InSymphony May 2019

MAY 2 019

the magazine of the

Oregon Symphony

Storm Large FE ATURED CONCER T S

The Music of The Rolling Stones Amadeus in Concert Peer Gynt Mahler’s First Symphony Boyz II Men

THE

Gioachino Rossini

BARBER OF SEVILLE JUNE 7–15 | KELLER AUDITORIUM

Up Next

JULY 2019

LA FINTA GIARDINIERA Mozart

JULY/AUG 2019

IN THE PENAL COLONY Philip Glass

Christopher Mattaliano General Director

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CONTENTS MAY 2019 12

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about us LETTER FROM THE PRESIDENT 7 CONDUCTORS 9 ORCHESTRA, STAFF & BOARD 10 RECOMMENDED RECORDINGS 29 OUR SUPPORTERS 32

featured The Music of The Rolling Stones

Amadeus in Concert

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ZACH GALATIS 42

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PORTLAND SATURDAY MARKET 41 OREGON SYMPHONY 2019 GALA 46

performances THE MUSIC OF THE ROLLING STONES 12 THURSDAY, MAY 2, 7:30 PM AMADEUS IN CONCERT 14 SATURDAY, MAY 4, 7:30 PM Peer Gynt

Mahler’s First Symphony

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Feature

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PEER GYNT 16 SATURDAY, MAY 11, 7:30 PM SUNDAY, MAY 12, 2 PM MONDAY, MAY 13, 7:30 PM MAHLER’S FIRST SYMPHONY 24 SATURDAY, MAY 18, 7:30 PM SUNDAY, MAY 19, 7:30 PM MONDAY, MAY 20, 7:30 PM BOYZ II MEN 30 WEDNESDAY, MAY 22, 7:30 PM

Boyz II Men

Zach Galatis

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.

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5 years Doug Reneau

10 years

Please join us in celebrating the following musicians for these milestone anniversaries of service with the Oregon Symphony.

Thank you for all that you do on and off stage for Portland!

Alicia DiDonato Paulsen Marilyn De Oliveira Mark Dubac Graham Kingsbury Alicia Waite

15 years Keiko Araki Shin-young Kwon Inés Voglar Belgique

PUBLISHER + FOUNDER Misty Tompoles ASSOCIATE PUBLISHER + MEMBERSHIP MANAGER Katrina Ketchum MANAGING EDITOR Kristen Seidman

20 years JáTtik Clark Jason Schooler Karen Wagner

MEDIA DIRECTOR Chris Porras

25 years

SALES DIRECTOR Lindsey Ferguson

David Bamonte Mary Grant

30 years Joseph Berger Todd Kuhns

35 years Kenneth Finch Peter Frajola

DESIGNERS Lisa Johnston-Smith Dan Le Heidi Rush Jackie Tran

PHOTO: KEVIN ZUERCHER

ARTSL ANDIA BOX MANAGER Bella Showerman PUBLISHER’S REPRESENTATIVE Nicole Lane PUBLISHING COORDINATOR Sara Chavis ASSOCIATE DIRECTOR OF EVENTS & SPECIAL PROJECTS Ashley Coates PHOTOGRAPHERS Christine Dong Max McDermott PODCAST HOST Susannah Mars

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LETTER FROM THE PRESIDENT Dear Friends, Your Oregon Symphony’s concerts this May are among the highlights of the 2018/2019 Season. On May 2, powerhouse vocalist Brody Dolyniuk performs iconic hits in The Music of The Rolling Stones. On May 4, the orchestra performs alongside our sixth and final film of the year, the multiple Academy Award-winning Amadeus. Our three-concert series SoundStories concludes this month with Edvard Grieg’s Peer Gynt. Our production features the fantastical artwork of Alexander Polzin visually enhancing the musical storytelling (May 11–13). We mark the finale of the Classical Series with Mahler’s Symphony No. 1, “Titan,” on a program that features Storm Large singing Kurt Weill’s Seven Deadly Sins (May 18–20). Finally, the best-selling r&b group of all time, Boyz II Men, joins your Oregon Symphony for a soulful performance to close out the season (May 22).

Our musicians are active off stage as well, with Classical Up Close pop-up concerts continuing at metro-area churches, community centers, and libraries throughout the first week of May. Elsewhere, our woodwind quartet visits the Yamhill Carlton School District to present a Woodwind Informance – an informational performance – introducing kids to the music, sounds, and mechanics of clarinets, flutes, oboes, and bassoons.

We have much to celebrate as we close the 2018/2019 Season, including the talent and dedication of our orchestra. At our final Classical Series concert, Maestro Kalmar will recognize from the stage those musicians reaching milestones in their tenure with Oregon Symphony.

We also applaud you, our patrons and donors, whose presence makes our work meaningful.

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. @OregonSymphony

Thank you for joining us, and for your ongoing support.

Enjoy your concert here today, and the summer months ahead. We’ll see you again in September.”

Scott Showalter president & ceo

orsymphony.org | 503-228-1353

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Oregon Symphony Presents Oregon Symphony at the Zoo SEPTEMBER 7, 2019 For tickets, visit zooconcerts.com.

Oregon Symphony at the Zoo

Star Wars: The Empire Strikes Back in Concert SEPTEMBER 13, 14 & 15, 2019

Guster with the Oregon Symphony SEPTEMBER 21, 2019

Seu Jorge

A Night of Symphonic Hip Hop Featuring Wyclef Jean SEPTEMBER 22, 2019

Batman in Concert OCTOBER 4, 5 & 6, 2019

Copland v. Bon Iver OCTOBER 17, 2019 The Tenors

Chick Corea NOVEMBER 7, 2019

Seu Jorge Presents The Life Aquatic – A Tribute to David Bowie NOVEMBER 11, 2019

The Tenors Christmas Storm Large

DECEMBER 2, 2019

2019/20 Kenny G – Celebrating 25 Years of Miracles: The Holiday Album DECEMBER 3, 2019

Mannheim Steamroller Christmas by Chip Davis DECEMBER 6, 2019

Gospel Christmas DECEMBER 13, 14 & 15, 2019

The Storm Large Holiday Ordeal DECEMBER 16, 2019

Comfort and Joy: A Classical Christmas DECEMBER 18, 2019

Cirque Nutcracker DECEMBER 21, 2019

A Viennese New Year with guests from Oregon Ballet Theatre DECEMBER 30, 2019

Itzhak Perlman Plays Beethoven JANUARY 16, 2020

Ghostbusters in Concert JANUARY 18 & 19, 2020

Game ON! FEBRUARY 1, 2020

Harry Potter and the Goblet of Fire™ in Concert FEBRUARY 28, 29 & MARCH 1, 2020 Chris Botti

On Sale May 6!

Presentation licensed by Disney Concerts in association with 20th Century Fox, Lucasfilm Ltd., and Warner/Chappell Music. © 2019 & tm lucasfilm ltd. all rights reserved. harry potter characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. Harry Potter Publishing Rights © jkr. (s19)

Nas: Illmatic – 25th Anniversary MARCH 19, 2020

Chris Botti MAY 4, 2020

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.

Kalmar, born in Uruguay to Austrian parents, showed an early interest in music and began violin studies at the age of 6. By the time he was 15, his musical promise was such that his family moved back to Austria in order for him to study conducting with Karl Osterreicher at the Vienna Academy of Music. He has previously served as the chief conductor and artistic director of the Spanish Radio/Television Orchestra and Choir in Madrid as well as the music director for the Hamburg Symphony, the Stuttgart Philharmonic, Vienna’s Tonnkunsterorchester, and the Anhaltisches Theater in Dessau, Germany. He lives in Portland with his wife, Raffaela, and sons, Luca and Claudio.

Norman Huynh Harold and Arlene Schnitzer associate conductor chair

Now in his third season as Oregon Symphony associate conductor, Norman Huynh was selected from a field of over 100 candidates from around the world for his exceptional conducting technique, his passion for a wide-ranging repertoire, and his unique ability to communicate with an audience.

The recipient of the 2015 Felix Mendelssohn-Bartholdy Scholarship, he previously conducted the St. Louis, City of Birmingham (uk), Baltimore, Toledo, Charlotte, and Virginia symphonies, and the Peabody Symphony Orchestra.

He made his international conducting debut with the Princess Galyani Vadhana Youth Orchestra in Bangkok, Thailand, and has also conducted the Leipzig Symphony. He previously served as assistant conductor for the Spoleto Festival usa, the Portland Symphony Orchestra in Maine, Opera Carolina, the Lyric Opera of Baltimore, the Peabody Opera Theatre, and The Peabody Singers.

Huynh co-founded the Occasional Symphony, an organization that presents innovative programs that resonate with eclectic venues throughout the city of Baltimore.

He studied orchestral conducting at the Peabody Institute of the Johns Hopkins University, working with Gustav Meier, Markand Thakar, and Marin Alsop. For backstage stories, follow Huynh on Instagram @normanconductor.

Jeff Tyzik principal pops conductor

Jeff Tyzik has earned a reputation as one of America’s foremost pops conductors and is recognized for his brilliant arrangements, original programming, and rapport with audiences. Now in his 25th season as principal pops conductor of the Rochester Philharmonic, Tyzik is also in his 12th season as the Oregon Symphony’s principal pops conductor and continues to serve in the same role with the Seattle Symphony, Detroit Symphony, Florida Orchestra, and Canada’s Vancouver Symphony.

Tyzik is also highly sought after as a guest conductor across North America. He holds bachelor of music and master of music degrees from the Eastman School of Music. He lives in Rochester, New York, with his wife, Jill. orsymphony.org | 503-228-1353

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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

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

Sarah Kwak, Janet & Richard Geary concertmaster chair Peter Frajola, Del M. Smith & Maria Stanley Smith associate

concertmaster chair FLU TE Erin Furbee, Harold & Jane Pollin Martha Long, Bruce & Judy Thesenga assistant concertmaster chair principal flute chair Chien Tan, Truman Collins, Sr. principal Alicia DiDonato Paulsen, second violin chair Inés Voglar Belgique, assistant principal assistant principal Zachariah Galatis second violin Fumino Ando PI CCO LO Keiko Araki Zachariah Galatis Clarisse Atcherson Ron Blessinger OBOE Lisbeth Carreno Martin Hébert, Harold J. Schnitzer Ruby Chen principal oboe chair Emily Cole Karen Wagner, assistant principal Julie Coleman Kyle Mustain Eileen Deiss Jonathan Dubay ENGLI S H H O RN Gregory Ewer Kyle Mustain Daniel Ge Feng Lynne Finch CL AR INE T Shin-young Kwon James Shields, principal Ryan Lee Todd Kuhns, assistant principal Samuel Park Mark Dubac Searmi Park Vali Phillips B A S S CL AR INE T Deborah Singer Todd Kuhns VIOLA B A S S O ON Joël Belgique, Maybelle Clark Macdonald Fund principal viola chair** Carin Miller Packwood, principal Evan Kuhlmann, assistant principal** Charles Noble, principal* Adam Trussell Brian Quincey, assistant principal* Jennifer Arnold Silu Fei Leah Ilem Ningning Jin Kim Mai Nguyen* Viorel Russo Martha Warrington

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CONTR AB A S S O ON Evan Kuhlmann**

TR UMPE T Jeffrey Work, principal David Bamonte, assistant principal, Musicians of the Oregon Symphony Richard Thornburg trumpet chair Doug Reneau TR OMB ONE Casey Jones, principal Robert Taylor, assistant principal Charles Reneau B A S S TR OMB ONE Charles Reneau TUBA JáTtik Clark, principal TIMPANI Jonathan Greeney, principal Sergio Carreno, assistant principal PE R CU S S I ON Niel DePonte, principal Michael Roberts, assistant principal Sergio Carreno HAR P Jennifer Craig, principal LIB R ARY Joy Fabos, principal Kathryn Thompson, associate Sara Pyne, assistant O R CHE S TR A PE R S ONNE L MANAGE R Leah Ilem * Acting position ** Leave of absence

Administration Rene Contakos, gift officer Scott Showalter, president and ceo Ella Rathman, development associate Diane M. Bush, executive assistant Leslie Simmons, director of events Susan Franklin, assistant to the Courtney Trezise, foundation

music director and corporate giving officer Ellen Bussing, vice president

Nik Walton, annual giving manager for development Charles Calmer, vice president

MAR KE TING , for artistic planning

COMMUNI C ATI ONS & S ALE S Natasha Kautsky, vice president of Ethan Allred, marketing and

marketing and strategic engagement web content manager Janet Plummer, chief financial

Liz Brown, marketing partnership and operations officer and group sales manager

Steve Wenig, vice president Katherine Eulensen, audience and general manager development manager

John Kroninger, front of house manager B U S INE S S O PE R ATI ONS Lisa McGowen, patron Allison Bagnell, senior graphic designer communications manager David Fuller, tessitura applications Rebekah Phillips, director of marketing, administrator communications, and sales 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

TI CKE T O FFI CE

Rachel Allred, patron services representative Adam Cifarelli, teleservices manager Karin Cravotta, patron services representative Alison Elliott, patron services representative Ethan jh Evans, 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 O PE R ATI ONS Christy McGrew, ticket office manager Carol Minchin, patron services Jacob Blaser, director of operations representative Ryan Brothers, assistant stage manager Monica Hayes, education and community Amanda Preston, patron services representative engagement program director Robert Trujillo, patron services Susan Nielsen, director of popular

representative programming and presentations Ashley Weatherspoon, patron services Steve Stratman, orchestra manager representative Lori Trephibio, stage manager Frances Yu, lead patron services

Jacob Wade, manager, operations and representative artistic administration

Board of Directors O FFI CE R S Robert Harrison, chair Walter E. Weyler, vice chair Nancy Hales, secretary Tige Harris, treasurer LIFE MEMB E R S William B. Early Gerald R. Hulsman Walter E. Weyler MEMB E R S Courtney Angeli 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

THE MUSIC OF THE ROLLING STONES THURSDAY, MAY 2, 2019, 7:30 PM SPONSORED BY

Brent Havens, conductor Brody Dolyniuk, vocals Program will be announced from the stage.

ARLENE SCHNITZER CONCERT HALL

Biographies

Havens is arranger/guest conductor for symphonic rock programs including The Music of Led Zeppelin, The Music of Pink Floyd, The Music of Queen, and The Music of Michael Jackson. He also premiered a full orchestral show for Lou Gramm, The Voice of Foreigner, with Lou singing out front.

Brent Havens Berklee-trained arranger/conductor Brent Havens has written music for orchestras, feature films, and virtually every kind of television. His tv work includes movies for networks such as abc, cbs, and abc Family; commercials; sports music for networks such as espn; and even cartoons. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale.

He has worked with some of the world’s greatest orchestras including the Royal Philharmonic, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, and countless others.

Havens recently completed the score for the film Quo Vadis, a Premier Pictures remake of the 1956 gladiator film.

