InSymphomy November 2018

NOVEMBER 2 018

the magazine of the

Oregon Symphony

Petrushka FE ATURED CONCER T S Petrushka The Capitol Steps Tchaikovsky v. Drake Beethoven’s “Emperor” Disney in Concert: Magical Music from the Movies

WINNING TAKES A STRONG HEART. Now, Jordan has one.

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Your generosity makes it all possible. With your help, there’s no limit to what Doernbecher can do. Including healing a broken heart. Please make a gift to Doernbecher today.

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CONTENTS NOVEMBER 2018 12

Feature

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about us LETTER FROM THE PRESIDENT 7 CONDUCTORS 9 ORCHESTRA, STAFF & BOARD 10 RECOMMENDED RECORDINGS 34 OUR SUPPORTERS 36

featured

Petrushka

Gospel Christmas 20th Anniversary

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GOSPEL CHRISTMAS 20TH ANNIVERSARY 12 PORTLAND ART MUSEUM 45 POETIC CURATIONS 46 SOUL 49 LISBETH CARRENO 50

The Capitol Steps

performances

Tchaikovsky v. Drake

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PETRUSHKA 14 SATURDAY, NOVEMBER 3, 7:30 PM SUNDAY, NOVEMBER 4, 7:30 PM MONDAY, NOVEMBER 5, 7:30 PM

THE CAPITOL STEPS 22 TUESDAY, NOVEMBER 6, 7:30 PM

TCHAIKOVSKY v. DRAKE 24 THURSDAY, NOVEMBER 8, 2018, 7:30 PM

BEETHOVEN’S “EMPEROR” 26 Beethoven’s “Emperor” Garry Trudeau

Disney in Concert

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SATURDAY, NOVEMBER 17, 7:30 PM SUNDAY, NOVEMBER 18, 7:30 PM MONDAY, NOVEMBER 19, 7:30 PM

DISNEY IN CONCERT: MAGICAL MUSIC FROM THE MOVIES 30 SATURDAY, NOVEMBER 24, 7:30 PM SUNDAY, NOVEMBER 25, 2 PM

Poetic Curations

Lisbeth Carreno

Oregon Symphony programs are supported in part by grants from the Oregon Arts Commission and the National Endowment for the Arts, a federal agency, and by the Regional Arts & Culture Council and Work for Art, including support from the City of Portland, Clackamas, Multnomah, and Washington Counties, and Metro.

on the cover: Petrushka Puppet by Doug Fitch

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Ancient history

NOVEMBER 2018

FOR THE MODERN WORLD PUBL IS HE R + FOUNDER Misty Tompoles A S S OCI AT E P UBL IS HE R + ME MBE R S HIP M A N A GE R Katrina Ketchum E DI T OR- AT- L A RGE Barry Johnson M A N A GING EDI T OR Kristen Seidman

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LETTER FROM THE PRESIDENT Dear Friends, Over the past two seasons, your Oregon Symphony has collaborated with innovators across myriad art forms to reimagine what’s possible on the orchestral stage. This season, we embrace the power of storytelling in our three-concert series, SoundStories.

Through visual creations ranging from ethereal shadow art to vibrant oil paintings, award-winning storytellers lend their trademark ‘voices’ to bring standards of the orchestral repertoire to life.”

We launch this new series November 3–5 with Stravinsky’s Petrushka, a classic tale of love and jealousy set against a bustling St. Petersburg fair.

Watch all around you as designer-director Doug Fitch transforms the Arlene Schnitzer Concert Hall with a spectacular multimedia assemblage of dazzling scenes and larger-than-life characters.

Beyond these SoundStories, all music has the power to transport us on new, unexpected journeys each time we enter the concert hall, no matter where we may be in our lives. Whether through the unlikely pairing of classical music and hip hop in Tchaikovsky v. Drake, the sublime melodies of Beethoven’s “Emperor,” or the magical world of Disney in Concert, we hope a bit of your story unfolds here, with us.

Our story also extends beyond the concert hall, as November marks the beginning of our Kinderkonzert series. Throughout the year, Oregon Symphony musicians will provide muchneeded educational concerts for over 10,000 children in local school districts.

Thank you for joining us, and enjoy the music.

Scott Showalter president & ceo

orsymphony.org | 503-228-1353

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Great concerts in December Rachmaninoff’s Symphonic Dances DECEMBER 1, 2 & 3 Eivind Gullberg Jensen, conductor • James Ehnes, violin James Ehnes

Anders Hillborg: Exquisite Corpse • Walton: Violin Concerto Rachmaninoff: Symphonic Dances Rachmaninoff’s suite of Symphonic Dances is a kaleidoscopic display of colorful rhythms and gorgeous melodies. James Ehnes returns to perform William Walton’s virtuosic Violin Concerto, written for the legendary Jascha Heifetz.

Gospel Christmas

Gospel Christmas 20th Anniversary DECEMBER 7, 8 & 9 Charles Floyd, conductor Northwest Community Gospel Chorus Gary Hemenway, music director

Cirque de la Symphonie

2018/19 Tim Burton’s The Nightmare Before Christmas in Concert DECEMBER 15 & 16 Norman Huynh, conductor Tim Burton’s fantastical tale of the Pumpkin King, Oogie Boogie, and Sandy Claws comes to life on our big screen, complete with Danny Elfman’s film score performed live to picture. Costumes encouraged; it’s the perfect outing to get you ready for Christmas!

Comfort and Joy: A Classical Christmas DECEMBER 17 Norman Huynh, conductor Oregon Chorale Light holiday classics, a very merry sing-along, and seasonal favorites make for a jubilant evening shared with friends and the Oregon Symphony.

It’s the 20th Anniversary of Gospel Christmas, the tradition that just gets bigger and better, year after year! Join the region’s premier gospel singers and the Oregon Symphony for an evening that’s sure to have you on your feet, clapping and shouting, DECEMBER 30 & 31 celebrating the true spirit of the season.

Carlos Kalmar, conductor • Jenny Schuler, soprano • Siena Licht Miller, mezzo-soprano DECEMBER 13 • Singers from PSU, Oregon Repertory Singers, and Pacific Youth Choir Norman Huynh, conductor Ellington/Strayhorn: The Nutcracker Suite The gravity-defying movements and James P. Johnson: Victory Stride choreography of these aerialists, acrobats, • Beethoven: Symphony No. 9, “Choral” dancers, and jugglers have captivated audiences around the globe – so we invited What finer way to ring in the New Year than them to present their spectacular holiday with Duke Ellington’s delightfully cheeky show. A wonderful treat for the whole family. twist on Tchaikovsky’s classic, followed

by Beethoven’s Ninth Symphony and its glorious Ode to Joy? A little bit smart, a little bit sassy, thoroughly exhilarating.

Big Band and Beethoven: New Year’s Celebration

Cirque de la Symphonie The Nightmare Before Christmas

New Year’s Celebration

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

CONDUCTORS Carlos Kalmar Jean Vollum music director chair

Carlos Kalmar is in his 16th season as music director of the Oregon Symphony. He is also the artistic director and principal conductor of the Grant Park Music Festival in Chicago.

In May 2011, he made his New York debut at Carnegie Hall with the Oregon Symphony as part of the inaugural Spring for Music festival. Both his imaginative program, Music for a Time of War, and the performance itself were hailed by critics in The New York Times, New Yorker magazine, and Musical America, and the concert was recorded and released on the Pentatone label, subsequently earning two Grammy nominations (Best Orchestral Performance and Best Engineered). Under Kalmar’s guidance the orchestra has recorded subsequent cds on the PentaTone label – This England, featuring works by Britten, Vaughan Williams, and Elgar; The Spirit of the American Range, with works by Copland, Piston, and Antheil, which received another Best Orchestral Performance Grammy nomination; and Haydn Symphonies.

