de l’Ordre du Québec, and a member of the Royal Society of Canada.

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R ACHMANINOFF’S SECOND PIANO CONCERTO Program Notes JOHN ADAMS b. 1947

Doctor Atomic Symphony composed: 2005; 2007 first oregon symphony performance instrumentation: piccolo, 2 flutes, 3 oboes (1 doubling English horn), 3 clarinets (1 doubling bass clarinet), 3 bassoons (1 doubling contrabassoon), 4 horns, 4 trumpets (1 doubling piccolo trumpet), 3 trombones, tuba, timpani, bass drum, chimes, crotales, cymbals, glockenspiel, snare drum, 2 tamtams, thunder sheet, tuned gongs, harp, celeste, and strings estimated duration: 24 minutes “The atomic bomb had been the overwhelming, irresistible, inescapable image that dominated the psychic activity of my childhood,” John Adams observes in his book, Hallelujah Junction. In 1999, Pamela Rosenberg, general director of the San Francisco Opera, approached Adams with the idea of writing an “American Faust” opera about physicist J. Robert Oppenheimer. As head of the Manhattan Project, Oppenheimer oversaw the construction and testing of the nuclear bombs that destroyed Hiroshima and Nagasaki in the summer of 1945. Adams’ opera, Doctor Atomic, focuses on the days leading up to the first atomic bomb tests in the New Mexico desert outside Los Alamos. Doctor Atomic premiered in the fall of 2005 in San Francisco and was subsequently staged in Chicago and at the Metropolitan Opera. wo years after Doctor Atomic T premiered, Adams assembled some of the instrumental music from the opera into what he describes as a “compact and high-energy symphony… [which] itself is kind of explosive, as if it were Oppenheimer’s plutonium sphere just about to go supercritical.”

“ The first part is called The Laboratory, and it begins with the music that begins the opera,” Adams continues. “I was inspired by the science fiction movie music of the 1950s, which I watched as a little kid on a blackand-white television. I remembered how many of these sci-fi movies started with some nuclear test in the desert, and then some terrible thing happens… And I thought, in a way, that really constituted a mythology of our time, that kind of existential angst, the awareness of nuclear war, and particularly the kind of fear that I felt as a kid growing up in the ’50s and ’60s. The orchestra is very powerful and dissonant and pounding at the beginning, and this gives way to the second part, which I call Panic. This is music from Act II of Doctor Atomic, where there’s an enormous sense of frenzy and anxiety. The scientists are under huge pressure to deliver this bomb, to make sure it works, and at the same time, [the music] summons up what a city that’s being bombed might be like. “The final moments of the Doctor Atomic Symphony bring probably the most famous part of the opera, which is my setting of John Donne’s famous sonnet, ‘Batter my heart, three-person’d God.’ This is a sonnet in which the poet talks about the loss of his soul and asks God to come and literally ‘break, burn, batter’ him, that he may regain his soul, which has since been given to the Devil. I give these words to Oppenheimer. I don’t believe that at the time of the detonation of the bomb Oppenheimer necessarily felt this kind of remorse, but we know that he did later, when he saw what nuclear weapons had wrought on society. It’s a very poetic moment; the music has a certain atmosphere or flavor of a very slow solemn passacaglia… and the melody, which originally of course is sung by Oppenheimer, I give to the solo trumpet.”