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Brody Dolyniuk Brody Dolyniuk remembers mimicking voices even as a child, listening to old records and tapes. He is a gifted, selftaught musician, capable of playing several instruments, with a particular knack for capturing the voices and mannerisms of classic characters from music, tv, and movies.

His first professional gigs were at piano bars in several U.S. cities, where he learned to charm audiences and expand his musical repertoire. With a longing to perform the music of the

many rock bands that inspired him, Dolyniuk assembled Yellow Brick Road, unquestionably Las Vegas’ most successful classic rock band.

Since 1997, ybr has been reshaping the casino entertainment scene by bringing a rock concert atmosphere to showrooms previously reserved for Top 40-style lounge acts. Along the way, Dolyniuk has made numerous radio and tv appearances, earned a spot in the finals of two national singing competitions, and even self-produced several large rock production-style shows utilizing multimedia, lasers, comedy, and special effects.

In 2007, Dolyniuk lent his vocal talents to several tracks on the megahit video game Guitar Hero iii: Legends of Rock, and he has already done several more for the new Konami game Rock Revolution.

Dolyniuk joined Windborne Music in 2009 as vocalist for The Music of Queen show, but has proven to be versatile enough to become the lead for The Rolling Stones, The Who, U2, Journey, and Elton John shows.

As a devout classic rock fan, Dolyniuk’s enthusiasm, vocal ability and on-stage energy continue to win over audiences around the globe.

THE REVIEWS ARE IN. The Color Purple

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Portland Center Stage at The Armory

WE WANT TO HEAR FROM YOU!

I’m lost for words.

Simply breathtaking.

—AlphaZet 9/26/2018

Everybody Artists Repertory Theatre

Go, find what the buzz is all about. Michael Mendelson was the man, today. Who will it be when you attend? We strongly recommend you see this more than once.

—Leonard Magazine 12/5/2018

Lila Downs Oregon Symphony

Pure magic! It was an evening of nostalgia and hope for the future.

—Chris 11/9/2018

your cultural concierge

AMADEUS IN CONCERT SATURDAY, MAY 4, 2019, 7:30 PM Norman Huynh, conductor Portland State University Chamber Choir Ethan Sperry, artistic director

Rated R

ARLENE SCHNITZER CONCERT HALL

Featuring major works by Mozart and other masters of the classical repertoire.

Oregon Symphony 2019/20 Season Subscriptions on sale now!

Visit orsymphony.org orsymphony.org 503-228-1353 your official source for symphony tickets

MOVING MUSIC FORWARD

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Artslandia: 7.3125 x 4.875 Runs: May Artist: Mozart

Biography

Portland State University Chamber Choir The Portland State University Chamber Choir is the top choral ensemble at Portland State. Since its founding in 1975, the Chamber Choir has performed and competed in venues across the country and around the world. In 2013, the Chamber Choir competed in the Seghizzi International Competition for Choral Singing in Gorizia, Italy, where they earned 15 separate awards

and became the first American choir ever to win the Grand Prize in the competition’s 52-year history. In 1999 and 2005, the Chamber Choir won four medals at choral competitions in Martkoberdorf, Germany. The Chamber Choir appeared at national conferences of the American Choral Directors Association in 1985, 1997, and 2003. The choir has also appeared at conferences for the National Association for Music Education and the International Society for Music Education. The Chamber Choir will compete at the International Choral Kathaumixw in Powell River, Canada, this summer, and at the Tolosa Choral Contest in Tolosa, Spain, next fall.

The group has collaborated with leading conductors such as Frieder Bernius, Andrew Parrot, Robert Shaw, James DePreist, Carlos Kalmar, and Eric Ericson.

Margaret Garwood on the Hildegard Label, and in 2006 they released the first English language recordings of the choral music of Veljo Tormis, at the request of Tormis himself.

In February 2011, the Chamber Choir collaborated with Portlandborn composer Morten Lauridsen, who described their singing as “an absolutely top-notch superb display of choral artistry.” The Chamber Choir’s 2012 album A Drop in the Ocean was favorably reviewed and featured in both Fanfare and Stereophile magazines, and was a finalist for the 2012 American Prize in Choral Music.

The Chamber Choir’s newest album, Into Unknown Worlds, was released in September 2014 and is on sale now.

The Chamber Choir has recorded on the Albany Label. In November 2003, the choir recorded the choral music of

June 8

orsymphony.org | 503-228-1353 15

PEER GYNT SATURDAY, MAY 11, 2019, 7:30 PM SUNDAY, MAY 12, 2019, 2 PM MONDAY, MAY 13, 2019, 7:30 PM

SPONSORED BY LYNN & JACK LOACKER PRESENTING VENUE SPONSOR:

Carlos Kalmar, conductor

Jane Archibald, soprano

Alexander Polzin, visualization Wolfgang Amadeus Mozart Benjamin Britten

Overture to Don Giovanni Les illuminations Fanfare: Maestoso (poco presto) Villes: Allegro energico Phrase: Lento ed estatico—Antique: Allegretto, un poco mosso Royauté: Allegro maestoso Marine: Allegro con brio Interlude: Moderato ma comodo Being Beauteous: Lento ma comodo Parade: Alla marcia Départ: Largo mesto Jane Archibald Sung in French with English supertitles.

Translations copyrighted and provided by the New World Symphony.

INTERMISSION Edvard Grieg

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Selections from Peer Gynt Act I Prelude: At the Wedding Halling Act II Prelude: The Abduction of the Bride (Ingrid’s Lament) “Great Folk May Be Known by the Mounts They Ride” In the Hall of the Mountain King Dance of the Mountain King’s Daughter Act III Åse’s Death Act IV Prelude: Morning Mood Arabian Dance Anitra’s Dance Solveig’s Song

Act V Prelude: Peer Gynt’s Homecoming The Shipwreck Solveig Sings in the Hut Night Scene Solveig’s Cradle Song Jane Archibald Alexander Polzin Sung in German; see page 21 for English translations.

(Please turn pages quietly.)

ARLENE SCHNITZER CONCERT HALL

CONCERT CONVERSATION Conducted one hour before each performance, the Concert Conversation will feature Music Director Carlos Kalmar and host Robert McBride. You can also enjoy the Concert Conversation in the comfort of your own home.

Visit orsymphony.org/conversations to watch the video on demand.

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.

Celebrate independence every day.

Live it up. Indulge in a community filled with active minds and thoughtful perspectives.

Terwilliger Plaza is where living independently is truly independent.

A Community for People 62+

. TerwilligerPlaza.com . 503.808.7870 orsymphony.org | 503-228-1353 17

PEER GYNT Biographies

Jane Archibald With this concert, Jane Archibald makes her debut with the Oregon Symphony.

Archibald’s career trajectory has taken her from Canada to San Francisco to the Vienna State Opera and major opera houses on both continents.

Her artistry has generated excitement across Europe and North America, with recent engagements including Lucia and Konstanze in Zurich; Adele and Ophélie at the Met; Olympia, Zerbinetta and Cleopatra at the Paris National Opera; Sophie at La Scala Milan and in Berlin; Zerbinetta at Baden-Baden Festspielhaus, Covent Garden, and in Munich; and Semele at the Canadian Opera Company.

After beginning her professional opera career in her native Canada, Archibald was an Adler Fellow and Merola participant with the San Francisco Opera.

She then moved to the Vienna State Opera as a member of the ensemble, debuting many coloratura roles.

The 2017/18 Season saw Archibald performing frequently with the Canadian Opera Company as their first-ever artistin-residence, singing the roles of Zdenka in Arabella, Konstanze in Die Entführung aus dem Serail, and the title role in The Nightingale and Other Short Fables.

The 2018/19 Season will find Archibald performing as Le Feu, La Princesse, and Le Rossignol in L’enfant et les sortilèges at the bbc Proms and Lucerne Festival under the baton of Sir Simon Rattle. She will make her role debuts as Mathilde in Theater an der Wien’s production of William Tell, as Cunégonde in Candide with both the London Symphony Orchestra and the Israel Philharmonic Orchestra, and as the title role in Oper Frankfurt’s Daphne. She will also 18 artslandia.com

give numerous concert performances including in Bach’s St. Matthew Passion with the National Orchestra of Lyon and Mozart’s Great Mass in C Minor with Symphony Nova Scotia.

Archibald has featured on multiple recordings and dvds. Her first solo cd, a program of Haydn coloratura arias, was released on the atma Classique label and won a juno Award for Classical Album of the Year. A newly released recording of Die Entführung aus dem Serail (June 2016) with conductor Jéremie Rhorer, is receiving rave reviews, as is her recording of Messiaen’s Poèmes pour Mi with Ludovic Morlot and the Seattle Symphony.

Archibald lives in Halifax, Nova Scotia, with her husband, tenor Kurt Streit, and their two children.

Alexander Polzin Alexander Polzin originally trained as a stonemason. He launched his international career as a sculptor, painter, and stage designer in 1991, building on the success of his first exhibition in Berlin’s Kulturhaus Pankow four years earlier.

In 1994, Polzin was invited by Dr. Gary Smith, founding director of the recently established Einstein Forum in Potsdam, to present the first exhibition of solo work at the Institute: Arbeiten im Einstein Forum.

Polzin’s series of paintings, Monster, appeared in a collection of images and essays edited by the pioneering American cultural historian Sander Gilman, published in 1995.

The following year, Polzin became artist-in-residence at the International Artists House in Herzliya, Israel, an appointment marked by the creation of the towering granite sculpture, Der Steinhändler. He has held residencies at eth Zurich (1998); Montalvo Arts Center in Saratoga, California (2004); and the

Center for Advanced Study at the Käte Hamburger Collegium for Research in the Humanities in Bonn (2010/11).

Polzin’s sculptures and paintings can be seen today in public spaces and galleries across the world in cities such as Berlin, Bucharest, Jerusalem, New York, Los Angeles, and Paris. Major exhibitions of his work have been presented at the Getty Center, Los Angeles (2000); Berlin’s Institute of Advanced Studies (2004); Bard College, New York (2006); San Francisco International Arts Festival (2008); and Teatro Real, Madrid (2011).

In January 2015, solo exhibitions of his work were shown at Grand Théâtre de Genève to coincide with his designs for Iphigénie en Tauride. An exhibition of his work focused around his friendship with György Kurtág was featured at the Aldeburgh Festival in June 2016.

In his speech about Polzin’s exhibition The Age of Anxiety, the Nobel Prizewinning author Imre Kertész described the artist’s 99 intimate depictions of fear as a “good framework to overcome, at least in our minds, the Age of Anxiety which showed its terrible face… on 11 September 2001.” Others have written of the fear-defeating qualities and of the struggle between transcendence and immanence in Polzin’s art.

Polzin has worked extensively as a stage designer for dance, opera, and theater.

His designs have been created for, among others, the Teatro Real Madrid (Pilar Jurado, La página en blanco, 2011; The Conquest of Mexico, 2013; and Lohengrin, February 2014), Salzburg Easter Festival, and Beijing Music Festival (Parsifal, 2013). Polzin’s pictorial representation of Bernstein’s Symphony No. 2, “The Age of Anxiety,” for Aarhus Symphony Orchestra and the visualization of Grieg’s Peer Gynt for Bergen Philharmonic Orchestra were premiered in 2014.

He made his directing debut at the Tyrolian Festival Erl with Fidelio also in 2014. La Monnaie / De Munt closed their 2017/18 Season with Verdi’s Aida, featuring set designs by Polzin. He will return to Brussels at the end of the 2018/19 Season to design a new production of Wagner’s Tristan und Isolde.

PEER GYNT Program Notes WOLFGANG AMADEUS MOZART 1756–91

Overture to Don Giovanni composed: 1787 most recent oregon symphony performance: November 16, 1998; James DePreist, conductor

section, whose lighthearted quality reflects da Ponte’s description of the libretto as an “opera giocoso” (comic opera). Don Giovanni’s enduring popularity rests in part on Mozart and da Ponte’s ingenious alternation of comic scenes with moments of grave import in their depiction of the Don’s flawed character.

BENJAMIN BRITTEN 1913–76

instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings

Les illuminations, Op. 18

estimated duration: 7 minutes

first oregon symphony performance

The day before Wolfgang Amadeus Mozart conducted the premiere of Don Giovanni, he hurriedly jotted down individual orchestral parts for the overture. According to several biographical accounts, the overture was finished – Mozart usually composed in his head before he wrote anything down – but, as was often his habit, Mozart did not commit it to paper until the last possible moment. When he led the orchestra in Prague’s Estates Theatre on October 29, 1787, Mozart conducted from memory.

Don Giovanni, Mozart’s second of three collaborations with the brilliant librettist Lorenzo da Ponte, tells the story of Don Juan, the world’s most famous seducer of women (legend credits him with more than 2,000 conquests).

After the Don tries his luck with the noblewoman Donna Anna, her father, the Commendatore, challenges him to a duel; the Don subsequently kills him. In the opera’s final moments, the Commendatore’s ghost, in the form of a stone statue, returns to cast Don Juan into the eternal flames of Hell.

The overture’s slow introduction begins with two portentous D minor chords announcing the ghost’s arrival in the Don’s sumptuous villa. Ascending and descending scales plus formidable brass writing combine to foreshadow the opera’s powerful conclusion. Mozart contrasts this fateful beginning with an up-tempo

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composed: 1939

instrumentation: Soprano soloist and string orchestra estimated duration: 23 minutes The strong parallels between the lives of English composer Benjamin Britten and French poet Arthur Rimbaud enhance the joining of Britten’s music with Rimbaud’s rapturous prose poems.

Rimbaud wrote the 42 poems later collected as Les illuminations between 1873 and 1875. The texts Britten set were composed while Rimbaud sojourned in London with his fellow poet and lover, Paul Verlaine. The texts have been compared to a travelogue, sparkling with the intensity of things and people glimpsed for the first time, the thrill of discovering new places, and the joy of sharing new experiences with a loved one. In a letter to soprano Sophie Wyss, who premiered the work in London on January 30, 1940, Britten described Les illuminations as “the visions of heaven that were allowed the poet, and I hope the composer.”

The cycle is organized, both thematically and musically, around a recurring line from one poem: “J’ai seul la clef de cette parade sauvage” (“I alone have the key to this wild parade”). The soloist first declaims it with confident pride, but each time it returns, set with slight musical variations, its meaning shifts, perhaps suggesting that the key to the “wild parade,” i.e., life, can often elude one’s grasp.

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PEER GYNT When setting texts, Britten tended towards the numinous and obscure.

Rimbaud’s abstract language provided an overall freedom, which fired his musical imagination, as well as an array of colorful images that lent themselves to dramatic musical treatments. English tenor Ian Bostridge, who recorded Les illuminations in 2005 for emi Classics, concurs: “Britten’s use of French functions as a sort of theatrical mask.