New Yorker magazine critic Alex Ross called the Oregon Symphony’s Carnegie Hall performance under Kalmar “the highlight of the festival and one of the most gripping events of the current season.” That verdict was echoed by Sedgwick Clark, writing for Musical America, who described the performance of Vaughan Williams’ Fourth Symphony as “positively searing… with fearless edge-of-seat tempos… breathtakingly negotiated by all…”

A regular guest conductor with major orchestras in America, Europe, and Asia, Kalmar recently made his subscription series debuts with three of America’s most prestigious orchestras: those of Boston, Chicago, and San Francisco. Past engagements have seen him on the podium with the Philadelphia Orchestra, the Los Angeles Philharmonic, the Minnesota Orchestra, and the New World Symphony, as well as the orchestras of Baltimore, Cincinnati, Dallas, Houston, Milwaukee, Nashville, Seattle, and St. Louis.

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

Norman Huynh Harold and Arlene Schnitzer associate conductor chair

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

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

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

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

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

Jeff Tyzik principal pops conductor

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

Tyzik is also highly sought after as a guest conductor across North America. He holds Bachelor of Music and Master of Music degrees from the Eastman School of Music. He lives in Rochester, ny, 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 Norman Huynh Harold and Arlene Schnitzer associate conductor chair

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

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

PR IN CIPAL P O P S COND U C TO R

BASS

Jeff Tyzik

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

A S S O CIATE COND U C TO R

VI O LIN

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

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

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Carin Miller Packwood, principal Evan Kuhlmann, assistant principal Adam Trussell CONTR A B 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 S TAGE MANAGE R Lori Trephibio * Acting position ** Leave of absence

Administration Scott Showalter, president and ceo D E VE LO PMENT Emily Johnstone, patron Diane M. Bush, executive assistant services representative Hilary Blakemore, senior director Susan Franklin, assistant to the Cleo Knickerbocker, patron of development

music director services representative Rene Contakos, gift officer Nils Knudsen, assistant ticket Ellen Bussing, vice president Ella Rathman, development associate for development office manager Leslie Simmons, events coordinator Charles Calmer, vice president

Courtney Trezise, foundation John Kroninger, front of house manager Lisa McGowen, patron for artistic planning

and corporate giving officer Natasha Kautsky, vice president for communications manager Nik Walton, membership manager marketing and strategic engagement Christy McGrew, ticket office manager Tori Miller, patron services Janet Plummer, chief financial MAR KE TING ,

COMMUNI C ATI ONS & S ALE S and operations officer representative Ethan Allred, marketing and Carol Minchin, patron services Steve Wenig, vice president web content manager and general manager representative Rachel Allred, patron Rebekah Phillips, director of marketing, B U S INE S S O PE R ATI ONS services representative communications, and sales Liz Brown, partnership marketing David Fuller, tessitura applications Amanda Preston, patron services and group sales manager administrator representative Adam Cifarelli, teleservices manager Tom Fuller, database administrator Frances Yu, lead patron services

Karin Cravotta, patron services Julie Haberman, finance and representative representative

administration associate O PE R ATI ONS Katherine Eulensen, audience Randy Maurer, production manager development manager Peter Rockwell, graphic designer Jacob Blaser, director of operations Johnah Garcia, patron Lynette Soares, finance and Monica Hayes, education and services representative administration assistant community programs director Rebecca Van Halder, patron Susan Nielsen, director of popular

services representative programming and presentations ChloĂŤ Hennessy, patron Steve Stratman, orchestra manager services representative Jacob Wade, manager, operations and artistic administration

Board of Directors O FFI CE R S Robert Harrison, chair Walter E. Weyler, vice chair Nancy Hales, secretary Tige Harris, treasurer LIFE MEMB E R S William B. Early Gerald R. Hulsman Walter E. Weyler MEMB E R S Rich Baek Christopher M. Brooks Eve Callahan Cliff Deveney

Dan Drinkward Greg Ewer Robyn Gastineau Suzanne Geary Ralph C. Hamm III Jeff Heatherington J. Clayton Hering Rick Hinkes RenĂŠe Holzman Grady Jurrens Gerri Karetsky Kristen Kern Thomas M. Lauderdale Martha Long Priscilla Wold Longfield

Roscoe C. Nelson III Dan Rasay James Shields Larry Vollum Derald Walker Jack Wilborn E X- O FFI CI O MEMB E R S Scott Showalter, Oregon Symphony Association Jo Ann Young, Oregon Symphony Association in Salem

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

GOSPEL CHRISTMAS

CELEBRATES ITS 20TH ANNIVERSARY

by Elizabeth Schwartz Terry. Mother and son, both respected musicians, used their connections to Portland’s gospel singers to spread the word about auditions for the newly formed Northwest Community Gospel Chorus (nwcgc). In August 1999, Floyd, Nielsen, and Davis held auditions for the first Oregon Symphony Gospel Christmas concert. That year the choir numbered approximately 70–80 voices, all drawn from the Portland/Vancouver metro area; today, the choir has between 90 and 100 singers.

One afternoon in 1999, Susan Nielsen, the Oregon Symphony’s director of popular programming and presentations, got an idea. A colleague who was leaving his job at the Symphony – “he was literally walking out the door,” Nielsen remembers – suggested she create a gospel concert event. Nielsen called after him, “Where do I start?”

“Call Charles Floyd in Los Angeles,” came the reply.

Nielsen wasted no time and soon connected with Floyd, a renowned conductor/composer/arranger who garnered national attention through his pioneering gospel programming with the Boston Pops in the 1990s. Nielsen also met Dorothy Davis – known as “Sister Davis” in Portland’s AfricanAmerican community – and her son

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After the success of that first year’s concert, Nielsen and Floyd knew they had a winning event. In 2000, they added a second concert date, and they expanded to three concerts in 2002. Every year since then, Gospel Christmas has been one of the most beloved and anticipated holiday events in the Symphony’s calendar, and its enthusiastic audience, like its performers, encompasses all ages and backgrounds. Today these concerts routinely sell out all three dates at the Arlene Schnitzer Concert Hall.

Onstage, the musical caliber of the singers and players continues to grow.

The chorus includes singers from the Gospel Music Workshop of America, an annual weeklong convention that brings together gospel music lovers from around the world. The majority of nwcgc members are still local, though a number of singers who have moved out of the Portland area come back every year to participate. Some

choristers, like rising star Alonzo Chadwick, are professional gospel singers with busy careers.

Recruited by Sister Davis, soprano MaryEtta Callier-Wells has been singing with the nwcgc from the outset. Born and raised in New Orleans, the youngest of seven children, “singing was part of my life from the beginning,” says CallierWells. “My father is a first tenor and my mom is a mezzo-soprano.” Before moving to Portland as a high school student, Callier-Wells studied voice privately with teachers in New Orleans and at Xavier University. “My sister Maddie was a conduit to all my singing,” Wells explains. “I met Sister Dorothy through her. When I was a girl, I would go to Xavier with Maddie and study voice with a nun there. I was also trained in the blues by [the late] Janice Scroggins.”

During her 20 years with nwcgc, CallierWells has accumulated a rich trove of memories, experiences, and people, many of whom she now considers family.

That first year, James DePreist led a couple of our rehearsals. Having two African-American elite, powerful conductors sharing their gifts and empowering all of us – for gospel and classical to come together – it was amazing.”

But Callier-Wells acknowledges that the merging of both musical styles and ensembles didn’t happen seamlessly.

Some members of both groups were unsure about combining gospel with classical. “Each person in the orchestra and each person in the choir has to bring their best self,” says Callier-Wells. “Some of the orchestra players came to rehearsal that first year with their walls up.” When a soloist stepped out of the chorus to take her place at the front of the stage, Callier-Wells recalls, “one instrumentalist cautioned, ‘Be careful, don’t you know how much that instrument costs?’ and the soloist replied, ‘Don’t you know how much I cost? Hi, I’m – ’ and extended her hand.”

As Callier-Wells recalls, barriers between orchestra and chorus fell away pretty quickly after that, and by the first performance, both groups had developed a mutual respect for each other’s musicianship, technical facility, and commitment to the shared music they were cocreating.

The strong collaborative ties CallierWells describes are one of two reasons for Gospel Christmas’ popularity; the other is the compelling directness, of gospel music itself. In Callier-Wells’ words, “Gospel transcends everything; once you greet it, you’re never the same.