SERGEI RACHMANINOFF 1873–1943

Piano Concerto No. 2 in C Minor, Op. 18 composed: 1900–01 most recent oregon symphony performance: February 24, 2014; Carlos Kalmar, conductor; Arnaldo Cohen, piano instrumentation: solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, and strings estimated duration: 33 minutes In 1900, Sergei Rachmaninoff was at low ebb, professionally and emotionally. His Symphony No. 1 had premiered to dismal reviews three years earlier, and this setback triggered a paralyzing depression that returned periodically throughout Rachmaninoff’s life. As Rachmaninoff recounted in his Memoirs, “I did nothing and found no pleasure in anything. Half my days were spent lying on a couch and sighing over my ruined life.” In desperation, Rachmaninoff sought help from a hypnotist, Dr. Nicolai Dahl, who was also an amateur string player. Dahl, using hypnotic techniques, would plant encouraging thoughts about writing the concerto in Rachmaninoff’s head during their sessions. In Rachmaninoff’s Recollections, the composer recounts, “I heard the same hypnotic formula repeated day after day while I lay half asleep in my armchair in Dr. Dahl’s study, ‘You will begin to write your concerto… You will work with great facility… The concerto will be of excellent quality…’ It was always the same, without interruption. Although it may sound incredible, this cure really helped me.” With Dahl’s support, Rachmaninoff was able to complete the concerto. It was an instant success; the following year, when Opus 18 was published, Rachmaninoff dedicated it to “Monsieur N. Dahl.” The work opens with the soloist sounding a series of chords that ring

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R ACHMANINOFF’S SECOND PIANO CONCERTO like church bells, and grow in both volume and intensity. Interestingly for a piano concerto, the soloist’s role in this movement is largely one of accompaniment, until one of Rachmaninoff’s most familiar and beloved themes emerges. The music continues with a rousing march in the piano, which dissolves into a solo horn intoning the second theme. he sensual beauty of the Adagio sostenuto T creates an atmosphere of enchanted otherworldliness. The primary melody is heard first in the clarinet and flute, with the piano accompanying. The soloist takes up the melody and develops it, with accompanying woodwinds and strings. I n the Allegro scherzando, the lower instruments murmur a brief introduction to the soloist’s opening showy cadenza, which segues into the staccato pulsing rhythm of the first theme. The violas and solo oboe’s lyrical second theme is a marked contrast. The two themes vie for prominence as the mood of this movement shifts abruptly from jittery agitation to ecstatic rhapsody. Rachmaninoff concludes with a pull-out-all-the-stops ending showcasing the rhapsodic theme.

RICHARD STRAUSS 1864–1949

Death and Transfiguration, Op. 24 composed: 1888–89 most recent oregon symphony performance: January 28, 2013; Carlos Kalmar, conductor instrumentation: 3 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, tam-tam, 2 harps, and strings estimated duration: 25 minutes Why would a young man in good health, embarking on a promising career in both composition and conducting, turn his attention from bold, dramatic works to write about 40 artslandia.com

R ACHMANINOFF’S SECOND PIANO CONCERTO

death? Since the first performance of Richard Strauss’ 25-minute tone poem, Death and Transfiguration, which he conducted on June 21, 1890, the perceived incongruity of composer and subject has puzzled listeners, even while they acknowledge the power and depth of Strauss’ musical imagination. ost of Strauss’ tone poems are musical M realizations of literary subjects, from Don Juan and Don Quixote to Macbeth and Till Eulenspiegel. Death and Transfiguration is an exception. Strauss came up with the idea on his own, independent of any pre-existing literary inspiration. At the premiere, Strauss’ friend Alexander Ritter provided a program in the form of a poem based on Strauss’ original concept. In 1894, Strauss wrote a letter in which he described the narrative arc of Death and Transfiguration: “It was six years ago when the idea occurred to me to represent the death

of a person who had striven towards the highest ideals, therefore very probably an artist, in a tone poem. The sick man lies in a bed, asleep, breathing heavily and irregularly; agreeable dreams conjure a smile on his features in spite of his suffering; his sleep becomes lighter; he wakens; once again he is racked by terrible pain; his limbs shake with fever – as the attack draws to a close and the pain resumes, the fruit of his path through life appears to him, the idea, the Ideal which he has tried to realize, to represent in his art, but which he has been unable to perfect because it was not for any human being to perfect it. The hour of death approaches, the soul leaves the body, in order to find perfected in the most glorious form in the eternal cosmos that which he could not fulfill here on Earth.” trauss’ music closely follows this S schema. The hushed opening has been likened to the uneven breathing or heartbeat of the dying person. Solo