The role-playing it permits opens up a realm of freedom and fantasy which expands into and beyond Rimbaud’s linguistic virtuosity… Britten’s choice of Rimbaud is striking in so many ways: the overt homoeroticism; the identification with the predicament of the exile, Britten in (or close by) New York, Rimbaud in London, both cities evoked in ‘Villes’ in all their excitement and horror…”

Britten provided performance notes for Wyss, which have become invaluable clues to discerning the composer’s attitude towards his work. Regarding Villes, Britten wrote, “This poem, I believe, was written in London and certainly is a very good impression of the chaotic modern city life… I want it sung in a metallic and relentless fashion with the exclamation: ‘Ce sont des villes!’ somewhat sarcastically sung.” About Royalty, Britten said “[it is] pompous and satirical. The idea merely is that, given the right circumstances, it is in the power of anyone, however humble, to imagine himself King or God, whichever you prefer.” Referring to Parade, Britten again wrote to Wyss, “Parade you will enjoy, because it is a picture of the underworld. It should be made to sound creepy, evil, dirty (apologies!), and really desperate.”

Two songs reveal personal relationships in Britten’s past and present. Antique, celebrating the “Gracious child of Pan,” is dedicated “to K.H.W.S.” (Wulff Scherchen), a 14-year-old boy Britten met when the composer was 21. The arpeggiated accompaniment for this song, in which the players strum their instruments like guitars, evokes the sound of an intimate serenade. Being Beauteous is dedicated “to P.N.L.P.”

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(Peter Pears), Britten’s lifelong partner.

Its simple declamatory style highlights the sensuous lyrics, especially “circles of muffled music make this adored body rise, swell and tremble like a specter…”

EDVARD GRIEG 1843–1907

Selections from Peer Gynt, Op. 23 composed: 1875 most recent oregon symphony performance: March 10, 2014; Andrew Grams, conductor (Suite No. 1) instrumentation: 3 flutes (all doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, chimes, cymbals, snare drum, tam tam, triangle, xylophone, piano, organ, harp, and strings estimated duration: 37 minutes The extraordinary popularity of Edvard Grieg’s Peer Gynt suites has given listeners a passing familiarity with some of Grieg’s music for Henrik Ibsen’s play, but Grieg’s complete incidental music is not often heard. Today, Grieg’s music has completely overshadowed Ibsen’s masterpiece. Originally four hours long and written in verse, Peer Gynt’s dense and surreal plot features a repellent Faust-like protagonist hell-bent on the pursuit of his own desires.

In 1874, Ibsen wrote Grieg to ask if he would be interested in writing incidental music for a forthcoming adaptation of Peer Gynt for the stage. Grieg agreed, but Ibsen’s request became a bigger project than either man imagined.

Ibsen’s original version, conceived as a quasi-epic poem, was not intended for theatrical production; adapting Peer Gynt into a suitable stage play became problematic. Ibsen sent Grieg a detailed letter explaining how he planned to make Peer Gynt performable. “How much music and for which scenes you will compose it I naturally leave entirely

to you; in this a composer obviously must have a completely free hand,” Ibsen wrote.

Grieg took 18 months to write 26 movements for Peer Gynt. He worked slowly, weighed down by the inherent difficulties of the task. In his letters, Grieg expressed frustration with the work: “It is a terribly difficult play for which to write music… [Peer Gynt] hangs over me like a nightmare.” While the subject matter of Peer Gynt was challenging enough, Grieg was also referring to the inadequate resources of the theater orchestra, which necessitated artistic compromises.

Peer Gynt’s premiere on February 24, 1876, in Christiania (now Oslo) garnered praise for both play and music; one review characterized the music as expressing “bold originality.”

Although Grieg wrote to congratulate Ibsen, he himself remained dissatisfied, particularly with the orchestrations. For subsequent productions in 1888 and 1892, Grieg revised his score and also published both Peer Gynt suites.

Grieg’s graceful, expressive style does not reflect Ibsen’s vision of Peer Gynt.

Instead of a brute whose unmitigated selfishness was intended to portray the worst excesses of society, Grieg’s Gynt is more of an adventurer. Grieg’s portrayal of the female characters also tempers the Nordic horror of Ibsen’s play. Gynt’s mother Åse’s death music is heartbreakingly beautiful but not dismal. Anitra, a Bedouin girl Gynt kidnaps, performs her famous dance, a lilting tune in the tempo of a waltz.

Both of Solveig’s songs are gently sweet, in keeping with her faithful nature.

Throughout, Grieg’s music, including In the Hall of the Mountain King, which Grieg confessed in a letter he hated because “it absolutely reeks of cow pies, exaggerated Norwegian nationalism, and trollish self-sufficiency!” is highly effective as drama: evocative, richly descriptive but not overly bleak. © 2019 Elizabeth Schwartz

PEER GYNT Translations Solveig’s Song Der Winter mag scheiden, der Frühling vergehn,

Maybe both the winter and spring will pass by,

der Sommer mag verwelken, das Jahr verwehn,

and the next summer too, and the whole of the year;

Du kehrest mir zurücke, gewiss, du wirst mein,

but thou wilt come one day, that know I full well;

ich hab es versprochen, ich harre treulich dein.

and I will await thee, as I promised of old.

Gott helfe dir, wenn du die Sonne noch siehst.

God strengthen thee, whereso thou goest in the world!

Gott segne dich, wenn du zu Füssen ihm kniest.

God gladden thee, if at his footstool thou stand!

Ich will deiner harren, bis du mir nah,

Here will I await thee till thou comest again;

und harrest du dort oben, so treffen wir uns da!

and if thou wait up yonder, then there we’ll meet, my friend

Solveig Sings in the Hut Nun ist hier zur Pfingstfeier alles bereit,

Now all is ready for Whitsun Eve.

Lieber Junge mein in der Ferne, bist du noch weit?

Dearest boy of mine, far away, comest thou soon?

Dein Werk, das harte, schaff’s nur gemach;

Is thy burden heavy, take time, take time;

ich warte, ich warte, wie ich dir’s versprach.

I will await thee; I promised of old.

(Continued on following page. Please turn page quietly.)

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A New Annual Series The Americans captures the unique voice and rich history of American choreographers.

From wistful to vibrant – dance pioneer Alvin Ailey and wunderkind Trey McIntyre start off this exploration – joined by Portland’s own BodyVox founders Jamey Hampton and Ashley Roland.

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PEER GYNT Translations Solveig’s Cradle Song Schlaf, du teuerster Knabe mein!

Sleep thou, dearest boy of mine!

Ich will wiegen mein Kind und wachen.

I will cradle thee, I will watch thee —

Still mir im Schosse hat’s gelauscht dem Sang.

The boy has been sitting on his mother’s lap.

Mit mir gespielt hat es sein Lebtage lang.

They two have been playing all the life-day long.

An seiner Mutter Brust mag gern es sein

The boy has been resting at his mother’s breast

All sein Lebtage lang. Gott segne es fein!

all the life-day long. God’s blessing on my joy!

An meinem Herzen lass ich’s gerne ruhn

The boy has been lying close in to my heart

All sein Lebtage lang, so müd ist es nun.

all the life-day long. He is weary now.

Schlaf du teuerster Knabe mein!

Sleep thou, dearest boy of mine!

Ich will wiegen mein Kind und wachen!

I will cradle thee, I will watch thee.

Henrik Ibsen; German translation by Christian Morgenstern

English translation by William and Charles Archer

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MAHLER’S FIRST SYMPHONY SATURDAY, MAY 18, 2019, 7:30 PM SUNDAY, MAY 19, 2019, 7:30 PM MONDAY, MAY 20, 2019, 7:30 PM SPONSORED BY PAT ZIMMERMAN & PAUL DINU

Carlos Kalmar, conductor Storm Large, vocalist Hudson Shad, vocal quartet Mark Bleeke, tenor Eric Edlund, baritone Peter Becker, bass-baritone William R. Pauley, bass Kurt Weill

The Seven Deadly Sins Prologue I. Sloth II. Pride III. Anger IV. Gluttony V. Lust VI. Greed VII. Envy Epilogue Storm Large Hudson Shad

INTERMISSION Gustav Mahler

Symphony No. 1 in D Major, “Titan” Slow. Dragging. Always very easygoing With powerful movement, but not too fast Solemn and measured, without dragging— Very simple and modest, like a folk song With violent movement 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

CONCERT CONVERSATION Conducted one hour before each performance, the Concert Conversation will feature Music Director Carlos Kalmar and Brandi Parisi, host 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.

24 artslandia.com

Biography

Storm Large Storm Large last appeared with the Oregon Symphony on December 31, 2017, when she performed with Pink Martini and conductor Carlos Kalmar.

Storm Large: musician, actor, playwright, author, awesome. She shot to national prominence in 2006 as a finalist on the cbs show Rock Star: Supernova, where, despite having been eliminated in the week before the finale, Large built a fan base that follows her around the world to this day.

Large spent the ’90s singing in clubs throughout San Francisco. Tired of the club scene, she moved to Portland to pursue a new career as a chef, but a last-minute cancellation in 2002 at the Portland club Dante’s turned into a standing Wednesday night engagement for Large and her new band, The Balls. It wasn’t long before Large had a cult-like following in Portland and a renewed singing career that was soon to be launched onto the international stage.

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Highlights of the 17/18 Season included debuts with the San Francisco, Pittsburgh, Phoenix, Vancouver, Jacksonville, and rté National symphonies, as well as return engagements with the Houston, Toronto, and Toledo symphonies. Large and her band, Le Bonheur, continue to tour concert halls across the country. The 16/17 Season included debuts with the Atlanta, Baltimore, and bbc symphony orchestras and the Los Angeles Chamber Orchestra, as well as return engagements with National Symphony Orchestra and Detroit Symphony Orchestra.

Large made her debut as guest vocalist with the band Pink Martini in April 2011, singing four sold-out concerts with the National Symphony Orchestra at the

orsymphony.org | 503-228-1353 25

MAHLER’S FIRST SYMPHONY Kennedy Center in Washington, dc. She continues to perform with the band, touring nationally and internationally, and she was featured on their cd Get Happy. Large has also sung with Grammy winner k.d. lang, pianist Kirill Gerstein, punk rocker John Doe, singer/songwriter Rufus Wainwright, and Rock and Roll Hall of Famer George Clinton.

She debuted with the Oregon Symphony in 2010, and has returned for sold-out performances each year thereafter. Large made her Carnegie Hall debut in 2013, singing Weill’s The Seven Deadly Sins with the Detroit Symphony as part of the Spring for Music festival. The New York Times called her “sensational,” and the classical music world instantly had a new star.

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In 2007, Large starred in Portland Center Stage’s production of Cabaret with Wade McCollum. The show was a smash hit, earning Large glowing reviews. Her next endeavor, the autobiographical musical memoir Crazy Enough, played to packed houses in 2009 during its unprecedented 21-week, sold-out run in Portland. Large went on to perform a cabaret version of the show to critical acclaim at the Edinburgh Fringe Festival, Adelaide Festival in Australia, and Joe’s Pub in New York. Her memoir, Crazy Enough, was released by Simon and Schuster in 2012, named Oprah’s Book of the Week, and awarded the 2013 Oregon Book Award for Creative Nonfiction.

Large is featured in Rid of Me, a film by Portlander James Westby, starring Katie O’Grady and Theresa Russell. In 2010, she starred at the Mark Taper Forum with Katey Sagal and Michael McKean in Jerry Zak’s production of Harps and Angels, a musical featuring the work of Randy Newman.

Catharine Crozier Memorial Organ Concert For more information: trinity-episcopal.org/music-series 26 artslandia.com

In the fall of 2014, Large & Le Bonheur released a record designed to capture their sublime and subversive interpretations of the American Songbook. Entitled simply Le Bonheur and released on Pink Martini’s Heinz Records, the recording is a collection of tortured and titillating love songs: beautiful, familiar, yet twisted… much like the lady herself.

Hudson Shad With this concert, Hudson Shad makes their debut with the Oregon Symphony.

Though the six-man ensemble Hudson Shad (five singers and a pianist) debuted officially in 1992, their nucleus formed in 1977 when three of them made their Carnegie Hall debuts as soloists in Penderecki’s Magnificat. In 1989, the Arts at St. Ann’s in Brooklyn asked bass Wilbur Pauley to contract a quartet to perform as The Family in Kurt Weill’s The Seven Deadly Sins with Marianne Faithfull. The response was favorable.

Over the last quarter century, the Hudson Shad quartet has most likely racked up more performances as The Family in the The Seven Deadly Sins than any other group in history. They have performed in almost 60 different locations, from Arezzo to Zagreb, numbering close to 200 performances worldwide. They participated in a staging of the work, in a double bill with Weill’s The Flight Across the Ocean, at the Macerata Festival.

They have twice recorded the work, once with Kurt Masur and the New York Philharmonic and once with Ms. Faithfull, Dennis Russell Davies, and the Vienna Radio Symphony Orchestra.

In 2008, Hudson Shad was honored to participate in the Carnegie Hall premiere of the work with Ute Lemper and the Toronto Symphony.

In 1999, Hudson Shad was featured on Broadway in a musical tribute to the legendary German singing group, The Comedian Harmonists: Band in Berlin.

Recent performances include Sins with the Detroit Symphony Orchestra and the bbc Symphony Orchestra in 2017, in 2018 with the Houston Symphony, and earlier this year with the Buffalo Philharmonic Orchestra. In 2018, they

MAHLER’S FIRST SYMPHONY sang hymns that Charles Ives used as the basis for his four violin sonatas, in tandem with pianist Jeremy Denk and violinist Stefan Jackiw, in Boston and New York City.

These performances in Portland mark the 16th location for the Shad family unit with Storm Large since their initial encounter at the Ojai Festival in June 2014. They appeared previously with Large and Maestro Kalmar at the Grant Park Festival in Chicago.

Upcoming engagements for Hudson Shad include more Sins in Shanghai and Germany and a repeat of the Ives program at the Tanglewood Festival this July.

Program Notes KURT WEILL 1900–50

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The Seven Deadly Sins composed: 1933 most recent oregon symphony performance: May 5, 2013; Carlos Kalmar, conductor instrumentation: Soprano, first tenor, second tenor, baritone, and bass soloists; 2 flutes (both doubling piccolo); oboe; 2 clarinets; bassoon; 2 horns; 2 trumpets; trombone; tuba; timpani; bass drum; cymbals; low gong; suspended cymbals; tom tom; banjo; guitar; piano; harp; and strings

“A true breath of comic fresh air.”

- DC Theatre Scene

estimated duration: 35 minutes The Seven Deadly Sins, subtitled “Spectacle in Nine Scenes,” was the last collaboration between composer Kurt Weill and playwright/librettist Bertolt Brecht. The Seven Deadly Sins tells the story of a young dancer, Anna, who is sent by her family on a journey through seven American cities in order to earn money as a dancer. Anna’s earnings will then build her family a house in Louisiana. Anna’s character splits into two personalities; one is ravaged by the demands of making a living, the other

Well-intentioned neighbors turn into feuding enemies as they clash over their approaches to gardening — and life.