It crosses all cultures.” One year the Gospel Christmas program featured a nationally-known guest artist in addition to the choir, but the audience gave its feedback in no uncertain terms: they just wanted to hear the choir.

Accordingly, nwcgc quickly became the centerpiece and undisputed star of Gospel Christmas. Thanks to Floyd’s commitment to musical diversity, Gospel Christmas concerts have always featured a variety of musical genres.

“It could be a combination of gospel, contemporary, and classical, but once we start to sing, the music takes on its own form,” says Callier-Wells.

Throughout the process of putting the concert together, Floyd witnesses many “light bulb moments” occurring among the performers.

moved by everyone’s obvious sincerity, which is evident in “the quality and quantity of the work and the energy that they’ve invested this project.”

Floyd himself has an eclectic music background. As a boy in Chicago, Floyd watched Leonard Bernstein’s Young People’s Concerts and the Boston Pops on tv, and he remembers The Beatles’ first appearance on The Ed Sullivan Show. He also spent hours in the Chicago Public Library listening to music with scores. Later Floyd attended the conservatory at Oberlin, where he earned a bm, ma, and dma in piano and composition. The Sundays of Floyd’s childhood were spent with his family at his uncle’s church, where he regularly accompanied the Sunday school and played for other church events. “Gospel music was all day Sunday and classical all day Saturday,” Floyd remembers fondly.

That commitment has paid off on many levels, and has resulted, this year, in the long-awaited release of the first Gospel Christmas cd on the Pentatone label.

“Having this cd at last has been a dream of ours for two decades,” says Floyd. “We are so pleased about the cd; it’s a huge thing for us,” Nielsen agrees.

As Floyd reflects on his 20-year involvement with Gospel Christmas, he mentions the Symphony’s unswerving commitment to the project. “The most exciting thing about our first year is that it was the first year – that they pursued the possibility and were dedicated to making it happen.” Floyd is especially

Ultimately, Gospel Christmas’ legacy rests in 20 years of unforgettable performances and the unbreakable ties forged among its participants.”

“They’re my friends, my family,” says Nielsen of the choir. “They’re so kind and honest and welcoming to everyone.

They’re a group of people you don’t often find in this society anymore; they’re genuine.” Floyd adds, “We’re doing something heartfelt that reflects the joy of the season. Gospel Christmas truly brings comfort and joy.”

Floyd agrees. “Gospel concerts are not about division – they’re about bringing people together who have been divided far too long. The beauty in creating this sort of concert is that all the musicians are a little out of their element. It’s like the first time you ride a roller coaster; you’re always a little nervous.”

orsymphony.org | 503-228-1353 13

PETRUSHKA SATURDAY, NOVEMBER 3, 2018, 7:30 PM SUNDAY, NOVEMBER 4, 2018, 7:30 PM MONDAY, NOVEMBER 5, 2018, 7:30 PM

PRESENTING VENUE SPONSOR:

Carlos Kalmar, conductor Norman Huynh, conductor Doug Fitch, designer and director Andy Manjuck, assistant director/puppetmaster Hunter Canning, puppeteer Josh Rice, puppeteer Rowan Magee, puppeteer Brian Kidd, the unipiper Yasmine Kiss, stage manager Joseph Haydn Symphony No. 103 in E-flat Major, “Drumroll” Adagio – Allegro con spirito Andante più tosto allegretto Menuet Allegro con spirito William Walton Johannesburg Festival Overture

INTERMISSION Arthur Honegger Pastorale d’été (Summer Pastorale) Norman Huynh, conductor Igor Stravinsky Petrushka (1947 version) The Shrovetide Fair Petrushka’s Cell The Moor’s Cell The Fair (towards evening) Doug Fitch, director Hunter Canning, puppeteer Josh Rice, puppeteer Rowan Magee, puppeteer Brian Kidd, the unipiper ARLENE SCHNITZER CONCERT HALL

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Designed and directed by Douglas Fitch Puppet master: Andy Manjuck Conceived by James Ross Costumes by Irina Kruzhlina Puppeteers: Josh Rice, Rowan Magee, and Hunter Canning Production manager: Anna Harris Stage manager: Yasmine Kiss Touring carpenter: Reuven Goren Lighting designer: Justin Dunlap Production support: Edouard Getaz and Giants are Small Special thanks to Richard Scerbo, Sharone Malka, Allison Wisnewski, and to Sara Mearns (Columbine), Anthony Roth Costanzo (Petrushka), and Eric Owens (The Moor) for the generous use of their recorded performances and video images. Thanks also to the New York Philharmonic for donating their production of Petrushka to the National Orchestral Institute + Festival.

This performance of Petrushka is a production of the National Orchestral Institute + Festival, which is committed to building the future of orchestras through the training and mentoring of the next generation of orchestral performers. The National Orchestral Institute + Festival is a program of the Artist Partner Program at The Clarice Smith Performing Arts Center at the University of Maryland.

CONCERT CONVERSATION Conducted one hour before each performance, the Concert Conversation will feature Music Director Carlos Kalmar, Creative Director Doug Fitch, and Christa Wessel, host at All Classical Portland. You can also enjoy the Concert Conversation in the comfort of your own home. Visit orsymphony.org/conversations to watch the video on demand.

Each season your Oregon Symphony produces renowned classical programming that’s a feast for the ears and the eyes. This year, award-winning storytellers bring standards of the repertoire to life in three unexpected, vividly imagined collaborations.

End the year charitably with OJCF and these tax-wise strategies. w w w

Open a donor advised fund Donate appreciated securities for greater impact Fund a charitable gift annuity

Oregon Jewish Community Foundation 503.248.9328 l www.ojcf.org

orsymphony.org | 503-228-1353 15

PETRUSHKA Biography

digital album, for which he narrated a live version with the National Symphony Orchestra this last May. He is now working on a new project for solo flute and community participants called Pan with flutist Claire Chase and composer Marcos Balter. He is also developing new operas with Scott Wheeler, Victoria Bond, Mark Neikrug, Daniel Thomas Davis, and Doug Cuomo with American Opera Projects.

Doug Fitch As co-founder of the company Giants Are Small, visual artist/director Doug Fitch created several productions for the New York Philharmonic, including Ligeti’s Le grand macabre (cited as the top opera of 2010 by The New York Times, New York Magazine, and Time Out New York); Janáček’s The Cunning Little Vixen (New York Magazine’s Best Classical Event of the Year); and A Dancer’s Dream, which was filmed and screened in movie theaters worldwide.

He has also made productions for the Los Angeles Opera (Hansel and Gretel), Los Angeles Philharmonic (Peter and the Wolf in Hollywood), and Santa Fe Opera (Turandot). For Canada’s National Arts Centre, he created a live-animation version of L’Histoire du soldat. For the Royal Stockholm Philharmonic Orchestra, he directed and designed Das Rheingold. At Tanglewood, his production of Elliott Carter’s What Next? was filmed and then screened at the Museum of Modern Art. Doug Fitch’s creative life began with his family’s touring puppet theater.

He studied cooking at La Varenne in Paris, and architectural and industrial design at the Institut d’architecture et d’études urbaines in Strasbourg, France, under Gaetano Pesce. He emerged as an architectural designer in the 1980s and then collaborated with Mimi Oka on edible art installations called Orphic Feasts, leading to their book, Orphic Fodder. In co-production with Universal Music and Deutsche Grammophon, Giants Are Small developed Peter and the Wolf in Hollywood – an iPad app, cd, and 16 artslandia.com

Mr. Fitch resides in Brooklyn, New York.