woodwinds over rippling harp arpeggios suggest the “agreeable dreams,” which are brutally disrupted by an agitated interlude for orchestra, full of “terrible pain, limbs shaking with fever.” Gradually the fever passes and the lyrical fragments of melody return, soothing both body and mind. Once again the music shifts, and for the first time Strauss’ “transfiguration” theme appears, sweeping through the orchestra. This melody embodies Strauss’ lofty Ideal, which survives death. When the orchestra plays it full force, with soaring brasses and a gorgeous countermelody for horn – not coincidentally Strauss’ instrument – it has all the power and impact Strauss could have desired. ccording to many biographers, as A Strauss lay on his deathbed, he remarked to his daughter-in-law, “Funny thing, Alice, dying is just the way I composed it in Death and Transfiguration.” © 2019 Elizabeth Schwartz

RECOMMENDED RECORDINGS FROM HANSEL AND GRETEL Humperdinck: Hansel and Gretel Elisabeth Schwarzkopf, Elisabeth Grummer, Josef Metternich, Anny Felbermayer, Maria von Ilosvay, and Else Schürhoff Herbert von Karajan – Philharmonia Orchestra, Loughton Girls School Chorus, and Bancroft School Boys Choir emi/Warner Classics 5099964071626

FROM DVOŘÁK’S EIGHTH SYMPHONY

FROM RACHMANINOFF’S SECOND PIANO CONCERTO

Prokofiev: Symphony No. 1, “Classical” Herbert von Karajan – Berlin Philharmonic Orchestra Deutsche Grammophon 437253

Adams: Doctor Atomic Symphony Peter Oundjian – Royal Scottish National Orchestra Chandos 5129

Khachaturian: Violin Concerto David Oistrakh, violin Aram Khachaturian – Philharmonia Orchestra emi/Warner Classics 5099962789028

Rachmaninoff: Piano Concerto No. 2 Sergei Rachmaninoff, piano Leopold Stokowski – Philadelphia Orchestra 2-rca Victor Gold Seal 61658 or

Dvořák: Symphony No. 8 Christoph von Dohnányi – Cleveland Orchestra 2-London 452182

R. Strauss: Death and Transfiguration Herbert von Karajan – Berlin Philharmonic Orchestra Deutsche Grammophon Originals 447422

Recordings selected by Michael Parsons, who studied music at Lewis & Clark College and has worked professionally with classical recordings for several decades. Select recordings will also be available for purchase in the Grand Lobby.

orsymphony.org | 503-228-1353 41

OUR SUPPORTERS The Oregon Symphony thanks these individuals for their generous contributions received from November 1, 2017, to December 12, 2018. We apologize for any omissions or misspellings. Please notify us of any adjustments. TRANSFORMATIONAL: $100,000–ABOVE Anonymous (4) Rich* & Rachel Baek Karen & Bill* Early Robert* & Janis Harrison Michael & Kristen* Kern Lynn & Jack Loacker Stephanie McDougal+ Estate of Minerva T. Nolte, M.D. + Harold & Arlene Schnitzer CARE Foundation Arlene Schnitzer & Jordan Schnitzer Ann & Bill Swindells Charitable Trust

Holzman Foundation/Renée* & Irwin Holzman Beth & Jerry* Hulsman Carlos§ & Raffaela Kalmar Laura S. Meier James and Shirley Rippey Family Foundation The Leonard and Lois Schnitzer Family Fund of the ojcf Hank Swigert Nancy & Walter* Weyler Jack* & Ginny Wilborn The Jay & Diane Zidell Charitable Foundation Pat Zimmerman & Paul Dinu

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Learn more at workforart.org Work for Art is becoming the Arts Impact Fund, a program of the Regional Arts and Culture Council.