Portland Center Stage at

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orsymphony.org | 503-228-1353 27

MAHLER’S FIRST SYMPHONY plagued by her human weaknesses (the “deadly sins”). The first Anna is rational and will stop at nothing to reach her goals. However, the second Anna gives in to her desires and thus threatens the family’s plans. In the end, Anna I triumphs over Anna II. Anna’s family introduces the first sin, Sloth. Weill plays up the irony of this “sin” with music of dark, relentless energy. Her parents express their hope that Anna will behave herself, while her brothers respond with the recurring refrain, “Idleness leads to trouble.”

Anna continues the narrative in Pride, in which she describes her first job dancing in Memphis. Anna struggles with her dignity as she realizes all the audience wants is a strip tease, rather than the artistic cabaret Anna wants to perform.

She must “do what they want, not what you would like them to want… Think of our little home in Louisiana.” The music depicts the bawdy, debased dancing Anna performs in order to earn money.

Photo by Patrick Weishampel/blankeye.tv

In Anger, the family complains that Anna is not sending enough money home, while Anna explains she is working in Los Angeles as a movie extra; she becomes angry with a brutal wrangler who is whipping a horse and beats him with his own whip.

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The family returns in Gluttony, singing a cappella in a self-righteous, chorale-like condemnation of Anna’s love of food. She is dancing in Philadelphia, but the family worries she will overeat and lose her job.

They warn her not to indulge her passion for sweets – “Gluttony brings disaster!”

Lust opens with an exotic trumpet solo, while Anna describes her dilemma: in Boston she has found a rich lover who keeps her in luxury, but Anna II has fallen in love with Fernando, a gigolo who takes her money. Anna I convinces Anna II to leave Fernando, because to indulge in love for love’s sake is merely lust.

In Baltimore, Anna succumbs to Greed.

Her fame and notoriety are the talk of the town, and result in the suicides of men who cannot live with her ruthless devotion to money. The orchestra mimics

28 artslandia.com

the gossipy twitterings of the citizens of Baltimore as they buzz over Anna.

In her last stop, San Francisco, Anna plunges into Envy for those whose lives are not driven by monetary gain. She has earned enough to finish the house in Louisiana but cannot enjoy it. Eventually she jettisons her regrets and heads home.

In the Epilogue, the Annas are welcomed home by their family as they stand on the porch of their hard-won little house.

GUSTAV MAHLER 1860–1911

Symphony No. 1 in D Major, “Titan” composed: 1884–88, rev. 1893–96 most recent oregon symphony performance: May 24, 2010; Carlos Kalmar, conductor instrumentation: 4 flutes (three doubling piccolo), 4 oboes (one doubling English horn), 4 clarinets (one doubling bass clarinet), 3 bassoons (one doubling contrabassoon), 7 horns, 5 trumpets, 4 trombones, tuba, 2 sets of timpani, bass drum, cymbals, gong, triangle, harp, and strings estimated duration: 56 minutes

Like many composers, Gustav Mahler was both drawn to and wary of the notion of program music, or music with non-musical inspirations. Mahler wrestled with this idea in writing his First Symphony, fearing that it would not be as well received if it was not “absolute” music. At the same time, the attraction of an underlying narrative as a unifying structure held great appeal for Mahler.

The argument for the Symphony No. 1 as program music is strengthened by the fact that much of its musical material was borrowed from other sources. In the first two movements, Mahler used melodies from two of his Songs of a Wayfarer as the basis for elaborate thematic development. In

MAHLER’S FIRST SYMPHONY the third movement, he set the folk song “Brother Martin,” better known as “Frère Jacques,” in a somber minor key.

In the final movement, Mahler wanders further afield, repurposing material from Liszt’s Dante Symphony and Wagner’s Parsifal. “Composing is like playing with building blocks, where new buildings are created again and again, using the same blocks,” wrote Mahler to a friend. Finally, despite Mahler’s ambivalence about associating his music with a specific program, he did provide one to music critic Ludwig Karpath (something he later regretted). The “Titan” Symphony’s overall narrative describes, in Mahler’s words, “a strong, heroic man, his life and sufferings, his battles and defeat at the hands of Fate.”

During the 1880s, as Mahler worked on the Symphony No. 1, he made his living as an opera conductor in various regional theaters. Mahler’s demanding performance schedule left him neither time nor energy to compose his own music during the concert season.

During his summer vacations, free from theatrical engagements, Mahler devoted himself to composition. Mahler’s use of previously composed music may have also been a practical choice dictated by his limited composing time.

At the premiere, in Budapest on November 20, 1889, audiences were disturbed by the third movement, with its ghostly reworking of a children’s folksong in the tempo of a funeral march. Mahler indicated this music was full of “biting irony,” in which “all the coarseness, the mirth, and the banality of the world are heard in the sound of a Bohemian village band, together with the hero’s terrible cries of pain.” The loutish parody of the band, complete with oom-pahs, mingles with music taken from another of Mahler’s Wayfarer songs, “Die zwei blauen Augen” (Your Two Blue Eyes), which resembles a melody from Jewish liturgy.

In the finale, according to Mahler’s narrative, “the hero is exposed to the most fearful combats and to all the sorrows of the world. He and his

triumphant motifs are hit on the head again and again by Destiny… Only when he has triumphed over death, and when all the glorious memories of youth have returned with themes from the first movement, does he get the upper hand, and there is a great victorious chorale!” Destiny intervenes with pounding brasses and timpani, full of sturm und drang (storm and stress), but a triumphant brass choir hints at the hero’s ultimate victory, even as he continues to struggle with the forces bent on his destruction.

Finally, the chorale bursts forth (some listeners have discerned traces of the “Hallelujah” chorus from Handel’s Messiah in it) and concludes the symphony, with the horns standing to play their final triumphant notes.

“It’s the most spontaneous and daringly composed of my works,” said Mahler of his First Symphony. “Naively, I imagined that it… would have… immediate appeal… How great was my surprise and disappointment when it turned out quite differently. In Budapest, where I first performed it, my friends avoided me afterwards… I went about like a leper and an outlaw.” Both critics and audiences reacted negatively at the premiere, with one critic deriding it as a parody of a symphony. The influential Viennese critic Eduard Hanslick was equally harsh: “The new symphony is the kind of music which for me is not music.” Subsequent performances, even after Mahler made substantial revisions, provoked equally strong reactions.

More than ten years after the premiere, another critic described the audience’s reaction: “There were startled faces all around and some hissing was heard.”

Leonard Bernstein did much to promote Mahler’s symphonies, and conducted them all over the world over the course of his long career on the podium. Today, the Symphony No. 1 is one of Mahler’s most popular and most frequently performed works. © 2019 Elizabeth Schwartz

RECOMMENDED RECORDINGS FROM PEER GYNT Mozart: Don Giovanni Overture Sir Colin Davis – Dresden Staatskapelle rca Victor Red Seal 56698 Britten: Les illuminations Felicity Lott, soprano Steuart Bedford – English Chamber Orchestra Naxos/Collins Classics 8557206 Grieg: Peer Gynt Herbert Blomstedt – San Francisco Symphony & Chorus Decca 425448

FROM MAHLER’S FIRST SYMPHONY Weill: The Seven Deadly Sins Lotte Lenya, vocals Wihle Bruckner-Ruggeberg – Radio Free Berlin Orchestra Sony Classical 63222 Mahler: Symphony No. 1 Jascha Horenstein – London Symphony Orchestra Unicorn-Kanchana 2012

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 29

BOYZ II MEN WEDNESDAY, MAY 22, 2019, 7:30 PM Norman Huynh, conductor Boyz II Men Nathan Morris Wanya Morris Shawn Stockman Reginald Johnson, musical director/pianist Terry Wesley II, drums Program will be announced from the stage.

ARLENE SCHNITZER CONCERT HALL

Biography

Boyz II Men Boyz II Men remains one of the most truly iconic r&b groups in music history.

The group redefined popular r&b and continues to create timeless hits that appeal to fans across all generations. The band has penned and performed some of the most celebrated classics of the past two decades. The group’s four Grammy Awards are just the tip of the iceberg: throughout their 25-year career, Boyz II Men have also won a whopping nine American Music Awards, nine Soul Train Awards, three Billboard Awards, a 2011 mobo Award for Outstanding Contribution to Music, a star on the Hollywood Walk of Fame, and a Casino Entertainment Award for their acclaimed residency at the Mirage Resort and Casino in Las Vegas, which has been ongoing since 2013.

The trio holds the distinction of being the best-selling r&b group of all time, with an astounding 64 million albums sold. And the reason is abundantly clear: for the past two decades Boyz II Men have given fans a rich catalogue of hits filled with smooth harmonies and enduring themes. And for Boyz II Men the hits just keep on coming 30 artslandia.com

– the group continues to craft new albums and bring their legendary act to stages across the world.

Boyz II Men’s past hits include “End of the Road,” “I’ll Make Love to You,” “One Sweet Day,” “Motownphilly,” and many others. Their recent albums have earned them major critical acclaim as well. Their 2007 Decca label debut, Motown: A Journey Through Hitsville usa (Decca/Universal), earned them two Grammy nominations.

In 2011, Boyz II Men marked their 20th anniversary by releasing a landmark album, fittingly titled Twenty. The album contains the group’s first original material in nearly a decade, as well as a dozen remastered classic, career-defining hits.

Twenty debuted at #20 on the Billboard Top 200 Albums Chart, #4 on the Billboard r&b Album Chart, #10 on the Billboard Digital Album Chart, and placed #1 on the iTunes r&b Soul Album chart.

Twenty’s first single, “More Than You’ll Ever Know,” cracked into the top 15 on urban adult contemporary charts.

Boyz II Men have won fans the world over with their soulful, multi-octave sound and incredible vocals. Given the monumental success of their albums and the timeless quality of their vocals, it’s easy to see why Boyz II Men remains the most popular r&b group of all time. Ask any successful pop or r&b superstar which artists have inspired them – chances are Boyz II Men will be at the top. From Justin Timberlake and Usher to Justin Bieber and Beyoncé, the most successful stars in the industry look to Boyz II Men as their idols.

Beyond making music, giving back is also important to Boyz II Men. The group has its own charity called Boyz II Men House, which lends support to individuals and organizations that focus on improving quality of life and helping to unlock human potential while contributing to the health and vitality of those less fortunate.

Boyz II Men have made r&b accessible to the masses and have helped the genre come into its own – and fans throughout the world flock to see them perform at sold-out shows. Fans were wowed in the summer of 2014 when Boyz II Men headed out on the hotly anticipated Package Tour with New Kids on the Block and 98 Degrees.

The group released a new album featuring original material through label bmg in October 2014 called Collide. Collide is a landmark album for Boyz II Men, showcasing a new and different sound for one of the most successful and enduring groups in mainstream music. Two of the tracks, “Better Half” and “Diamond Eyes,” were featured on a special episode of abc’s hit show, The Bachelorette. The group also performed on fox’s hit live show Grease Live, which aired on January 31, 2016.

Their performance became the mosttweeted moment. Most recently, Wanya Morris became a double threat, stepping on the dancefloor on abc’s hit show Dancing with the Stars, where he and partner, Lindsay Arnold, made it to the semifinals – ending on a high note with three tens.

Most recently, the group has released a doo-wop album called Under the Streetlight.

OUR SUPPORTERS The Oregon Symphony thanks these individuals for their generous contributions received from February 1, 2018, to March 1, 2019.

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.+ Arlene Schnitzer & Jordan Schnitzer Harold & Arlene Schnitzer care Foundation Ann & Bill Swindells Charitable Trust

VIRTUOSO SOCIETY: $50,000–$99,999

Anonymous (1) The William K. Blount Family Fund of ocf Duncan & Cindy Campbell of The Campbell Foundation Drs. Cliff* & Karen Deveney Elizabeth N. Gray Fund of ocf Tige* & Peggy Harris Jeff Heatherington* Hedinger Family Foundation Rick* & Veronica Hinkes The Mary Dooly and Thomas W. Holman Fund of ocf Holzman Foundation/ Renée* & Irwin Holzman Beth & Jerry* Hulsman Carlos§ & Raffaela Kalmar Laura S. Meier The James and Shirley Rippey Family Foundation The Leonard & Lois Schnitzer Fund of the ojcf Hank Swigert Nancy & Walter* Weyler Jack* & Ginny Wilborn The Jay & Diane Zidell Charitable Foundation Pat Zimmerman & Paul Dinu

OPUS SOCIETY: $25,000–$49,999

Anonymous (2) Ken Austin Judith M. Erickson Richard & Janet Geary Foundation Suzanne Geary* Dr. Thomas & Alix Goodman The Keller Foundation Priscilla Wold Longfield* Ann Olsen Harold & Jane Pollin Richard Rauch Eleanor & Georges St. Laurent Swigert Warren Foundation Dan G. Wieden & Priscilla Bernard Wieden

MOZART SOCIETY: $10,000–$24,999

Anonymous (6) Peter & Missy Bechen Robert & Jean Bennett Susan & Larry Black Mr. & Mrs. Thomas Boklund Evona Brim Mr. & Mrs. Peter Brix William M. Brod Fund of the ocf Cascadia Foundation Rick Caskey & Sue Horn-Caskey Chocosphere The Coit Family Foundation Truman Collins, Jr. Mark & Georgette Copeland

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Michael Davidson Cecil & Sally Drinkward Fund of ocf Daniel* & Kathleen Drinkward Wayne & Julie Drinkward John S. Ettelson Fund of the ocf Robyn* & John Gastineau Barbara & Jerry Giesy Frank & Mary Gill Jonathan‡ & Yoko Greeney Charles & Nancy* Hales Jim & Karen Halliday Mr. & Mrs. Stephen J. Harder Bonnie Haslett & Terry Strom Mr. & Mrs. J. Clayton* Hering Robert & Marilyn Hodson Hank & Judy Hummelt Gerri Karetsky* & Larry Naughton Lamb Family Foundation (wa) Richard & Delight Leonard Mr. and Mrs. Robert McCall Michael & Susan Mueller Roscoe* & Debra Nelson An Advised Fund of ocf The Outlander Private Foundation Charles & Jennifer Putney Dan Rasay* Rod & Cheryl Rogers & Katherine FitzGibbon Rutherford Investment Management & William D. Rutherford Daniel Sanford & Anna Kern Sanford In Memory of Mayer D. Schwartz Scott Showalter§ The Nancy & Richard Silverman Charitable Foundation Bill+ & Anne Swindells Victoria Taylor Don & Marian Vollum Jean Vollum Fund Dr. Derald Walker* & Charles Weisser Walters Family Foundation Estate of David Wedge+ Dean E. & Patricia A. Werth Gary Whitted Dr. & Mrs. Michael Wrinn