Program Notes JOSEPH HAYDN 1732–1809

Symphony No. 103 in E-flat Major, Hob.I:103, “Drumroll” composed: 1794–95, rev. 1795 most recent oregon symphony performance: October 17, 1989; James DePreist, conductor instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings estimated duration: 30 minutes In 1761, Joseph Haydn began his 29year tenure as Prince Esterházy’s court composer at the prince’s palace outside Vienna and at Esterház, the prince’s country estate in Hungary. Always the loyal servant, Haydn had sworn to remain with his lord until one of them died, regardless of what fame and fortune he might receive elsewhere. By the 1780s, however, Haydn began to chafe under his master’s generous but narrow patronage and yearned to broaden his horizons. Haydn’s published music was well known throughout Europe, but he himself was not free to travel, even to nearby Vienna. In 1789 he wrote to a friend there, “Well, here I sit in my wilderness – forsaken – like a poor waif – almost without any human society…”

When Nikolaus Esterházy died in the autumn of 1790, Haydn was freed from service and could finally travel

abroad. Soon after Haydn left Esterház, Johann Peter Salomon, a German-born violinist living in England, invited him to London. Haydn accepted with alacrity and wrote his Viennese friend, “My arrival caused a great sensation throughout the whole city and I went the rounds of all the newspapers for three successive days. Everyone wants to know me.” Over the next several years, Haydn composed twelve new symphonies for English audiences. These “London” symphonies are some of the finest examples of symphonic writing from the Classical period.

The “Drumroll” Symphony, so called for its famous opening solo timpani, is Haydn’s penultimate symphony, and perfectly epitomizes Haydn’s style.

Composed in 1794–95, it contains several puzzles, such as how the timpanist should play the drumroll (Haydn’s original orchestral score contains neither tempo nor dynamic markings, and the original timpani part has not survived).

And what are we to make of the slow introduction’s opening notes, which eerily conjure up the Dies irae (Day of Wrath) from the Latin requiem mass? To counterbalance this ominous opening, much of the music, like the opening theme of the Allegro con spirito, sparkles with Haydn’s signature wit. The finale’s primary theme, a Croatian folk melody, flashes like quicksilver against the call of the horns, while the stately minuet and trio evoke the pomp and ceremony of a royal celebration. The Andante features a set of double variations, in C minor and its parallel, C major.

Haydn conducted the first performance on March 2, 1795, at the King’s Theatre in London, where audiences and critics alike responded to the “Drumroll” with overwhelming enthusiasm. London’s Morning Chronicle, referring to the new symphony as an overture (the terms were synonymous in Haydn’s time), wrote, “Another new Overture, by the fertile and enchanting Haydn, was performed; which, as usual, had continual strokes of genius, both in air and harmony. The Introduction excited deepest attention, the Allegro charmed, the Andante was

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PETRUSHKA encored, the Minuets, especially the trio, were playful and sweet, and the last movement was equal, if not superior to the preceding.” The Sun added, “Haydn’s new Overture was much applauded. It is a fine mixture of grandeur and fancy... the second movement was encored.”

WILLIAM WALTON 1902–83

Johannesburg Festival Overture composed: 1956 first oregon symphony performance instrumentation: 3 flutes (1 doubling piccolo), 2 oboes, English horn, 3 clarinets, 3 bassoons (1 doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, castanets, claves, cymbals, maracas, side drum, snare drum, tambourine, tenor drum, triangle, xylophone, glockenspiel, harp, and strings estimated duration: 7 minutes Early in 1956, the Johannesburg Festival’s music director, Ernest Fleischmann, asked William Walton to write a short orchestral piece to mark the occasion of the South African city’s 70th anniversary. Walton agreed and turned out this up-tempo, joyous paean to “Jo’burg,” as its residents call it, in short order. Later that year, Sir Malcolm Sargent led the South African Broadcasting Corporation Symphony Orchestra in the premiere at Johannesburg’s City Hall on September 25, 1956.

Walton wanted to incorporate African musical styles into his work; while he wrote, Walton listened to recordings of African music, so he could immerse himself in the complex polyrhythms and indigenous percussion instruments of native African people. Walton also quoted the primary melody from the renowned African guitarist Jean Bosco Mwenda’s 1954 hit song, “Masanga,” into the overture, a tune the South

African audience would easily recognize.

In a short, 16-bar section, Walton also featured a number of percussion instruments such as claves, maracas, and castanets, which, while not authentically African, added a layer of exoticism to the orchestra’s overall sound. (Walton described the overture to his publisher as “a non-stop gallop… slightly crazy, hilarious, and vulgar.”)

Reviews were favorable; the Rand Daily Mail wrote, “Good tunes made the strings sing, vivid scoring gave scope to the orchestra to use its forces in deployment and in close formation; vigorous rhythms (based on a 2/4 beat) made the air gay… an attractive, animated piece of festive intent.”

“It was, by the way, a ‘wow’ in Jo’burg, not [that] that means much (except for 400 smackers ‘tax free’) & Malcolm S[argent] cabled ‘Overture a complete triumph, repeating by request next concert, & in Pretoria,’” Walton wrote to a friend in the fall of 1956, after the premiere.

ARTHUR HONEGGER 1892–1955

Pastorale d’été (Summer Pastorale) composed: 1920 first oregon symphony performance instrumentation: flute, oboe, clarinet, bassoon, horn, and strings estimated duration: 8 minutes In the early days of 1920, Darius Milhaud asked five other composers to a musical gathering in his Paris flat, and each composer shared one of their own works.

Milhaud also invited additional friends and colleagues to serve as the audience, including an enthusiastic journalist, Henri Collet, who subsequently published an article, “Les cinq Russes, les six Français, et M. Satie” (The Five Russians, The Six French, and Monsieur [Erik] Satie) in the journal Comœdia.

Thus were born “Les Six.”

Arthur Honegger, like the other composers of Les Six, benefitted professionally and financially from his association with the group. Collet’s publicity gave him some much-needed exposure; he may also have received a creative boost from time spent with his colleagues. Interest in music by Les Six exploded, and Honegger fled the hubbub of Paris to spend August of 1920 in Wengen, a resort town situated in the central Swiss Alps, near the Jungfrau. The beautiful, relaxed surroundings inspired the idyllic Pastorale d’été, to which Honegger added the somewhat superfluous subtitle, “Poème symphonique.”

Honegger also appended a quote from French poet Arthur Rimbaud at the beginning of the score: “J’ai embrassé l’aube d’été” (I embraced the summer dawn). Honegger’s music does likewise. Steeped in both impressionistic and late 19th-century German Romantic aesthetics, this straightforward, lighthearted work, in A-B-A form, evokes the warmth, languor, and tranquility of a summer day. A solo horn plays a slow, calming line, punctuated by flute and clarinet bird calls and accompanied by flowing strings. The B section’s two primary melodies pay homage to Beethoven’s “Pastoral” Symphony, while themes from both the A and B sections return and comingle in the closing A section.

Vladimir Golschmann led the Golschmann Orchestra in the premiere at the Salle Gaveau in Paris on February 17, 1921; after the concert, the audience voted for their favorite piece and awarded Pastorale d’été the Prix Verley, worth 1500 francs.

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PETRUSHKA IGOR STRAVINSKY 1882–1971

Petrushka (1947 version) composed: 1910–11, rev. 1947 most recent oregon symphony performance: April 15, 2013; Carlos Kalmar, conductor instrumentation: 3 flutes (1 doubling piccolo), 2 oboes, English horn, 3 clarinets (1 doubling bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, side drum, 2 snare drums, tam tam, tambourine, triangle, xylophone, celeste, piano, harp, and strings estimated duration: 34 minutes “[Petrushka] is such a work of genius that I cannot contemplate anything beyond it.”

— Serge Diaghilev With the premiere of The Firebird in 1910, Igor Stravinsky became an instant household name. After The Firebird’s stunning success, Serge Diaghilev, the impresario of the Ballets Russes, lost no time in commissioning a second ballet from Stravinsky. Stravinsky was writing a piano concerto at the time, but when Diaghilev heard it, he immediately realized its potential as a theatrical piece, and encouraged Stravinsky to rework it into a ballet.

The character of Petrushka (also known as Punch, Pulcinella or Polichinelle) dates from the 16th-century Italian Commedia dell’arte. In Stravinsky’s version, Petrushka is a figure of pathos and pity, the eternal outsider whose vain attempts to gain acceptance arouse both compassion and contempt. The primitive edginess of Stravinsky’s music captures the elemental nature of the story and its characters, who represent human emotions in their most raw form: Petrushka, the despised pariah yearning for love; the Ballerina, an unattainable emblem of beauty and desirability; and the ill-mannered Moor, who epitomizes all the base, loutish aspects of the human psyche.