Portland Columbia SymPhony Steven ByeSS, MuSic Director The Three Bs

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

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OUR SUPPORTERS 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 ocf Nancie S. McGraw Bonnie McLellan Chris & Betsy Meier Jean & Walter Meihoff Mia Hall Miller & Matthew Miller Anne K Millis Fund of ocf Dolores & Michael Moore Lindley Morton & Corrine Oishi John & Nancy Murakami Bill & Kathy Murray Hester H. Nau Ward & Pamela Nelson John & Ginger Niemeyer George & Deborah Olsen Susan Olson & Bill Nelson Thomas Pak George & Mary Lou Peters Charles & Ruth Poindexter Jeff & Kathleen Rubin Drs. Emilia & Jon Samuel Susan Schnitzer 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 Robert & Margaret Wiesenthal Zephyr Charitable Foundation Inc. Charlene Zidell

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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 (11) 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 Elizabeth Burke 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 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 Richard Kaiser & Virginia Shipman Susie Kasper Richard & Ruth Keller Helen Kirkpatrick+ Georgia A Koehler Sally & Tom Kuhns Kyle & Marcia Lambert Wayne & Carolyn Landsverk Barbara A. Lee Fernando & Dolores Leon

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Oregon Music Festival Spring Edition presents

In Praise of Music

SUNDAY, MARCH 3, 4:00 p.m. FIRST UNITED METHODIST CHURCH Amy Shoremount-Obra, soprano Kirstin Chavez, mezzo-soprano John Pickle, tenor Kerry Wilkerson, bass VAUGHAN WILLIAMS Serenade to Music SCHUBERT Symphony No. 8 “Unfinished” KODALY Budavari Te Deum

Portland Symphonic Choir Oregon Festival Orchestra v

Zvonimir Hacko, conductor

Tickets: www.oregonmusicfest.org

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OUR SUPPORTERS Corporate Partners The Oregon Symphony thanks these corporations for their generous contributions received from November 1, 2017, to December 12, 2018. TR ANS FO RMATI ONAL $10 0 , 0 0 0 A ND A B OV E

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universe

THEN & NOW

Steel Bridge

Past & Present 1912

Steel Bridge, Org. Lot 1017, OrHi 54434, ba011760.

2019

Photo by Kristen Seidman, Artslandia.

In celebr ation of recent industrial process innovations, the second span across the Willamette River (and the first for rail passage) took its name from its newly viable construction material: steel. Completed in 1888, the original Steel Bridge was a double-deck swing-span bridge, meaning the center span pivoted open for boat passage. However, for several reasons, the structure became obsolete in only 24 years, necessitating a replacement in 1912. The new bridge, which is still in use today, retained the moniker and double-deck design of its predecessor. Car, bus, light rail, bike, and pedestrian traffic travel on the upper deck, while heavy rail rumbles across the bottom. In 2001, a cantilevered sidewalk added to the lower deck provided a safer option for bike and foot traffic. The telescoping vertical lift system – in which the lower span can raise independently of the top, or both decks can lift together to allow for greater clearance – is the only one of its kind in the world. Renovations over the decades have updated the approaches to suit surrounding urban development, but the original steel structure remains. A 2017 analysis declaring the bridge “structurally deficient” suggests that major rehabilitation or renovation is needed.

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 bridge? Post it! Don’t forget to tag #Artslandia and #ThenAndNow.

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ON A HIGH NOTE Have you ever stopped to consider how many people work for the Oregon Symphony beyond the musicians? Did you know that the Oregon Symphony has a library? Meet principal librarian Joy Fabos and enjoy her crash course in the fascinating sphere of the music library. First, where is the library, and what lies therein? I didn’t even know that the position existed until I started working here. It’s one of those things that you don’t think about, and that’s the way it should be. We consider ourselves to be music ninjas. The library is located on the fourth floor of the Arlene Schnitzer Concert Hall. It is our workspace and houses the Oregon Symphony Library collection. We have about 2,100 pieces in our collection and maybe 6,000 scores. We also house the Norman Leyden Library collection (named for the Oregon Symphony’s longtime associate conductor) and a choral library. How did you come to this line of work? I graduated from college with degrees in violin performance and music education, as well as play the violin and viola. I was with my former violin teacher, Carol Sindell, when the librarian of the Symphony called her office looking for some part-time help. Over the next few years, I learned on the job, eventually becoming the assistant librarian. I left after a few years to pursue some playing opportunities and other adventures and then returned when the principal librarian position opened up. In order to be an orchestra librarian, you really must be a musician first. Then, it is most often about learning on the job.