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Anonymous (4) Anonymous Fund #16 of the ocf Richard & Judith Audley The Breunsbach Family Kay Bristow Deanna Cochener Jane & Evan Dudik Bruce & Terri Fuller Robert L. Ladehoff Michele Mass & Jim Edwards Ronald & Phyllis Maynard Jill McDonald Millicent Naito Janice Phillips Travers & Vasek Polak Bonnie & Peter Reagan John+ & Charlene Rogers Rebecca Rooks John Runyan R. Kent Squires Ann Ulum & Robert Nickerson Richard H. & Linda F. Ward Nancy & Herb Zachow Jason Zidell

BRONZE BATON: $4,000–$5,999

Anonymous (3) Ajitahrydaya Gift Fund Kirby & Amy Allen David E. & Mary C. Becker Fund of ocf John & Yvonne Branchflower Eve Callahan* & Scott Taylor Margery Cohn & Marvin Richmond Terry & Peggy Crawford Dr. & Mrs. David Cutler J. M. Deeney, M.D. Robert & Carol Dodge Mr. & Mrs. Dale Dvorak Ericksen Foundation Susan & Andrew Franklin Friends of the Oregon Symphony Dr. Steve Grover Chuck & CreeAnn Henderson Hibler Franke Foundation Marsh Hieronimus Carrie Hooten & David Giramma William H. Hunt Oregon Symphony Association Fund Jeff & Krissy Johnson Lance & Carey Killian Fernando Leon, M.D. & Dolores Leon, M.D. Terence McCarthy & Ed Valencia June McLean Violet & Robert+ Metzler Gil & Peggy Miller Hester H. Nau Timothy O’Malley Larry & Caron Ogg Michael & Janice Opton Barbara Page Jane Partridge Franklin & Dorothy Piacentini Charitable Trust Reynolds Potter & Sharon Mueller Pat Reser Rosemarie Rosenfeld Holly & Don Schoenbeck John & June Schumann Bill Scott & Kate Thompson Jo Shapland & Douglas Browning Mrs. & Mr. Francine Shetterly Sue & Drew Snyder George & Molly Spencer Mr. & Mrs. W. T. C. Stevens N. Robert & Barre Stoll Patricia Struckman Jeffrey Yandle & Molly Moran-Yandle

CONDUCTOR’S CIRCLE: $2,500–$3,999

Anonymous (7) Julie E. Adams Trudy Allen & Bob Varitz Meredith & Robert Amon Estate of Betty Amundson+ Mrs. Lloyd Babler David & Jacqueline Backman Anne M. Barbey Wayne Bartolet & Susan Remick Tabitha & Patrick Becker Michael and Barbara Besand in Memory of Lillian (Lee) Besand David Blumhagen Josh & Wendie Bratt Gregory & Susan Buhr Ellen E. Bussing§ Mrs. Robert G. Cameron

Peter & Eileen Carey Joan Childs & Jerry Zeret Nicholas & Jamie Denler Allen L. Dobbins Richard B. Dobrow, M.D. Leigh & Leslie Dolin Sterling Dorman David & Erin Drinkward Stephen & Nancy Dudley Family Fund of ocf Dr. Pamela Edwards & Mr. Thomas Clark Donald & Katharine Epstein Lauren Fox & John Williamson Kenneth & Carol Fransen Y. Fukuta Richard Gallagher Robert & Carolyn Gelpke Daniel Gibbs & Lois Seed Don Hagge & Vicki Lewis Robert & Dorothy Haley Drs. James & Linda Hamilton Kirk & Erin Hanawalt Sonja L. Haugen Dennis & Judy Hedberg Diane M. Herrmann Susan, Diane & Richard Hohl Dan & Pat Holmquist Brad Houle Dennis Johnson & Steven Smith Kathy & Steve Johnson Penelope Johnstone Barbara Kahl & Roger Johnston Estate of David Karr+ Susan D. Keil David & Virginia Kingsbury Drs. Arnold & Elizabeth Klein Lakshman Krishnamurthy & Rasha Esmat Mary Lago Paul W. Leavens 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 Ward & Pamela Nelson John & Ginger Niemeyer An Advised Fund of ocf George & Deborah Olsen Susan Olson & Bill Nelson Thomas Pak Janet C. Plummer§ & Donald S. Rushmer Charles & Ruth Poindexter Lawrence Powlesland & James Russell Drs. Emilia & Jon Samuel Susan Schnitzer Diana & Hal Scoggins Peter Shinbach Jaymi & F. Sladen Ms. Barbara A. Sloop Annetta & Ed St. Clair David Staehely Jack & Crystal Steffen Mrs. James G. Stevens Eustacia Su Drs. John & Betty+ Thompson Robert Trotman & William Hetzelson Charles & Alice Valentino

Erica Van Baalen & David Hicks David & Christine Vernier Drs. Bastian & Barbara Wagner Wells Family Foundation John & Traci Wheeler Elaine M. Whiteley+ Robert & Margaret Wiesenthal Davida & Slate Wilson Zephyr Charitable Foundation Inc. Charlene Zidell

CONCERTO SOCIETY: $1,000–$2,499

Anonymous (11) Markus Albert Carole Alexander Keiko Amakawa & Dr. Harvey Fishman Christopher Amling Anonymous Fund #26 of ocf Jonathan & Deanne Ater Arthur & Joann Bailey Steve & Mary Baker Charles G. Barany Karin & Brian Barber Keith & Sharon Barnes David Barrett & Michelle Lowry James & Kathryn Bash Steven Bass Alan & Sherry Bennett Dr. & Mrs. Robert Berselli Broughton & Mary Bishop Family Advised Fund of cfsww Paul Black Lynne & Frank Bocarde Henry Bodzin Benjamin & Sandra Bole Fred & Diane Born Christopher Brooks* & Brittney Clark Craig & Karen Butler Barry & Barbara Caplan Rhett & Tiffanie Carlile Barbara & Robb Cason Enrique deCastro Carlos Castro-Pareja Audrey & Stephen Cheng Charles Clarkson Classical Up Close‡ Cynthia & Stanley Cohan Maurice Comeau, M.D. Jeffrey G. Condit James & E. Anne Crumpacker Estate of Joyle Dahl Nima & Nicole Darabi David & Alice Davies Mike & Becky DeCesaro Edward & Karen Demko Ginette DePreist William Dolan & Suzanne Bromschwig Tom & Roberta Drewes Charlene Dunning & Donald Runnels Ronald E. & Ann H. Emmerson Mr. & Mrs. Paul Fellner Tom & Marilyn Fink Carol L. Forbes Michael Frommlet & Barbara Zappas Liz Fuller Brian & Rhonda Gard Carolyn Gardner Paul Gehlar Michael & Gail Gombos Harriet & Mitch Greenlick David & Caroline Greger Dr. & Mrs. Price Gripekoven Hank & Margie Grootendorst Jeffrey & Sandy Grubb

Cynthia Shaff Hadel Missy Vaux Hall Jamey Hampton & Ashley Roland Kregg & Andrea Hanson Howard & Molly Harris Pamela Henderson & Allen Wasserman Jane & Ken Hergenhan Joseph & Bette Hirsch Margaret & Jerry Hoerber Joseph Holloway, Sr. Lee & Penney Hoodenpyle Pamela Hooten & Karen Zumwalt Jack Horne & Mary Rodeback Bruce & Margo Howell Arthur Hung Doug Inglis Lou & Kathy Jaffe Jon Jaqua & Kimberly Cooper David Jentz Bob Kaake Peter & Patricia Kane Eric Karl & Ana Quinones Carol Brooks Keefer Alexis Kennedy Tom & Lauren Kilbane Fred Kirchhoff & Ron Simonis Sarah Kwak‡ & Vali Phillips‡ Frank Langfitt & Mary Janet Steen Thomas M. Lauderdale* Dr. & Mrs. Mark Leavitt Dr. John & Elaine Lemmer, Jr. Carol Schnitzer Lewis Fund of ocf Joanne Lilley Eric & Hollie Lindauer Richard & Diane Lowensohn Gayle & Jerry Marger Dante Marrocco & Julia Marrocco Robert & Gwynn Martindale Sir James & Lady McDonald Designated Fund of the ocf Carolyn McMurchie Karen McNamee Greg & Sonya Morgansen Drs. Beth & Seth Morton Jonathan Nagar Chris & Tom Neilsen Ralph & Susan Nelson Libby Noyes Wanda & George Osgood Marianne Ott Barbara & Art Palmer Parsons Family Fund of the ocf Duane & Corinne Paulson Richard & Helen Phillips Fedor G. Pikus Tod Pitstick Diane Plumridge Wally & Bettsy Preble William Pressly & Carole Douglass Ronald & Lee Ragen Brian Ramsay Charles & Selene Robinowitz Dr. Lynne Diane Roe Charles & Katherine Rood Jeff & Kathleen Rubin Robert & Ann Sacks April Sanderson Brian & Sue Schebler Steven & Karen Schoenbrun Anna Roe & Ken Schriver Dr. & Mrs. George Sebastian Gregory Shields Joseph Sillay & Laila Raad-Sillay Al Solheim Jack & Charlene Stephenson Anne Stevenson Zachary & Vasiliki Stoumbos Barbara J. & Jon R. Stroud

Sandra Suran Drs. Donald & Roslyn Elms Sutherland Erik Szeto & Anita Chan David Thompson Mike & Priscilla Thompson Angelo Turner Tony & Bianca Urdes Ann Van Fleet Bill & Janet Wagner Charles & Cherie Walker Kevin & Sharon Wei David & Leigh Wilson Loring & Margaret Winthrop Bing Wong Jane Work Lawrence & Jo Ann Young

SONATA SOCIETY: $600–$999

Anonymous (7) Maria Agoston Carole Asbury Michael Axley & Kim Malek Tom Bard Robert & Sharon Bennett Homer & La Donna Berry Jonathan Betlinski Robert & Gail Black Alice Pasel Blatt Dr. Bruce D. Boyd Virginia V. Burgess Maryann Burningham Mary Bywater Cross Martin & Truddy Cable Gerald Calbaum & Jan Marie Fortier-Calbaum Cecile Carpenter Susan & Mark Cooksey Thomas & Cara Crowder Dale & Constance Denham Kay Doyle Fred Duckwall & Nancy Krieg Barbara Edwards JoAnn Ferguson The Flesher Family Fund of InFaith Community Foundation Peter*‡ & Laurie Frajola Thomas & Rosemary Franz Ted Gaty Willis & Liz Gill Susannah Goff Goldy Family Designated Fund of ocf Elvin Gudmundsen Rachel Hadiashar Louis & Judy Halvorsen Frances F. Hicks Jimmy Hicks Kenneth Holford & Harry Hum Maryanne & David Holman Laurence & Janis Huff Nancy Ives‡ Douglas Jenkins & Michael Boyles Drs. Susan & Jeffrey Johnson Harlan Jones Katherine Joseph Aase S. Kendall Andrew Kern Foster Kimble James & Lois King Paul & Marijke Kirsten Sheldon Klapper & Sue Hickey Moshin & Christina Lee Mike & Bonnie Leiser Robert & Nancy Leon Phyllis J. Leonard Ralph & Merrill Maiano Jim & Midge Main Gail & Jim Manary Linda & Ken Mantel Micah Martin Gregg McCarty & Karen Henell Bryce & Cynthia McMurdo Rick & Sharon Meyer Jeffrey Morgan Jane & John Morris Debra Nippert Elizabeth O’Callaghan

William O’Shea Alfred & Eileen Ono Helen Parker Lance Peebles Sandford B. Plant Morgan & Constance Pope Douglas Postlewaite H. Roger Qualman Richard & Susan Radke Kim & Roger Reynolds Lee A. Rodegerdts Jane Rowley Debora Roy Hubert & Ludmila Schlesinger Fund of ocf Nathan Schultz Douglas & Ella Seely Leslie & Dorothy Sherman Fund of ocf The Shulevitz Family P. J. Smith, Jr. & Steve Cox Sara Stamey Robert Staver Michael & Judy Stoner Kunal Taravade Herman Taylor & Leslye Epstein Brian Thomas & Susan Morgan Matt & Bethany Thomas Mike & Diana Thomas Richard & Larie Thomas Linda & Stephen VanHaverbeke Louise Varley Jon Vorderstrasse

OVERTURE SOCIETY: $300–$599

Anonymous (38) Cleve Abbe & Trish Brown Cherrie Abraham & Rosalie McDougall Kelly & Karen Adams George Adlhoch Mrs. Roudabeh Akhavein Margaret & Scott Arighi Richard & Caroline Arnold Ross A. & J. Alexandra Arnold Roberta Badger-Cain & Leonard Cain Vlasta N. Barber Don & Joan Batten John & Claudette Beahrs Bruce Beattie Joy Belcourt Barry & Jacqueline Bennett P. & P. Benninghoff Joseph Berger & Carol Williams Alice Bergman & Ralph Cohen John & Carol Betonte Stan & Judy Blauer William Bloom Priscilla Blumel Fanny Bookout Richard Botney Bettie Bowen Jane Bradley Stephen & Marge Brenneke Ivan & Denise Brink Bill Britton Jann Brown William & Morgan Brown Jim & Karen Brunke Mrs. Fred M. Buchwalter A. Sonia Buist, MD Elizabeth Burke Dr. James Buxman Michael & Ida Rae Cahana Mark & Tracy Cahill Charles Calmer§ & Tom Lewis June Canty Tim & Susan Carey Jeffrey Carlson & Lori Makinen Karen Carnahan Dr. and Mrs. Walter & Carolyn Carr Janice E. Casey, M.D. Joe & Sandy Cecchini Deborah & George Chaltas Paula Chernoff Bud Clark Myles & Linda Clowers Dan Corcoran Kristin Cornuelle