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The first of Petrushka’s four scenes opens with the hectic bustle of the Shrovetide Fair, a pre-Lenten carnival in 1830s St. Petersburg. A flute summons people to the colorful street party. Two buskers vie for the crowd’s attention (flutes and clarinets, accompanied by triangle). A drum signals the entrance of the Magician, who introduces the three characters of his puppet theatre: Petrushka (a pathetic clown), the Ballerina, and the Moor. The Magician, who has imbued the three with quasihuman emotions, makes them perform a lively Russian dance.

In the second scene, the Magician kicks Petrushka into a cramped cell after the show. The room contains a portrait of the Magician, an ever-present reminder of Petrushka’s oppression. Petrushka sobs (bassoon) and rages (full orchestra led by piercing trumpet). The Ballerina joins him (duet for woodwinds and piano), and Petrushka expresses his love for her; she is disgusted by his piteousness and departs. Furious at the Magician, Petrushka kicks a hole in the wall. This scene also features the first appearance of the famous “Petrushka chord,” which sounds periodically throughout. A combination of two highly dissonant keys, we hear it first played by pairs of clarinets, which sound like the raucous, unmelodic blaring of a car horn.

In the third scene we find the Moor, a splendid brute, in his own cell. Blaring low brasses and grumbled piano arpeggios accompany his banal ditty (clarinet, bass clarinet, and English horn).

The Moor’s animalistic vulgarity attracts the Ballerina (trumpet), and the two dance an odd, uneven Viennese waltz (cornet, flutes, and harps). Petrushka enters, objecting (muted trombone), and all three puppets quarrel. In the melee, the Ballerina faints and the Moor shoves Petrushka out.

The final scene returns to the commotion of the fair at evening. Like a film director, Stravinsky uses his music to zoom in on specific points of action within the larger hubbub. Two nursemaids dance to a cheerful folksong (oboe, followed by horn

and flutes). A peasant (clarinet) leads a chained bear (tuba) into the crowd.

The lumbering dance of the bear and its owner fade into the distance as two Gypsy girls cavort with a drunken vendor.

Several grooms and coachmen enter with a foot-stomping dance, which mingles with the nursemaids’ music. The frenzy increases as mummers in devilish animal masks weave in and out amongst the crowd. Suddenly Petrushka cries out, pursued by the Moor, who slays him with a scimitar (dropped tambourine).

Flute and piccolo sound Petrushka’s dying whimpers, while a policeman summons the Magician, who arrives, picks up Petrushka’s corpse, and shakes it at the crowd to show he was merely a sawdust puppet. The crowd disappears, but Petrushka’s defiant voice (trumpets) rises once more. In the ballet, Petrushka’s ghost appears onstage, thumbing his nose at the frightened Magician, who flees in terror.

Petrushka premiered on June 13, 1911, at the Théâtre du Châtelet in Paris. Pierre Monteux conducted, and Diaghilev’s Ballets Russes danced to choreography

by Michel Fokine, set and costume design by Alexandre Benois, and Vaclav Nijinsky dancing the title role. A friend of Stravinsky’s, Nikolai Myaskovsky, opened his review of the work by posing the question, “Is Stravinsky’s Petrushka a work of art?” He continued, “I don’t know. Can one call life a work of art?

That very life that roars all around us, that calls forth our wrath and our joy, that weeps, that rages, that flows in a swift, broad current? For Petrushka is life itself.

All the music in it is full of such energy, such freshness and wit, such healthy, incorruptible merriment, such reckless abandon, that all its deliberate banalities and trivialities, its constant background of accordions not only fail to repel but, quite the contrary, carry us away all the more… The music of this extraordinary ballet has such integrity, energy, and such inexhaustible humor, that one positively loses all desire to attempt a more detailed analysis – it would be like a vivisection.” © 2018 Elizabeth Schwartz

Live Artfully

THE CAPITOL STEPS TUESDAY, NOVEMBER 6, 2018, 7:30 PM The show is constantly changing, based on the scandal of the day! But you might spot a few of these…

Oops I Tweeted Again Hey Mr. Tangerine Man Stuck in the Middle East Too Don’t Think Twice, It’s Alt-Right The Leader Is a Trump Faking News Is Hard to Do Pope and Change It Was a Very Huuuuuuge Year How Do You Solve a Problem Like Korea?

Impeachable You Filibusterin’ Freedom Juan Is the Loneliest Number Putin on a Blitz Fiscal Shades of Gray If There Were No Rich Men Lirty Dies… and More!

The Oregon Symphony does not perform.

ARLENE SCHNITZER CONCERT HALL

Biography The Capitol Steps The Capitol Steps began as a group of Senate staffers who set out to satirize the very people and places that employed them.

The group was born in December 1981, when some staffers for Senator Charles Percy were planning entertainment for a Christmas party. Their first idea was to stage a nativity play, but in the whole Congress they couldn’t find three wise men or a virgin. So, they decided to dig into the headlines of the day, and they created song parodies and skits which conveyed a special brand of satirical humor.

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In the years that followed, many of the Steps ignored the conventional wisdom (“Don’t quit your day job!”), and although not all of the current members of the Steps are former Capitol Hill staffers, taken together the performers have worked in a total of eighteen Congressional offices and represent 62 years of collective House and Senate staff experience.

Since they began, the Capitol Steps have recorded over 35 albums, including their latest, Make America Grin Again.

They’ve been featured on nbc, cbs, abc, and pbs, and can be heard twice a year on National Public Radio stations nationwide during their Politics Takes a Holiday radio specials.

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TCHAIKOVSKY v. DRAKE THURSDAY, NOVEMBER 8, 2018, 7:30 PM

Steve Hackman, conductor

Pyotr Ilyich Tchaikovsky Overture to The Queen of Spades Drake/Arr. Hackman One Dance Pyotr Ilyich Tchaikovsky/ Prelude: Started From the Bottom/Headlines Drake/Arr. Hackman

Andante—Allegro con anima Started From the Bottom Headlines The Language Over My Dead Body Over Crew Love Interlude No. 1: Controlla Interlude No. 2: Hold On, We’re Going Home/Marvin’s Room Andante cantabile, con alcuna licenza Marvin’s Room All Me HYFR Interlude No. 3: Take Care Andante maestoso—Allegro vivace We’ll Be Fine The Motto Hotline Bling Hold On, We’re Going Home Find Your Love

ARLENE SCHNITZER CONCERT HALL

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T C H A I KOV S K Y V. D R A K E Biographies

many of the pieces referred to above can be watched in their entirety on YouTube via the @stereohideout channel.

Program Notes Started from the bottom now we here...

Thus begins the first single from Drake’s smash-hit album Nothing Was the Same (2013). The song speaks of emergence, transcendence, and triumph.

Steve Hackman A musical visionary of incomparable gifts, Steve Hackman is a daring voice leading the charge among a new generation of classical musicians intent on redefining the genre. Equally adept in classical and popular forms, his breadth of musical fluency and technique is uncanny – he is at once a composer, conductor, producer, dj, arranger, songwriter, singer, pianist, and even rapper. He uses those wideranging abilities to create ingenious hybrid compositions that blur the lines between high and pop art and challenge our very definitions thereof.

The Fifth Symphony by Pyotr Ilyich Tchaikovsky, composed in 1888, follows a similar narrative. It begins in desolation and agony; it ends in radiant exultation.

While these composers differ in the vehicle by which their music is delivered, they are identical in the clarity and candidness of their emotional expression.

There is no doubt that the feeling is represented through their music. And in the pieces that found their way into this mash-up, there is even a certain innocence and naiveté – as if this is what it sounds like when we experience these emotions for the very first time.