Oregon Symphony principal librarian

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Photo: Christine Dong, Artslandia.

Joy Fabos

What is the cataloguing system used in a symphony library?

There are two other librarians, and we are structured like a section in the orchestra. I am the principal librarian. Kat Thompson is the asssociate librarian, and Sara Pyne is assistant librarian.

When I first began working here, I helped my mentor Rob Olivia (principal librarian at the time and the first professional librarian hired by the Symphony) create the system to catalog the collection. We use a searchable Excel spreadsheet. It is not fancy, but it works!

What, specifically, does a symphony librarian do?

How is your line of work impacted by the shift toward digitizing printed materials? There is definitely exciting potential out there in this area. For now, musicians and distributors are still clinging a bit to the paper sheet music, but I expect this will change soon. We already have much easier access to digital resources online and do scan and send parts to musicians on a regular basis. What do you find most rewarding or exciting about your job? I love the fact that every day is different with new challenges and tasks. In one day, I may be emailing with Smokey Robinson’s tour manager, rearranging two parts to be played by one player, meeting a choir director to distribute parts, and breaking down the previous night’s folders. I also love the people I work with and the physical space we occupy. I really couldn’t ask for better coworkers. What are the challenges of your job, specifically, and your career field, in general? The challenges are similar to any profession: getting information in an accurate and timely fashion, occasional demanding artistic temperaments, last-minute changes, etc. The problem for us in the library is that certain parts of our job just take time, and there is no way to speed that up. Fortunately, people are understanding in these situations. Once we had a guest artist cancel at the last minute due to illness, and the entire concert was reprogrammed less than 24 hours before the first rehearsal. That was very busy, but the orchestra musicians took up a collection and bought the librarians an espresso machine!

2019 Oregon Book

Awards Ceremony EG

BOOK AW AR

To put it succinctly, we research, procure, prepare, and distribute the music to the players and conductors of the Oregon Symphony. These duties vary a great deal from concert to concert. If we are preparing a Classical concert, we may have to rent a piece or two still under copyright from one of about seven or eight rental agencies, give it to our concertmaster so that she can put her markings in it (bowings, mainly, which specify the direction of the bow and articulation), distribute her part to the other string principals so that they can match the markings, and then transfer all of those markings to the individual parts for each string player. We also check rehearsal markings to make sure the conductor score and orchestral parts match so if the conductor stops rehearsal and wants to restart, everyone has the same reference point. If we own the piece on the concert, we may be able to pull it off the shelf and skip a few of the steps, depending on how recently it was performed. There are also often mistakes in the rental parts that musicians, librarians, or conductors have caught over the years, so errata lists are available to us. This is all to do as much preparation in advance of the rehearsal as possible so that the time can be used to work on the music and not dealing with errors. We then pull all of the pieces for the specific concert and put together folders for each musician. If we are preparing a Pops show or a Special concert, the process is similar but, usually, with a bit less lead time. Some guest artists even prefer to bring their music with them, which makes for a bit of a flurry pre-rehearsal.

Literary Arts’ annual celebration of remarkable literature created right here in Oregon.

Are you the only librarian working for the Oregon Symphony?

RIL 3 0, 201

April 22 at 7:30 p.m. Gerding Theater at the Armory Tickets start at $12 BrownPaperTickets.com

The 2019 Oregon Book Awards celebrates the state’s most accomplished writers in the genres of poetry, fiction, nonfiction, young readers, and drama. The evening will be hosted by Cheryl Strayed, author of the #1 New York Times best selling memoir Wild, New York Times best sellers Tiny Beautiful Things and Brave Enough, and the novel Torch.