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OUR SUPPORTERS J. Neal Cox Neale E. & Marian Creamer Susan Cyganiak Eloise Damrosch & Gary Hartnett Joseph & Carol Davids David & Courtney Davies Clifford & Mary Davis Natasha Dayna Roland & Judy de Szoeke Anthony Defriez Gary & Sahni Denton René Deras & Joshua V. Burns Robert & Janet Deupree Alan & Roger DeVall Al Didier & Sherry Holley Alan & Davina Doby Chris Domschke John & Anita Drew Allan & Margaret Dunn Robert & Elizabeth Dyson Alison Ebbott & Bill Hasan Douglas Egan & Susan Bach Jeffrey Eisen & Mark Bruns Pamela & Paul Elsner Kevin & Cinda Embree Lawrence R. Erickson Theresa & Robert Eubanks Genevieve Evarts Abby Farber & David Robinson In Memory of Wayne Felder Rachel Fenton & Kris Martinez Virginia Finch Richard & Cindy Finlayson Ruth Fisher Nina & Al Fleckenstein Rebecca Fleischman Michael & Karen Foley Natalie Frajola Pamela Frankel Marsha & Randy Freed Ian & Judy Freeman Margaret Freese Merilee Frets Bonnier Gerald & Olivia Froebe Betty Lee Fyan & Allison Howard Morris J. Galen William & Bev Galen Raelyn & Jack Garland Hugh & Coleen Garrabrant Lee Ann Garrison & Tom Strini Kenneth Gengler Marvin & Barbara Gordon-Lickey Richard & Jane Groff Louise & Herbert Grose Paul Gunderson James Hall Rosemary Hamerton-Kelly David & Erika Hammond Ulrich H. Hardt & Karen Johnson Drs. Hugo & Linda Hartig Judith Hatton Patsy Heinlein Gina Henderson Janice Hennessey Carol & Timothy Henry Deborah Henry Shirley & Walter Hercher Gary L. Hewitt Lane Hickey Judy Ho Ron & Suzanne Hockley Kenneth Holford & Harry Hum Patricia Horan Claire & Kendall Horn Celeste Howard William Howard Robert & Jill Hrdlicka Nancy Hull Carolyn Hymes Darwin & Mary Isensee Jack & Sheila Jakobsen Saad & Grace Jazrawi Becky & Jarrett Jones Richard Josephson Leslie E. Kahl Myrna M. Kane Andrew R. & Carol Kay Judy C. Kelley William & Delores Kelly

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Dr. Ron & Patrice Petersen Rebekah Phillips§ & Lars Campbell Robert L. & Leslie Phillips J. Randolph & Irene Pickett Walter & Susan Piepke Diane Pinney & Clifford Droke Carl & Cynthia Pixley Peter+ & Josphine Pope Karen E. Price Roberta Jean Pullen Willis & Anne Rader Meenakshi Rao Steven A. Rapf Carol & Walter Ratzlaf Richard & Mary Raub Julie Rawson Mike & Cindy Reese Rod & Sheila Renwick Forrest & Sharon Rae Richen Philip Riedel & Carolyn Bailey Caroleigh & Jack Robinson James & Elinore Rogers Greta & Pieter Rol Patricia Rooney Ellen Rosenblum & Richard Meeker Alan S. & Eve O. Rosenfeld Mr. David Roth & Ms. Tangela Purdom Mrs. Dorothy Rotolo Ted & Davia Rubenstein Alise Rubin & Wolfgang Dempke Barbara Salter Michael Sands & Jane Robinson Julie & David Sauer Anne Savaria Elaine Savinar James & Julianne Sawyer Eric Schaefer Rod & Vicki Schmall Holly Schmidt Peter & Elaine Schmidt Jack & Barbara Schwartz Ursula & Eric Scriven Joyce Semradek Peter & Penny Serrurier Jon & Linda Sewell Ann & David Shearer Barbara & Gilbert Shibley James Shields‡ Joe & Joan Shipman Joan Shireman Brian & Kathy Shoemaker Barbara Short & Linda Wood Dr. Rick Simpson J. & C. Skuster Damon & Kristen Smedley Marjorie M. Smith V. L. Smith & J. E. Harman Kyle Smoot & Winthrop Hall Pat Southard Bill Spencer Mary & Gordon Spezza Doug Stamm & Jackie Gordon Nicholas & Carolyn Stanley Paul Steger & Pat Ferguson-Steger Scott Stephens & Leslie Houston Marjorie Stewart Richard Stiggins Rabbi Ariel Stone & Dr. Joe Thaler Bobbi & Aron Swerdlin Judson Taylor Jill Thacker John Thompson & Mary Amdall-Thompson Grant & Sandra Thurston Dr. Elizabeth Tierney Robert Todd Laura Tomas Misty Tompoles Wayne D. Trantow & Toni Parque Julie Lou Tripp Juliana Trivers & Matt Donahue Charlotte Tsai Jacques & Mary Vaillancourt

Peter Vennewitz Mr. & Mrs. David Verburg Bill & Peggy Wagner Ann Wagoner Richard & Cynthia Waitt Carol Walker Nik Walton§ & Leslie Simmons§ Hans & Naomi Wandel Ruth Warbington W. Michael Warwick & Susan V. Bailey Sandra Watts Claudia & Ken Weber Carolyn & Gary Weinstein Weiss Fund of ocf The Westling Family Robert & Frances Weyant Tom & Kit Whitaker Merlin White Dr. Andrew & Margery Williamson Andrew Wilson Drs. Arthur & Carol Wilson Janice R. Wilson Margaret Wilson Alan Winders Lewis & Susan Van Winkle Ted & Sheila Winnowski Carol S. Witherell Nancy Wolff & E. David Booth Richard & Leslie Wong Darrell & Geneva Wright P. J. & Donald Yarnell Jonathan & Pearl Yu Tamara Yunker Greg Zarelli John & Nancy Zernel David & Eliese Zonies Floyd Michael Zula

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Robert Church Hillary Churchill JáTtik Clark‡ Bill & Kathryn Coffel Janie & Richard Cohen Sandra Coila Marilyn A. Coldwell William B. & Susan E. Cole Ms. Beverly Collins Brooke Collison Jenn Columbus & Alex Paraskevas Jeffrey G. Condit Gena Connelly Janet Cooke Deborah & Jim Coonan Carol & Ken Cooper Elburn & Elizabeth Cooper Jerry & Jean Corn Dennis & Wanda Costi Jacob & Jessica Cottam Thomas & Marilyn Councell Jennifer & Diego Covarrubias Ann & John Cowger John C. Cowles & Mary Ellen Ulmer Cynthia Cristofani, MD Joseph-Nathaniel Cuenca Michael L. Cummings Hal & Kim Curtis Fran & Rod Daggett John+ & Mary Lou Daily James Dalrymple Brad Daniels Arthur & Winnifred Danner Marcia Darm, M.D. & Bruce Berning Wendy & Howard David Ilene Davidson Pamela & Tony H. Davidson R. Davis Janna Davydova Abby & Marvin Dawson Hoyt Day John & Rocio Deatherage Bruce & April DeBolt Peter & Patrice DeGraff Lore Demme Richard Denman John & Nancy Dennis Chuck & Patt DeRousie Austin DeSimone Brian Detman & Katherine Deumling Loree Devery & Robert Trachtenberg Di Loreto & Associates, Consulting Civil Engineers Paul Dicker Margaret Dickerson Jon Dickinson & Marlene Burns Dorothy K. Dinneen Mrs. Henry Dixon Pamela Dixon John Dobson Arleigh & Marion Dodson Norma Dody Carol Doehne David & Rita Doerfler Carole & Dan Doerner David & Wendy Doerner Bruce & Janet Doerr Clara Dolen Phil Dollar Mary & Robert Donley Elke Dortmund Thomas & Nancy Doulis Ken & Gail Doxtader Edward Doyle M.D. Drs. Drasin Kurt Duffens Dianne Dukelow & Shawn Redfern Carol & Sam Duncan Julie Duncan Irene & Aaron Dunlop Janet Dunn Laurence & Wendy Dunn Elaine Durst Dale & Edith+ Dzubay Jerry & Lisa Eckstein Vida Edera

Marsia Gunter Clark Haass Carolyn I. Hale Karen & Daniel Halloran Robert+ & Paula Hamm Carl & Peggy Hammond Audria Hampshire Victoria L. Hanawalt Irv & Gail Handelman Diane & Westley Hanken Jack & Barbara Hansen Henry Happel Marilyn J. Harbur Thomas Hard & Mary Stevens Gloria Halper & Jay Moskovitz Elicia M. Harrell Mr. Philip Harris & Ms. Debi O’Donnell Amy Lynne Harrison Karen & Doug Hartman Frances Hartwell Donald & Jette Haslett Michael & Josephine Hatfield Josephine Hawthorne Grant Hay & Christine Placek Jean Healy Jim & Lauren Hearn Irene Hecht & Ron Saroff Andrea Heid Paula Heimberg M.J. & Lee A. Helgerson Pam Hellings Ray & Doren Helterline Jeff Hemmerling Brenda Henderson Tom & Holly Henderson Richard & Margaret Henkel Pamela Henry Jerry & Donna Heppell Jim Herb Don Hermanns‡/ arc publishing Betty & Duane Hesketh Mary Jo Hess Richard & Deborah Hilbig Alex Hill Nancy Hill Kirk Hirschfeld Andrea Hollingshead John & Jodyne Holloway Robert & Karen Holman John & Susan Hoover Ellen Hopper Albert Horn Dr. Elizabeth Horn Don & Sharon Houck Doris Howard Patricia Howard Wayne Huber & Nancy Nixon Jeff Huff Margaret Huff-Huffman Charles & Doris Hull Clare E. & Rosalie Humphrey Gabe & Mike Hunter-Bernstein Jan Hurst Lynn & Diana Husband JK & Carolyn Hussa John & Delores Hutcheon Hilary Hutchinson Norman Huynh‡ Lech & Elizabeth Ilem Marita Ingalsbe Ruth Irons In Memory of Patricia Iverson Frances Jackson John Jackson Janice Jacobs Harlow & Nancy Jacobson Steven Jacobson Dick & Mary Jaffe Janie Jameson Roberta M. Janssen JT Jastak Elizabeth Jay Linda & Richard Jenkins David E. Jensen James A. Jerde Nancy Johns Brian Johnson

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Jane Edwards Vickie Edwards David Eiseman Mihail Elisman Karen Ellmers Jerry & Donna Elsasser Jackie Endicott Joanne Engels Robert & Miriam Epstein Joan Erath Robert Ericson & Pam Martin Steve & Bonnie Esbensen Miriam Eskenasy John Etter Gregory Ewer & Becky Hornsten George Fabel Dale Farley Donna Farley Matthew & Jennifer Farrenkopf Al & Yoli Feiner Ed & Lynn Ferguson Muriel Feuer Amy Fields Jonathan Fink & Nina DeLange James & Emily Fishback Ross Fisher & Marie Weiskopf Joan FitzGibbon Aaron Flatten Phoebe Flynn Heather Folts James Fontaine Kevin Foren Sam Foulger Gerald & Heidi Fox Debbie & Bill Franzke Paula Frechen Louis & Debbie Freeman Tom Freeman & Monique Hayward Douglas R. French George Freyer Paul & Nancy Frisch Mary Fromwiller Robert & Carolyn Fuller John Funatake Virgil Funk Oksana Fusselman Zach Galatis Jeri L. Gamaney Caroline Garland Catherine Garman Carolyn Gassaway J. M. & Nancy Gaston Stephanie Gates Diane & Steven R. Gatke Patricia Gauer Lucile Gauger Barb Gazeley & Tim Evans Charles & Charline Gebhardt Michael J. Gentry Dean Ghizzone Warrene Gill & Richard Loomis Bob & Janette Gill Arthur & Judith Ginsburg Barbara Glazewski Gary & Janet Goby Mary Godwin John & Jackie Goldrick Thomas & Melinda Goldsmith Elinor Gollay Raul Gomez & Sarah Smith Laura Good Dana & Dorothy Goodman Hilda & Martin Goodman Mrs. Rosalie Goodman Robert Gordon Daniel Gouger G. & Jeanine Gougler Lynette Graap John Grant K. Grant Linda Graves David Gray & Joan Hamilton Lynn Green Michael & Patricia Greenfield Michele & Mark Greenwood Noel Grey Kerry Griffin & Dr. Eilis Boudreau Bette J. Grimm Marilyn Guarino

P A R K I N G G E N E R O U S LY D O N AT E D B Y :

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OUR SUPPORTERS Carolyn & J. Michael Johnson Ellin & Fletcher Johnson James Johnson Jeffrey W. Johnson Mary Johnson Michael & Lynne Johnson Sharon Johnson & Bill Patten Shirley Johnson Vernon & Margaret Johnson Whitford & Carol Johnson Alison Jones Barbara & Chris Jones Edi Jones Marilyn Jones Wallace Jones Helga P. Joyce Igo & Cookie Jurgens Jack & Farol Kahle Mike & Sherrie Kaiel Richard Kaiser Ross & Paula Kaplan Nina Kapur & Sidharth Bhardwaj Diana Karabut Janice Karpenick Sheri Katz Mrs. Marilyn Kaufmann Natasha Kautsky§ Arthur & Kristine Keil Edward & Elaine Kemp Nancy G. Kennaway Jeanne Kennedy Sue & Rich Kennedy Charnan Kenst Regina Vallerani & Stephen Kent Dr. & Mrs. Allan J. Kiley Paul J. Killorin Joani Kimoto Jean A. Kimsey Lois & Willard Kleen James & Morley Knoll Paul & Susan Knoll Jody & Paul Knowlton Bruce & Jan Koepke Judith & Fritz Kokesh Curt Kolar & Georgann Wingerson Van & Sonja Kollias Malle Kollom Kathryn Kolonic Barbara Kommer & Kurt Koenig Stan & Greta Kopec Karl Kosydar Teresa Kraemer & Margaret Carley Robert Kravitz Sophia Kremidas Susan Kroeker Tom Kuffner & Ervin Czimskey Leonard Kuhl Kathleen Kusudo Charles & Donna Kuttner William & Joyce LaBarre Dr. and Mrs. Bruce LaBrack Matthew Ladensack & Benni Arnold-Ladensack Mr. & Mrs. B. Robert LaFord George & Donna La Frazia Catherine & Loran Lamb-Mullin Roy Lambert & Mary Maxwell Wayne & Carolyn Landsverk Priscilla Lane & Joji Kappes Nancy Lapaglia & Stephen Slusarski Steve Laveson & Lesley Isenstein Aristide Lavey Lyndon Lawless Thomas & Fonda Lawson Gerald Leatherman David & Janna Lebakken Mads Ledet Barbara A. Lee Eugene & Patsy Lee Thomas & Marcia Lee Robert & Sally Lefeber Roger J. Leo David Leonard Shannon & Fred Leonetti