Hackman’s unique style of musical metamorphosis sees modern musical techniques applied to the classical repertoire and vice versa. The result is evocative hybrid works that are both derivative yet wholly original. He synthesizes Brahms and Radiohead, Bartók and Björk, and Tchaikovsky and Drake into epic orchestral tone-poems; re-imagines Stravinsky and Shostakovich into original orchestral-electronic concept albums; samples Verdi and Debussy and interpolates them into hip-hop tracks; writes songs with hidden melodies of Beethoven embedded.

Tchaikovsky and Drake are quintessential romantics; they are wonderfully sentimental – and that is why they seemed ripe for juxtaposition.

Successful as a composer and arranger, Hackman’s work includes pieces for ensembles and artists as diverse as the string trio Time for Three, violinist Joshua Bell, and choral ensembles Chanticleer and The Tallis Scholars. His orchestrations have been performed by nearly all the major orchestras in the u.s., and he is a frequent contributor to From the Top.

The real trick was organization and structure. The technique that evolved was linking a specific Drake song with each new theme of Tchaikovsky’s. This meant many of the Drake songs would have to be split up, since in a symphonic movement the main themes appear twice, at the beginning and towards the end of the movement. Therefore, in the mash-up one Drake song is introduced, then several other songs would be heard before the conclusion of that first song.

Hackman is active on social media under the handle @stevehackmanmusic, and

How does one combine rap music with a classical symphony? The process began by looking at it as a hip-hop producer would: identifying sections of Tchaikovsky that could be paired with Drake’s raps. In tandem I searched for melodies of Tchaikovsky’s that were of a similar enough contour to the melodies of Drake, then adapted the latter to work in counterpoint with the Tchaikovsky.

To the famous ‘fate theme’ that appears throughout each movement of the Fifth Symphony, the aforementioned “Started from the Bottom” became a perfect fit.

Tchaikovsky treats this theme differently throughout the piece according to the emotional arc: at the beginning, it is full of anguish; in the second movement, it is a fiery and thunderous interruption; at the end, it is triumphant. Each time Drake’s words accompany it. And in the end, to compliment the triumph, it morphs appropriately into Drake’s “Jumpman.”

To highlight the similarities of hearton-the-sleeve sentimentality, there are moments where the orchestra is significantly scaled back and Drake’s melodies take the balance of the content (to be sure, Tchaikovsky is always woven in where possible). These “vignettes” feature extended solo passages from orchestral players, the addition of solo piano to give a more intimate feel, and percussion played by our rapper.

It is often said that at some point in the compositional process, a work takes on a life of its own and the composer becomes its servant rather than its creator. This has been true of all my works, and each one has challenged me more than its predecessor. This piece required of me every technique I’ve learned thus far and dared me to invent new ones – new ways to combine and synthesize. In all the frustrated moments, when it wasn’t working or when I thought I was doing a disservice to either or both composers, it made me question what I was doing and why I was doing it. It made me think like so many mash-up critics, who say, “what is wrong with these pieces by themselves?”

Overcoming that doubt and working through those challenges has changed me.

It has changed the way I see music and what I think is possible in music. It has reminded me that doubt is healthy, and it has emboldened my resolve. The journey from the bottom to Jumpman has been epic indeed, and it is my sincere hope that you find meaning in the journey as well. © 2018 Steve Hackman

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BEETHOVEN’S “EMPEROR” SATURDAY, NOVEMBER 17, 2018, 7:30 PM SUNDAY, NOVEMBER 18, 2018, 7:30 PM MONDAY, NOVEMBER 19, 2018, 7:30 PM SPONSORED BY DRS. CLIFF AND KAREN DEVENEY

Alexander Soddy, conductor Ingrid Fliter, piano

Ludwig van Beethoven Piano Concerto No. 5 in E-flat Major, “Emperor” Allegro Adagio un poco mosso Rondo: Allegro

Ingrid Fliter

INTERMISSION

Anton Bruckner Symphony No. 7 in E Major Allegro moderato Adagio: Sehr feierlich (Very solemn) Scherzo: Sehr schnell (Very fast) Finale: Bewegt, doch nicht schnell (Moving, but not fast)

ARLENE SCHNITZER CONCERT HALL

CONCERT CO NVERSATION Conducted one hour before each performance, the Concert Conversation will feature guest conductor Alexander Soddy and Christa Wessel, host at All Classical Portland. You can also enjoy the Concert Conversation in the comfort of your own home. Visit orsymphony.org/conversations to watch the video on demand.

Biographies Ingrid Fliter Ingrid Fliter last appeared with the Oregon Symphony on January 14, 2008, when she performed Chopin’s Second Piano Concerto with conductor Gregory Vajda.

Argentine pianist Ingrid Fliter has won the admiration and hearts of audiences around the world for her passionate yet thoughtful and sensitive music making, played with an effortless technique.

Winner of the 2006 Gilmore Artist Award, one of only a handful of pianists and the only woman to have received

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this honor, Ms. Fliter divides her time between North America and Europe.

Ms. Fliter made her American orchestral debut with the Atlanta Symphony just days after the announcement of her Gilmore award.

Since then, she has appeared with the Cleveland Orchestra, the Minnesota Orchestra, the San Francisco Symphony, and many others. Equally busy as a recitalist, Ms. Fliter has performed in New York at Carnegie’s Zankel Hall, the Metropolitan Museum, and the 92nd Street Y, as well as

BEETHOVEN’S “EMPEROR” in Chicago, Boston, San Francisco, Vancouver, and for the Van Cliburn Foundation in Fort Worth.

Born in Buenos Aires in 1973, Ms. Fliter began her piano studies in Argentina with Elizabeth Westerkamp. In 1992 she moved to Europe, where she continued her studies in Germany and Italy. Ms. Fliter began playing public recitals at the age of 11 and made her professional orchestra debut at the Teatro Colon in Buenos Aires at the age of 16. She has been teaching at the Imola International Academy “Incontri col Maestro” since the fall of 2015.

Ms. Fliter’s two all-Chopin recordings for emi earned her the reputation as one of the pre-eminent interpreters of that composer, while her most recent emi recording is an all-Beethoven cd featuring the Pathétique and Appassionata sonatas. Her most recent recording for Linn Records features the complete Chopin nocturnes and was released in September 2018.

Die Zauberflöte and to the Berlin State Opera to lead a three-part ballet series titled Sacre with music by Stravinsky, Berlioz, and Debussy.

In the 2017/18 season, Mr. Soddy made several successful and important debuts, including the Metropolitan Opera in New York (La bohème), Vienna State Opera (Il barbiere di Siviglia), Semperoper in Dresden (Der Freischütz), and the English National Opera in London (Midsummer Night’s Dream).

During the 2012/13 season Soddy introduced himself to the audience at the Klagenfurt City Theater with a new production of Weber’s Der Freischütz and with Mozart’s Idomeneo. Following those performances he was named the theater’s chief conductor in the 2013/14 season, a position he maintained until the end of the 2015/16 season.

Mr. Soddy was born in Oxford and was formed as chorister at the Magdalen College. He studied conducting and singing at the Royal Academy of Music and was a piano pupil of Michael Dussek. He then went on to study at Cambridge University with a choral scholarship from Selwyn College.

After graduating in 2004, he was immediately appointed as répétiteur and conductor at the National Opera Studio in London.

Program Notes Alexander Soddy With this concert, Alexander Soddy makes his debut with the Oregon Symphony.

British conductor and pianist Alexander Soddy is currently music director of the Mannheim National Theater, a position he assumed at the start of the 2016/17 season and continues in the 2018/19 season with new productions of Die Meistersinger von Nürnberg and Pelléas et Mélisande, along with further performances of La bohème, Fidelio, Salome, For the Love of Three Oranges, and Parsifal. Guest engagements this season see him return to the Bavarian State Opera with

LUDWIG VAN BEETHOVEN 1770–1827

Piano Concerto No. 5 in E-flat Major, Op. 73, “Emperor” composed: 1809 most recent oregon symphony performance: January 14, 2013; Cristoph König, conductor; André Watts, piano instrumentation: Solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings estimated duration: 38 minutes

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BEETHOVEN’S “EMPEROR” In May 1809, Napoleon’s troops attacked the city of Vienna, and throughout the following summer, the city shook with mortar fire. Ludwig van Beethoven, whose hearing was severely impaired, suffered both the stress of living under attack and constant painful assaults on his ears. In July, he wrote his publisher, “Since May 4, I have produced very little coherent work, at most a fragment here and there. The whole course of events has in my case affected both body and soul… What a destructive, disorderly life I see and hear around me: nothing but drums, cannons, and human misery in every form.” Despite the traumatic conditions, Beethoven continued to compose, producing what is arguably the most popular piano concerto ever written.