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#AR T SL ANDIAWA SHERE @normanconductor

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garnishapparel What a blast we had styling Artistic Director, Sarah Slipper, and Lead Dancer, Andrea Parson for @nwdanceproject. Photographer @gia.goodrich is a magician behind the lense, and it was really enlightening watching her work. #shoppdx #portland #portlandstyle #portlandfashion #pdxmakers #makersofpdx #pdxbusiness #smallbusiness #shopsmall #localbusiness #supportlocal #shoplocal #pdxboutique #pdxmade #artslandiawashere #portlabdmade #pdxmade

@ashleypeavey

normanconductor This weekend was incredible. I shared the stage with @leslieodomjr and the worldâ&#x20AC;&#x2122;s greatest double bassist, Edgar Meyer. @oregonsymphony is on fire! #conductorlife #conductor #oregonsymphony #artslandia #artslandiawashere #portlandart #orchestra #hamilton #broadway #musicals #leslieodomjr #pdx #portland #oregon #classicalmusic #hamilton #leslieodom # concert

ashleypeavey The boys had the best time at @octportland for the Naked Mole Rat Gets Dressed! Huge thank you to @artslandia for hosting us to a wonderful afternoon! #artslandia #artslandiawashere #octportland #pdxtheatre #portlandtheatre #childrenstheatre #theatre #theaterlife #theaterkids Use hashtag #ArtslandiaWasHere on your social media posts, and they could end up here!

THE PORTLAND STATE UNIVERSITY CHOIRS PRESENT

March 8 at 7:30 p.m. March 10 at 4 p.m. FIRST UNITED METHODIST CHURCH

Tickets: $10â&#x20AC;&#x201C;$20 psuchoir.com or 503.725.3307

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O N A N U N R E L AT E D N O T E CHERYL S TR AYED The beloved Portland author’s four books include her #1 New York Times bestselling memoir, Wild. A stage adaptation of Tiny Beautiful Things, another bestseller that originated with her Dear Sugar advice column, will be presented by Portland Center Stage at The Armory, February 23–March 31.

Cheryl Strayed.

Susannah: What makes you feel whole in your life? Cheryl: Wholeness isn’t a state of being that you arrive at, and then you’re good to go for the rest of your life. I always have to reassess. It’s a really interesting evolution to stay awake to who you are in every era of your life. I just turned 50, and I feel myself looking at my life and assessing. I have stayed the same in some ways and changed in others. My kids are now teenagers. I’m now in middle age. All of these things are shifting around, and I have to make choices based on that. That wholeness that I felt when I was 42 gets a little fractured, and then I have to become a whole again. I’m working on that now.

This podcast transcript has been edited and condensed for print.

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PORTLAND’5 PRESENTS

THE CHIEFTAINS WEDNESDAY, FEBRUARY 20 | 7:30PM

INFO & TICKETS: PORTLAND5.COM | PH: 800.273.1530 | PORTLAND’5 BOX OFFICE | TICKETSWEST OUTLETS

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ART DEPT

Untitled

Untitled by Hayden Senter.

ayden Senter’s untitled surrealist mural brings us a lone house in a clearing against a backdrop of a pink-patterned sky. Surrounding the clearing is a jungle of beautifully lush foliage. In art, houses often symbolize comfort and stability, and while the bright light from within and the open door of this house seems inviting, a tangle of roots exploding out the side wall tells another story. The artist shares, “I was focused on a few ideas. It

seemed important to reflect some of the surrounding neighborhood within the painting but also touch on ideas of permanence and the inherent ephemerality that go along with it. I tried to keep the palette saturated and bright to create an entry point for passersby. Hopefully, this way, people interested in the mural will come to their own conclusions about its meaning by navigating the image itself.” Ultimately, the work is an invitation to consider the rapid

and dramatic transformation of Portland neighborhoods and social fabric. “Creating a reflection of these changes, the mural acts as a catalyst for new thought on what’s happening,” according to the Regional Arts & Culture Council, which funded the work along with private funds. “With growth comes change, both positive and negative, as well as a separation from what used to be.” Created in 2018, the mural of acrylic on concrete spans 15 by 50 feet.

Congratulations to Kaliska Day, winner of the Art Dept contest for correctly identifying the location of Keller Mural by Una Kim. Enjoy your Artslandia Box, Kaliska! For your chance to win, email submit@artslandia.com with the location of the mural featured above.

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