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Evelyn & Gerald Leshgold Olga Levadnaya Zachary Levow Nadja and David Lilly Ernest & Judith Lindahl Patricia Lindquist Natalie Fay Linn Leo & Shirley Lippincott Jeffrey Littman Hu & Mai Lo Scott & Margaret Long Sara Longworth Glenna Lopez Henry Louderbough Dennis & Linda Loveland David & Kate Ludwig Karen Lyman Darlene Lynch & Gerhard Meng Jerry MacGregor Ian Madin & Hilary Johnson Larry Madson & Lynne Johnson Linda Magness Ryan Malarkey & Jean McFarlane-Malarkey Dr. Gary Malecha & Dr. Linda Gammill James Mallay & Nancy Zacha Barbara Manildi Bob & June Manning Phyllis Markee Eileen Markson Victor & Kathleen Marquardt MacKenzie Martin D. J. and Glenda Martsolf Sharon Mathes Mrs. Robert Mausshardt Diane Maxon Zana Mays John & Christine McAfee Galen & Kathy McBee John & Jean McCabe Patrick McCaren Mary McClintock & Tom Balmer Sean McCombe Neil & Annette McFarlane Sue McGraw/Robert Owens Lois McIntosh Allan & Caryl McIvor Ed & Judy McKenney Ann McKinney Martha McKinnon Phyllis A. McLaughlin Edna McLean Cleo McLeod Elizabeth Mehren Anne Meixner Kathy Melzer Dr. Bob Mendelson George Mercer Mark & Brenda Merizan Jeff & Teresa Metke Douglas Michael & John Nettleton Beverly Miles & Carol Bird George R. & Janice Miller Lori Miller Barbara Millikan Lois Mitchell Heather Moats Randy & Tammy Moe Elaine & Ted Molskness John Montague & Linda Hutchins Barbara Moore Robert & Dee Moore Ve Anna Morgan & Pam Town Lawrence & Shirley Morrell Marianne & Stephen Mortenson David & Margaret Moser Arthur & Nancy Moss Daniel Mueller & Jo Ann Pari-Mueller Martin Muller William Mullette-Bauer Archie Mulvena Richard & Sarah Munro Judith Munter Kathleen Murphy

Denise Myrick Michael Nagel John & Debbi Nagelmann David Nazemi Carol Nelson & Glen Rea Debbie Nelson Richard & Diana Nelson Jill Neuwelt Jeanne Newmark James & Emaline Newton Mary & Ken Nichols Erling & Satoko Nielsen Ms. Elaine Noonan Steve & Sandy Norcross Anne North Mary Nunamaker Mary Lynn O’Brien James O’Keefe George P. & Reba O’Leary Margaret O’toole Robert & Bonnie Olds Neal & Kathe Oliver Kris Oliveira Deborah Olson Jory A. Olson Mike Ossar & Gretchen Holden Jeff Ota Gay G. Otey Lori Ott Jean Ousterhout Terry & Mary Owen Raymond & Dorothy+ Packouz Sandra Pagano Gerry & Jackie Painter Ethelyn & Loren Pankratz Beatrice A Parham Benjamin Parish J. Scott Parker & Ellen Vanderslice Lynn Partin & Bill Holmes Brian & Cheryl Partridge Dave & Debbie Partridge Patricia Passon The Pasteris Family Gloria Patterson Dorianne Reinhardt Paul Michael Peache Fran Pease Don & Janet Pedersen Scott H. Pell Mr. & Mrs. Thomas Penchoen Bill & Sue Penhollow Stanley & Susanne Penkin Audrey Perino & Ken Kane Edward G. Perkins Vicki Perrett Robert & Arlene Perry Jr. Debra A. Persen Mrs. Anita Peterson Jim & Sally Petersen Charley Peterson & Susan Sater Elisabeth & Jed Peterson Gary and Barbara Peterson Ryan Phillips Wallace & Kay Phillips Karen & Pete Pickett Bill & Marsha Pike Jerry Pike Mr. Mark Platt Claude Poliakoff Tracy Pond Diana Pope Dan & Cheri Portman Dr. & Mrs. Robert H. Post Marjorie I. Powell Shannon Pratt Brad & Caroline Preble Premiere Valet Roger & Susan Price Dr. & Mrs. Kevin Proctor Louise & Keith Putman Beth & Jim Quartarolo Carole Quick Donna Rabin Dr. Charles Rafferty & Mr. James Perley Michaela Ramsey Reta & James Ratcliffe Richard & Penny Raynor Donna Read Realty Trust Group

Helen Redbird-Smith Donna O. Reed Ed Reeves & Bill Fish Bill & Susan Rehm Eileen and Brad Rence Joan Renie & Greg Watson Lorraine Resoff Lauren Retzlaff Marjorie Reuling Craig Rice David Richardson Edward & Katherine Richman Sheila Richmond Eike & Kathleen Richter Michael and Suzanne Rieger Mary Wing Riley Mark Rittenbaum Adrian & Susan Roberts Beverly Roberts Linda Robinson & William Nelson Ruth Robinson Roland Havens Insurance, Inc Charlotte & Carol Roop Mary Rose & Maxwell Whipps Norman & Judith Rosenbloom David & Diane Rosencrantz Catherine Ross Drinda Roth Kelly Rupp Andrew Russell & Brigitte Kolloch-Russell Beverly Russell Scott & Joan Rustay Elaine C. Ruys Jean Rystrom Bunny & Jerry Sadis Philip Sailor Pam Saito Faye Samuels Mark Sanborn & Sandra Linnerud Stan Sandberg Rebecca Sanders Patricia Sandholm Clint & Sandra Sanford Kevin Savetz Tad & Kate Savinar Kathleen Scanlan Janet Schaefer Mr. & Mrs. Lawrence Schick Richard & Kathryn Schneider William & Donna Schoen Stacy Schoo Jason & Cymbrie Schooler Mary Lou Schrader Clifford Schrock Tanya Schroder Marc Schuette Gale & Terry Schulz Donald Scrivens Jill & Lew Seager Glenn & Anne Seim Christopher Selid Carl Selin Virginia Sewell Dr. & Mrs. Robert Shangraw Dave Shanley Kathleen Shannon & Daniel Haggerty Beppie Shapiro Gail and Mark Sherman Mr. & Mrs. James Shotwell Arlene & Bill Showell Gary & Darsein Shull Gwen & Alan Shusterman Mark Siegel & Patricia Casey Joan Harris Sigler Bob & Maxine Silverman Wendy & Ross Simmons Richard Simms Steve Simonds Steven & Bonnie Simonson Kathleen Sims Dana & Robert Skelly Rob & Sue Skinner David & Barbara Slader Lydia & Gary Slangan Carol Sloan Linda & Paul Smith Merriley Smith Monne Smith Paige & Larry Smith

Peter & Gillian Smith Richard & Leonie Smith E. Ned & Carolyn Snow Charles & Melissa Sollitt William Southworth & Penny Welch Patricia A. Spence Mike Sprager Charles & Karen Springer Lewis & Judy Sprunger Julia Staigers & Gerard Koschal Emily Standish Richard Stein Drs. Robert & Nancy Stepsis Ginny Stern Kimberly Stevens Daniel Steves Sandy Stewart Dale Stitt & Esther Elizabeth Michael & Mary Stock Edmund Stone & Cynthia Scheel Robert Stone Jim & Cheryl Stonier James & Joan Strassmaier Michael Stricklin Henry Stromquist Christina Strong Fred Strong & Sandra Brown Chenaya Strutton Jan Sturdevant Peter & Joyce Swan Donna Swanson Rick Swee John & Janet Switzer Francine Szlavich Patricia Tangeman Emanuel & Amy Tanne Sarah & Robert‡ Taylor Leif & Marjorie Terdal Christopher & Emily Thomas Bruce & Barbara Thompson Frederick & Jean Thompson Kathleen Thompson Romona & Patrick Thornburgh Ms. Elizabeth Thorpe David & Lucy Anne Tillett Linda & W. Tittle Gary Tomas Thomas & Katherine Tomaszek Sally Townend Susan Auerbach Triplett Patricia & Peter Truax Leslie & Scott Tuomi Nick Tzannetakis Catherine Unis Ann Uphoff Roberta & Ward Upson Susan Van Lente Barbara Van Ness Richard & Kendra Van Patten Tom Van Raalte & Pamela Peck Jerry & Thuy Vanderlinde David & Janice VanDyke James E. Vannice Randall Vemer & Mary Frances Byrne Stanley Vernon & Thomas Fischer The Vickers Family Beverly Vogt Dorothy & James Waddell Karen Wagner William and Leslie Waldman George & Marilou Waldmann Kenneth Walkky Charles Wallace, Jr. Sandy Wang Roland Ward Richard Wasserman Lisa Watson Marjan Wazeka Dr. Frederick & Maureen Wearn Bruce Weber Donald Weber Vivian Weber Dana & Steve Weiner

Michael Weiner & Kathy Davis-Weiner William Weiss Kim Weller & Doug Gordon Johnna Wells Mr. and Mrs. Brandon Wentworth Ken and Debby Wenzel Michael & Lisa Wenzlick Christa Wessel Jeff West Pat Wheeler Diana & James M. White Jarvis & Cleo White Linda White Ann Whitehouse Lee Ann Wichman Frank B. Wiggins Elaine Wilderman Carl & Carolyn Wilhelm Margaret Willer Shelley Williams John & Kathy Willis Jennifer Wilson Julie Wilson Mary Ann & James Wilson Fendall Winston Prudence Wise Mary Ann Wish Lynn & Paulette Wittwer Lawrence Woelfer Dr. and Mrs. James T. Wolfe III Diana Woll Peter Wong Dennis & Valerie Wood Ray Wood Robert & Suzanne Wood Anne Woodbury Linda Wooden Barbara Woodford Anita Woodside & Lee Kilbourne Jon & Jill Woodworth Patricia Woolsey Elaine & Steven Worral Barbara Wyse John & Ruth Wyse Deborah Yaeger & John Emshwiller Audra Yancheck Philip & Barbara Yasson Kristine Yates Lewis & Ann Young Susan Zall Janet Zell Jim & Claudia Zinser Ian Zook Arleen & Bob Zucker Agnes Zueger *current board ‡current musician §current staff

TR IB U TE Tribute gifts February 23– April 13, 2019 In Honor Kay Gebhart Mark Lewis In Memory of Lloyd Babler Mrs. Patti Babler In Memory of Lynn Getz-Riley Catherine Bentley In Memory of India Zerbe Jobelmann Vlasta N. Barber Charles & Judith Kobin David B. Socolofsky In Memory of Carol Ann Sampson Frank Sampson

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 (13) 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 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+ Harry & Gladys Flesher Mark Gardiner & Mary Nolan Robyn Gastineau* Jim & Karen Halliday Susan Halton Betsy & Gregory Hatton Diane M. Herrmann Henry M. Hieronimus Rick* & Veronica Hinkes Renée* & Irwin Holzman Donna Howard Beth & Jerry* Hulsman Judy & Hank Hummelt Anne & Charles Jochim Dennis Johnson & Steven Smith Karen & Keith Johnson Richard Kaiser & Virginia Shipman Richard & Ruth Keller Helen Kirkpatrick+ Georgia A Koehler Sally & Tom Kuhns Kyle & Marcia Lambert Wayne & Carolyn Landsverk Barbara A. Lee Fernando & Dolores Leon Cary & Dorothy Lewis Ardath E. Lilleland A. G. Lindstrand

Lynn & Jack Loacker Linda & Ken Mantel Michele Mass & Jim Edwards Dr. Louis & Judy McCraw Roger & Pearl McDonald Stephanie McDougal+ Duane & Barbara McDougall Edward+ & June McLean Sheila McMahon Karen McNamee Ruben J. & Elizabeth Menashe Robert+ & Violet Metzler Bruce F. Miller Mia Hall Miller Richard Patrick Mitchell Hannelore Mitchell-Schicht Carol N. Morgan Christi R. Newton Ann H. Nicholas Minerva T. Nolte, M.D. + Ann Olsen Roger N.+ & Joyce M. Olson Marianne Ott Jane S. Partridge Janice E. Phillips Janet Plummer§ & Don Rushmer Arnold S. Polk Harold & Jane Pollin David Rabin Tom & Norma Rankin Richard & Mary Raub Barbara Perron Reader William L. & Lucille Reagan+ Ed Reeves & Bill Fish Mary & Mike Riley Sherry Robinson & Steve Shanklin Peter Rodda & Vincenza Scarpaci Betty Roren Walt Rose Betsy Russell William C. Scott Sara Seitz Scott Showalter§ V. L. Smith & J. E. Harman George & Molly Spencer Anne Stevenson Hank Swigert Diane Syrcle & Susan Leo Herman Taylor & Leslye Epstein Bruce & Judy Thesenga Mike & Diana Thomas Leslie & Scott Tuomi Linda & Stephen VanHaverbeke Randall Vemer John & Frances von Schlegell Les Vuylsteke Joella B. Werlin Jack* & Ginny Wilborn Gary Nelson Wilkins Roger & Kathleen Wolcott Nancy Wolff & E. David Booth + in memorium

The Arts Card gets you 2-for-1 tickets to hundreds of performances & events.

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VOTED BEST SERVICE, BEST AMBIANCE AND BEST OVERALL IN 2018 BY THE PEOPLE OF PORTLAND!

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OUR SUPPORTERS Corporate Partners The Oregon Symphony thanks these corporations for their generous contributions received from February 1, 2018, to March 1, 2019.

TR ANS FO RMATI ONAL $10 0 , 0 0 0 A ND A B OV E

VIR T U O S O S O CIE T Y $5 0 , 0 0 0 – $ 9 9,9 9 9

O P U S S O CIE T Y $ 2 5 , 0 0 0 – $ 49,9 9 9

M OZ AR T S O CIE T Y $10 , 0 0 0 – $ 24 ,9 9 9

ESCO FOUNDATION

HOFFMAN CORPORATION

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SAMUEL I NEWHOUSE FOUNDATION

PAR K ING S P ONS O R

ME D IA S P ONS O R

OTHE R S P ONS O R S

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ALASKA/HORIZON AIRLINES INC ALL CLASSICAL PORTLAND AMAZON.COM ANDANTE VINEYARDS ARGYLE WINERY THE AV DEPARTMENT BLUE STAR DONUTS CROWLEY WINES D.A. DAVIDSON & CO. DOCUMART COPIES & PRINTING DOMAINE SERENE FREELAND SPIRITS GENIUS LOCI GERANIUM LAKE FLOWERS HEADWATERS AT THE HEATHMAN

HENRY’S TAVERN HORST & GRABEN WEALTH MANAGEMENT INICI GROUP, INC. JACOBSEN SALT CO. JASON DESOMER PHOTOGRAPHY KEN WRIGHT CELLARS KEY BANK KLARQUIST SPARKMAN, LLP KROGER MAGAURN VIDEO MEDIA MONDAY MUSICAL CLUB OF PORTLAND JONATHAN NAGAR NEL CENTRO

ONPOINT COMMUNITY CREDIT UNION PORTLAND ART MUSEUM POSTERGARDEN PREMIERE VALET RACHEL HADISHAR PHOTOGRAPHY RAMPANT CREATIVE INC RAVEN & ROSE ROCHE BOBOIS ROCKWELL COLLINS CHARITABLE FOUNDATION SINEANN WINERY TIFFANY & CO. VIDON VINEYARD

Foundation and Government Support The Oregon Symphony thanks these organizations for their generous contributions received from February 1, 2018, to March 1, 2019.