It is not clear how “Emperor” came to be associated with Beethoven’s final piano concerto (the nickname wasn’t his), although there is an apocryphal story about a French officer who, upon hearing the work performed in Vienna in 1812, exclaimed, “C’est l’Empereur!”

If, as many have assumed, the emperor in question refers to Napoleon, Beethoven, suffering under Napoleon’s continuous bombardment, would certainly have disapproved.

By this point in his compositional career, Beethoven’s penchant for innovation in the opening measures of his concertos had become a signature, and the Fifth is no exception. After an introductory orchestral chord, the piano enters with a cadenza.

Cadenzas, unaccompanied virtuoso passages filled with scales and trills created from fragments of thematic material, usually appear at the close of a movement. By opening the concerto with a cadenza full of musical foreshadowing, Beethoven telegraphs the themes and ideas of the opening movement to the listener.

The seamlessness of the opening movement gives listeners a sense of inevitability, as if the music could unfold in no other way. Beethoven’s semi-subversive opening cadenza acts as a subliminal suggestion, planting 28 artslandia.com

the basic elements of later themes in our ears without our noticing.

In the Adagio un poco mosso, listeners may recognize the opening notes of Leonard Bernstein’s song “Somewhere” from West Side Story. We can picture Beethoven, surrounded by aural and emotional chaos, escaping from the turmoil of his surroundings into an ethereal sound world. All too soon Beethoven brings us back to earth as the whole orchestra drops down a halfstep, from B to B-flat; it sustains that note while the piano storms into the Rondo with renewed vigor. Piano and orchestra execute a series of variations on this theme, each more elaborate than the next. The playful, humorous aspects of Beethoven’s personality reveal themselves here in the “false ending,” abrupt key changes, and generally buoyant mood throughout.

Johann Philipp Christian Schulz gave the premiere with the Gewandhaus Orchestra in Leipzig on November 28, 1811, with Friedrich Schneider at the piano. In its review, the Allgemeine musikalische Zeitung reported that “[the audience] could hardly content itself with the ordinary expressions of recognition” in their excitement at hearing Beethoven’s greatest, and last, piano concerto.

ANTON BRUCKNER 1824–96

Symphony No. 7 in E Major composed: 1881–83 most recent oregon symphony performance: May 18, 2009; Carlos Kalmar, conductor instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 4 Wagner tubas (2 tenor, 2 bass), 3 trumpets, 3 trombones, contrabass tuba, timpani, cymbal, triangle, and strings estimated duration: 64 minutes Anton Bruckner was born and raised in a small town near Linz, in the north of Austria, far from the sophisticated

musical scene in Vienna. As a result, he was seen by many of his Viennese peers and critics as a country bumpkin, and his provincial naïveté made him a target for mockery. Bruckner’s artlessness also got him into musical trouble. He had no interest in getting involved in the musical war that raged between Richard Wagner and Johannes Brahms and their followers.

However, by expressing admiration for Wagner’s music, and by incorporating aspects of Wagnerian style into his own work, Bruckner unintentionally made himself a target for the anti-Wagnerites.

Several of Bruckner’s early symphonies were cruelly characterized as “unplayable, full of incongruities and wild excesses.”

Not surprisingly, Bruckner opted to premiere his Seventh Symphony in Leipzig, away from Vienna’s harsh critics, and it was in Leipzig, at the age of 60, that Bruckner finally experienced a positive public reaction to his music.

Arthur Nikisch conducted the premiere with the Leipzig Gewandhaus Orchestra on December 30, 1884; afterwards, the audience gave Bruckner a 15-minute standing ovation, and the press was both enthusiastic and amazed. A Leipzig critic asked, “How is it possible that he could remain so long unknown to us?”

Bruckner was deeply insecure, highly sensitive to criticism, and full of self-doubt. Thanks to the incessant criticism of the Viennese, especially the acid-tongued influential music critic Eduard Hanslick, Bruckner was rarely satisfied with his music, even after publication. The Seventh Symphony, despite its popularity, did not escape Bruckner’s near-obsessive need for postcompositional tinkering. True to form, when Bruckner’s Seventh Symphony premiered in Vienna in 1886, Hanslick complained of “interminable stretches of darkness, leaden boredom, and feverish over-excitement.” But even Hanslick had to acknowledge the Seventh Symphony’s appeal, as Bruckner ascended the stage four to five times after each movement, to thunderous applause.

Bruckner first heard Wagner’s music in 1863, when Tannhäuser premiered in Linz. Not coincidentally, Bruckner

completed his first symphony that same year. Music scholar Phillip Huscher notes, “The experience [of hearing Wagner’s music] unlocked something inside Bruckner, freeing the boldness and individuality of his own ideas. Once he tackled the symphony, form and content came together, and Bruckner became the first composer to translate the essence of Wagnerian language to instrumental music.”

According to Bruckner, the main theme of the Allegro moderato came to him in a dream. The cellos intone this expansive melody, which reaches over two octaves. Bruckner moves this melody through various permutations (shortened, inverted, in mirror format), including a triumphal closing brass fanfare.

The Adagio is both homage and elegy to Wagner. In a letter to a friend, Bruckner wrote, “One day I came home and felt very sad. The thought had crossed my mind that before long the Master would die, and then the C-sharp minor theme of the Adagio came to me.” Bruckner received news of Wagner’s death as he was finishing the Adagio, and added a coda he described as “the funeral music for the Master.” In another nod to Wagner, Bruckner opens the Adagio with a theme played by Wagner tubas, an instrument Wagner designed for use in his Der Ring des Nibelungen. Bruckner’s symphony marks the first time Wagner tubas were used in symphonic music.

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The dark, energetic Scherzo features agitated rhythms and declamatory brasses. In its contrasting trio we hear a gentle ländler-style melody suggesting Bruckner’s village roots. In the Finale, Bruckner presents a bouncy alter ego of the theme of the first movement, along with a chorale for strings, and concludes with a jubilant restatement of the opening movement’s first theme in its original form. © 2018 Elizabeth Schwartz

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DISNEY IN CONCERT: MAGICAL MUSIC FROM THE MOVIES SATURDAY, NOVEMBER 24, 2018, 7:30 PM SUNDAY, NOVEMBER 25, 2018, 2 PM SPONSORED BY

Jeff Tyzik, conductor Andrew Johnson, Whitney Claire Kaufman, Lisa Livesay, and Aaron Phillips, vocals

Various/Arr. Bruce Healy Disney Classics Overture Alan Menken Songs from The Little Mermaid Fathoms Below Part of Your World Under the Sea Poor Unfortunate Soul Beluga Seruga Happy Ending Alan Menken “Colors of the Wind” from Pocahontas Alan Menken Suite from Beauty and the Beast Transformation Belle Be Our Guest Beauty and the Beast Richard M. Sherman/ “I Wanna Be Like You” from The Jungle Book Robert B. Sherman Richard M. Sherman/ Medley Sing-along from Mary Poppins Robert B. Sherman Chim Chim Cher-ee Jolly Holiday Supercalifragilisticexpialidocious Step in Time INTERMISSION

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Alan Menken Suite from The Hunchback of Notre Dame The Bells of Notre Dame Topsy-Turvy Out There Kirsten Anderson-Lopez/ “Let it Go” from Frozen Robert Lopez Alan Menken Suite from Aladdin Arabian Nights Friend Like Me A Whole New World Klaus Badelt Suite from Pirates of the Caribbean Elton John Suite from The Lion King King of Pride Rock (This Land) Nants Ingonyama Circle of Life I Just Can’t Wait to Be King Can You Feel the Love Tonight Pridelands (Busa) Circle of Life (Finale) ARLENE SCHNITZER CONCERT HALL