TR ANS FO RMATI ONAL $10 0 , 0 0 0 A ND A B OV E

GLOBE FOUNDATION

JAMES AND SHIRLEY RIPPEY FAMILY FOUNDATION

VIR T U O S O S O CIE T Y $5 0 , 0 0 0 – $ 9 9,9 9 9

WILLIAM AND FLORA HEWLETT FOUNDATION

ANN AND BILL SWINDELLS CHARITABLE TRUST

THE JAY AND DIANE ZIDELL CHARITABLE FOUNDATION

HAMPTOM FAMILY FOUNDATION OF OCF

O P U S S O CIE T Y $ 2 5 , 0 0 0 – $ 49,9 9 9

MAYBELLE CLARK MACDONALD FUND

ROSE E. TUCKER CHARITABLE TRUST

RESER FAMILY FOUNDATION

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ROBERT & MERCEDES EICHHOLZ FOUNDATION

JACKSON FOUNDATION

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HERBERT A. TEMPLETON FOUNDATION

WALTERS FAMILY FOUNDATION

THE WOLLENBERG FOUNDATION

S ILVE R B ATON $ 6 , 0 0 0 – $ 9,9 9 9

JUAN YOUNG TRUST

B R ONZ E B ATON $ 4 , 0 0 0 – $5 ,9 9 9

SCHLESINGER FAMILY FOUNDATION

COND U C TO R ’ S CIR CLE $ 2 , 5 0 0 – $ 3 ,9 9 9

AUTZEN FOUNDATION

CON CE R TO $1, 0 0 0 – $ 2 , 49 9

H.W. & D.C. IRWIN FOUNDATION

KINDER MORGAN FOUNDATION

DAVID & LOA MASON CHARITABLE TRUST

WHEELER FOUNDATION (WA)

FAYE & LUCILLE STEWART FOUNDATION

WINTZ FAMILY FOUNDATION

orsymphony.org | 503-228-1353 39

2019

EROICA TRIO Saturday, June 22, 8 p.m.

Works by Vasks, Gershwin & Mendelssohn MIVOS QUARTET Thursday, June 27, 7:30 p.m.

Works by Gubaidulina, Eckardt & Haas BRAHMS DOUBLE/SCHUMANN’S 4th Saturday, June 29, 8 p.m.

Works by Vasks, Brahms & Schumann FARRUGIA PLAYS MOZART Tuesday, July 2, 7:30 p.m.

Works by Mozart, Vasks & Brahms GUBAIDULINA’S OREGON PREMIERE Saturday, July 6, 8 p.m.

Works by Gubaidulina, Grieg & Britten KLEIN COMPETITION LAUREATE PLAYS BRUCH Thursday, July 11, 7:30 p.m.

Works by Bruch, Schubert & Finzi BRAHMS’ REQUIEM Sunday, July 14, 4 p.m.

Phillips/Tipton/Hačko Portland Symphonic Choir Oregon Festival Orchestra

Summer Edition: June 19-July 14

Tickets & more information www.oregonmusicfest.org

Three Faces of Romanticism

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THEN AND NOW

Portland Saturday Market Past & Present 1974

Joel Weinstein sells breads at the Portland Saturday Market, March 26, 1974.

Oregon Journal Prints Collection, Org. Lot 1027, bb017466.

2019

Courtesy of Portland Saturday Market.

Portland Saturday Market, an open-air marketplace for local artisans, was founded in 1974 by Sheri Teasdale and Andrea Scharf. Inspired by the Saturday Market in Eugene, they organized craftspeople to form a nonprofit collective with all members sharing management responsibility and keeping their own profits. With a $1,000 startup grant from Metropolitan Arts Council and an empty parking lot offered by civic leader Bill Naito, the PSM opened for business. The market outgrew its original location by 1976 and relocated underneath the west side of the Burnside Bridge. Urban development necessitated another move in 2009 to the current, custom-built location in Waterfront Park. Today, the iconic Market showcases the work of over 350 artisans who sell their creations from 252 booths. This jewel of local arts and culture is held every Saturday and Sunday from March through Christmas Eve and welcomes up to 750,000 people per season.

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 at the market? Post it!

Don’t forget to tag #Artslandia and #ThenAndNow.

orsymphony.org | 503-228-1353 41

ON A HIGH NOTE By the time you finish reading his interview, it will come as no surprise that The Oregonian noted the “irresistible energy, appealing tone, and dazzling technique” of Zach Galatis. Piccolo and flute of the Oregon Symphony since 2012, Galatis wears his passion (and humor) on his sleeve. His resume is long and distinguished, and while he advises not to recite one’s credentials habitually, his fans should know that he plays with Third Angle and 45th Parallel.

He’s won copious awards, teaches prolifically, and performs as a guest of many orchestras and various summer festivals. Galatis graduated summa cum laude with performance honors from the Crane School of Music at suny Potsdam and earned a master’s degree and performance diploma from the Peabody Conservatory of Johns Hopkins University.

What’s your first memory of a live music performance?

The first real, indelible memory I have of a live music performance was going to one of those youth concerts at the orchestra where I grew up, just like the ones that Oregon Symphony does.

I was probably in kindergarten or so, and the orchestra featured a high school-aged soloist who had won a competition to play a concerto with them. I was totally hooked and decided that I wanted to do that someday, too. When I was a senior in high school, I won that same concerto competition, and I got to play a concerto with the orchestra. I hope that I inspired some young musicians the same way I was inspired! Even better, I get to do those concerts on a regular basis each season with the Oregon Symphony, and we reach thousands of children this way, which I think is super cool.

Oregon Symphony flute/piccolo

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Photo: Max McDermott, Artslandia.

Zach Galatis

How did you come to play the piccolo? Can you describe your first experience of being drawn to it?

I started out on flute in school in the fourth grade. After a little while, I realized I was one of many and not standing out at all (in school band there are a bunch of flutes – not just a couple like in an orchestra). I decided this was unacceptable, and that the only option was to play something even higher, louder, and more noticeable.

We all joke that instruments and their players have predictable characteristics.

I definitely wanted to be heard and be heard a lot! What does that say about me, anyway? To this day, I love the way the piccolo stands out in orchestra, and I love the multiple roles that it can play in orchestral music. Being a piccolo player also requires a certain amount of self-confidence and nerve, since you are always heard and often playing very exposed and difficult parts after sitting and not playing for long periods of time. For instance, in Beethoven’s Ninth Symphony the piccolo player doesn’t play a note until over 45 minutes have gone by and then has to play a difficult and delicate solo!

What role do you think music education plays for young people?

What are your thoughts on the current state of music instruction in our public education system?

I’m going to say this slowly and nice and loud for everyone sitting in the back: Music. Education.

Is. Essential. For. All. Kids.”

I am proud to be a part of the Oregon Symphony’s educational outreach, whether it’s as a part of the orchestra for our Kids Concerts or taking a quintet around to the elementary schools and showing all the kids our instruments.

Getting kids fired up about music and expressing themselves in that way is so important, and they need it to fuel their brains for other things! In Mr. Holland’s Opus, the movie where Richard Dreyfuss plays a composer who begrudgingly takes a band teaching job at the public

high school (filmed in Portland!) and then does it for the rest of his career, he’s fighting the people in charge who want to make cuts to all the arts programs. He says, sure they need reading and writing class, but without music and art, “pretty soon these kids won’t have anything to read and write about!” Boom. Mic drop.

Fund music education.

What advice do you give to aspiring professional musicians, in general, and flutists, in particular?

Well, the obvious: practice, practice, practice. Use a tuner and a metronome, and learn to play in tune and in time!

Work very hard and take in information and influences from all types of genres and artists, and be completely open to criticism and critique from musicians you know and respect. Figure out how to make your strengths marketable – make great connections with people in your musical community – and don’t burn any bridges! At the same time, don’t get in the habit of reading your resume every time you meet new people in your field (I hate that). For flutists in particular, don’t be afraid of the piccolo! It can be a beast, but figure out how to tame it and learn to love it – as a freelancer you will get twice as much work that way.

How much time do you spend practicing? Where are you most often when you practice?

I am a firm believer in the importance of how well you practice, not how much.

I practice exactly as much as I need to (and no more) for whatever it is I’m preparing. I can get more done in 10 minutes of really focused, goal-oriented practicing than some people can get done in hours. In this way, I make the best use of my time when preparing the mountain of repertoire that we have to get through in an Oregon Symphony season. There are some programs that I can look through the folder in one short sitting, and I’ll be fine. Other weeks, I woodshed difficult technique for hours!

It just depends. When my partner and I were house hunting, one of the things that was most important to me was having a special space in the house that >>> CONTINUED ON PAGE 44

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was just for my work. So, I have exactly that – a music studio, which is my teaching and practicing space. It’s a great room with awesome acoustics (perhaps too good!) that gives me a dedicated place to get my work done.

What’s the funniest thing that’s ever happened during an Oregon Symphony performance?

This is a pretty good story. A bunch of players onstage utilize earplugs to protect their hearing. I use them a good deal of the time, since I’m the piccolo player, and my playing can be on the very loud and high side. One set of plugs was made in two parts, like a casing and filter that fit into it. During one concert, one of them came apart, leaving half the earplug stuck in my ear, and I couldn’t get it out! I was sort of panicking, totally catastrophizing that I’d have to go to the hospital to have it removed. My colleague sitting next to me was cool and collected; she asked our principal oboist for tweezers or pliers

out of his reed case, and she went to work to remove it from my ear. From the audience, it probably looked like she was doing surgery. She got it out!

Are there any other genres or art forms you’d like to explore?

I have a deep love of musical theater and singing, and in some alternate universe, I think I probably went in that direction instead of the flute. Maybe in that universe, I’m taller and can dance, too.

Of all the places you’ve performed, what’s your favorite venue? Your favorite audience? What made it so?

Last year, I had the awesome opportunity to go play as guest principal flute with the Buffalo Philharmonic as they toured Poland as part of the Polish Beethoven Festival. We played in several stunning orchestra halls, some of which were very old, and some of which were state-of-theart and brand new. Europe and the arts, people! In terms of a favorite audience, I am grateful for any audience that is

interested, engaged, and appreciative of the music we make. Just like a tree falling in a forest may make no sound if nobody’s around, an orchestra would have no purpose if not for the audience.

The Oregon Symphony has an incredible and supportive one here in Portland, which we can feel onstage.”

What do you find most challenging about being a professional musician?

I think I’ve gotten to a good place on this at this point in my career, but I think finding balance in life is a huge hurdle for professional musicians. Due to the nature of what we do, the fact that it’s art and so intensely personal, I think it becomes so much more than just a “job” for most of us. In that way, it’s hard to separate it from the rest of our lives. I love being a professional musician, making music, affecting people’s lives – and then going home and being a normal person who likes to binge watch tv or play board games.

Florence Price

FLORENCE PRICE SYMPHONY NO. 1

Florence Price Dances in the Canebrakes Kabelevsky Cello Concerto No. 1, mvt. 1 Ethan Tseng, MYS Concerto Competition Winner Katie Palka A Letter to Florence Price In partnership with fEARnoMUSIC’s Audition now Young Composers Project

by appointment

FOR TICKETS OR TO ENROLL GO TO WWW.MYS.ORG

2018-2019 Downtown Series AMERICA’S FLORENCE | Symphony Orchestra MAY 21, 2019 7:30PM ARLENE SCHNITZER CONCERT HALL

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What music do you like to listen to in your free time?

I’m really, really good at leaving work at work, whether that be at the concert hall or in the practice room. I basically never listen to classical music in my recreational time, which is almost scandalizing to some people. I listen to pop music (and unabashedly love it) all the time. I love singer-songwriters, and I’m a huge fan of Sara Bareilles, Ingrid Michaelson, and Lady Gaga. But most often, if you opened the Spotify app on my phone, you’d find a Broadway musical playing. I get obsessed with one show at a time, and my poor partner has to endure songs and albums on repeat ad nauseam at home as I work through my obsession. Sorry, Matt! (He’s the best and never complains.)

What are your thoughts on concert dress in the 21st century?

I strongly believe that the days of tails, tuxedos, and ballgowns are over.

Historically, orchestras dressed up in

formalwear so as to not be out-dressed by the audiences of the day. This just isn’t the case anymore, by and large, and especially not in a city as laid-back and casual as Portland. Sure, there are some people who dress up to come to the Symphony and the Opera, and I think that’s great! I love a snazzy bowtie (unless I’m performing – I need to breathe!). But a bunch of forwardthinking orchestras are starting to update and go for simpler, cleaner, more modern looks. Not only does this speak to a new, younger, hipper audience, but it also looks so much less stuffy. I think this is the way of the future, and I’m hoping that the Oregon Symphony will follow this trend.

Seriously, though, our house is full of board games. We’ve got any game you can think of, and it’s one of my favorite things to do to unwind. I also have absolutely no shame to admit my love of tv. At any given time, there are several shows that we’re watching, binging, or re-watching (currently two seasons into Lost for the second time). I’m an extremely passionate karaoke-er. As in, if you think about anything in anybody’s life that they’re passionate about, double it, and that’s me with karaoke. That isn’t “outside of music” exactly, but since it’s outside of the flute, I think it counts. I sing anything from Billy Joel and ’90s boy bands to Mariah Carey and Celine Dion. And no, I don’t transpose anything. #originalkeysonly.

What do you do for fun and relaxation outside of music?

I remember being so frustrated at the question of “what do you do for fun” when I was out dating. Give me a break!

What I do for a living is the interesting part of my life! I’m boring otherwise!

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SEEN ON THE SCENE

Students from Hillsboro’s Mariachi Una Voz perform onstage alongside the Oregon Symphony.

Dan Bosshardt, founder and manager of Mariachi Una Voz, receiving the 2019 Schnitzer Wonder Award.

Gala attendees were dressed to the nines.

Gala Event Chair Dan Drinkward, Music Director Carlos Kalmar, and Event Chairs Rick Hinkes & Tige Harris.

Guests raise their paddles in support at the Symphony’s most successful Gala to date.

Lois Schnitzer & Gala Honorary Chair Jordan Schnitzer.

Oregon Symphony President Scott Showalter.

Symphony Principal Timpanist Jon Greeney leads student musicians with Assistant Principal Percussionist Michael Roberts.

The place settings were gorgeous.

OREGON SYMPHONY 2019 GALA

The Oregon Symphony broke another record at Gala 2019: Landmark with $1.2 million raised on Saturday, April 13,at the Portland Art Museum. More than 400 guests, with Honorary Chair Jordan Schnitzer, honored the legacy of Arlene Schnitzer and the late Harold Schnitzer, as they celebrated the Symphony’s standing as a landmark organization in Oregon and in the nation. This is the fifth consecutive year the Symphony has broken its fundraising record at the signature event. Attendees cheered as the festivities culminated with music and dance by Native American group The Thunderbird Lodge Singers.

PHOTO CREDITS: Jason DeSomer Rachel Hadiashar John Valls

Don’t forget to tag #Artslandia and #ArtslandiaWasHere on your event photos for the chance to be featured!

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