Disney Classics Overture Arranged by Bruce Healey ©1993 Walt Disney Music Co. (ascap) & Wonderland Music Co., Inc. (bmi) Songs from The Little Mermaid Music by Alan Menken Lyrics by Howard Ashman Arranged by A. Menken, R. Merkin T. Pasatieri and T. Ricketts ©1990 Wonderland Music Co., Inc. (bmi)

I Wanna Be Like You Words and Music by Richard M. Sherman and Robert B. Sherman Arranged by

Franck van der Heijden ©1966 Wonderland Music Company, Inc. (bmi) Medley From Disney’s Mary Poppins Words and Music by Richard M. Sherman and Robert B. Sherman Arranged by Bruce Healey and Ken Whitcomb ©1963 Wonderland Music Company, Inc. (bmi)

Colors of the Wind Music by Alan Menken Lyrics by Stephen Schwartz Arranged by Danny Troob ©1995 Wonderland Music Company, Inc. (bmi) & Walt Disney Music Company (ascap)

Disney’s The Hunchback Of Notre Dame Orchestral Suite Music by Alan Menken Arranged by Michael Starobin Edited by Ted Ricketts ©1996 Wonderland Music Co., Inc. (bmi)

Disney’s Beauty and the Beast Suite Music by Alan Menken Lyrics by Howard Ashman Arranged by Danny Troob and Franck van der Heijden Edited by Ted Ricketts ©1992 Wonderland Music Co., Inc. (bmi) & Walt Disney Music Company (ascap)

Let it Go (from Disney’s Frozen) Music and Lyrics by Kirsten Anderson-Lopez and Robert Lopez Orchestrated by David Metzger Adapted by Ted Ricketts ©2013 Wonderland Music Company, Inc. (bmi)

Disney’s Aladdin Suite Music by Alan Menken Lyrics by Howard Ashman and Tim Rice Arranged by Danny Troob and Bruce Healey ©1992 Wonderland Music Co., Inc. (bmi) & Walt Disney Music Company (ascap) Pirates of the Caribbean Suite Music by Klaus Badelt Arranged by Ted Ricketts ©2003 Walt Disney Music Company (ascap) Disney’s The Lion King Song Suite Music by Elton John Lyrics by Tim Rice Score by Hans Zimmer Arranged by Brad Kelley and Ted Ricketts ©1994 Wonderland Music Co., Inc. (bmi)

orsymphony.org | 503-228-1353 31

Bach Cantata Choir

D I S N E Y I N C O N C E R T: M A G I C A L M U S I C FROM THE MOVIES Biographies

Ralph Nelson Artistic Director



2018 Concerts 

Sunday, November 18 2:00 PM

Johann Sebastian Bach Cantata #116

Heinrich Schütz

Jauchzet dem Herren

Henry Purcell

Ode to St. Cecelia’s Day

Friday, December 21 7:30 PM

Johann Sebastian Bach Magnificat

Heinrich Schütz Christmas Story

Michael Praetorius Baroque Carols

Adults $30 Students/Seniors $25 All concerts held at

Rose City Park Presbyterian Church

NE 44th and Sandy Blvd

www.bachcantatachoir.org

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Andrew Johnson

Whitney Claire Kaufman

Andrew Johnson is a Disney kid at heart and is humbled to share the music and magic from the stage! He has toured all over the United States, Europe, and Asia as a lead vocalist and dancer, and his performances have been broadcast on national and international television. Andrew has performed on Fox’s The X-Factor, The Conan O’Brien Show, and the mtv Video Music Awards. He has sung background for artists such as Demi Lovato, Fifth Harmony, LeAnn Rimes, and Florence and the Machine. His theatrical credits include Frozen: Live at the Hyperion (Prince Hans), Rent (Benny), Five Guys Named Moe (FourEyed Moe), and Joseph and the Amazing Technicolor Dreamcoat (Joseph).

Andrew has shared the stage with singers/actresses Shirley Jones and Bernadette Peters and has performed live duets with Patti LaBelle, Erykah Badu, and singer/actress Jodi Benson (the original voice of Ariel in The Little Mermaid). He is a singer/songwriter and recording artist, and his music is available worldwide on iTunes, under his artist name drwmchl. He would like to thank his family for their love and support and Ted Ricketts for the opportunity to be part of this show.

Whitney Claire Kaufman recently completed two years with the North American tour of the Broadway smash-hit Mamma Mia! (Ensemble, Understudy for Sophie and Lisa).

Her performance as Sophie garnered rave reviews from the Boston Globe.

Whitney has performed with the Malaysian Philharmonic Orchestra, the Pacific Symphony Orchestra, and the Florida Orchestra, and has appeared in Cabaret (Sally Bowles), A Midsummer Night’s Dream (Peaseblossom), Marisol (June), The Los Angeles Theatre Ensemble’s production of Wounded, and many other theatrical productions. Her tv credits include General Hospital and the hit abc series Modern Family.

As both a singer and voice-over performer in film and television, Whitney has been heard in That Championship Season, The Secret of nimh 2, and two mgm animated series: All Dogs Go to Heaven and Noddy. She recently recorded songs written by Oscar-winning composer Dimitri Tiomkin. Whitney graduated with honors from Chapman University with a B.F.A, in theater performance. Her favorite Disney movie is The Little Mermaid, with Cinderella as a close second.

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D I S N E Y I N C O N C E R T: M A G I C A L M U S I C F R O M T H E M O V I E S Lisa recently starred in the feature film Monday Nights at 7 with Edward James Olmos. Lisa has also performed with the San Francisco, Houston, and Dallas symphonies, among many others. You can spot Lisa with Bigfoot on a Toyota commercial, and occasionally, you’ll hear her voice on select films and tv shows.

She resides in New York City. Lisa is a firm believer in hard work and kindness!

Lisa Livesay Lisa Livesay is thrilled to be a part of Disney in Concert. Lisa recently lit up the stage in a headliner performance at the Kennedy Center Millennium Stage in Laughs, Love & Light. She has been seen in the role of Glinda in the national tour of Wicked. Other theater credits include Monteen in Jason Robert Brown’s Parade (la Music Center), Olive in 25th Annual Putnam County Spelling Bee, Peter Pan in Peter Pan, Cathy in The Last 5 Years, and Belle in Disney’s Beauty and the Beast.

Aaron Phillips Aaron Phillips is an Ovation Awardnominated actor/singer, a proud member

of Actor’s Equity, and can frequently be seen on film and tv. Past theater credits include Jekyll and Hyde (John Utterson), Batboy: The Musical (Batboy/Edgar), Songs for a New World, and Les misérables (Foreman/Combeferre). Opera credits include La bohème with the Greensboro Opera Company (conducted by Valery Ryvkin), Pirates of Penzance (Pirate King), and Lakmé (Frédéric) by Delibes. Aaron recently appeared in a staged reading of The Bone Wars (O’Conner) with the prestigious New York playwright group, Youngbloods. You may have seen Aaron as Carl, half of the duo that is the face of Lipton Iced Tea. He is also an accomplished voice-over talent and can be heard in video games such as World of Warcraft, Grand Theft Auto V, Red Dead Redemption, and Lord of the Rings. He is a man of many voices for commercials, cartoons, and music sessions everywhere.

Aaron has been a Disney fan his entire life and is happy to help bring this music to fans of all ages.

RECOMMENDED RECORDINGS FROM PETRUSHKA

FROM BEETHOVEN’S “EMPEROR”

Haydn: Symphony No. 103, “Drumroll” Leonard Bernstein – New York Philharmonic 5-Sony Classical 1991762

Beethoven: Piano Concerto No. 5, “Emperor” Wilhelm Kempff, piano Ferdinand Leitner – Berlin Philharmonic Orchestra Deutsche Grammophon Originals 447402

Walton: Johannesburg Festival Overture Bryden Thomson – London Philharmonic Orchestra Chandos 8968 Honegger: Pastorale d’été David Zinman – Zurich Tonhalle Decca 455352 Stravinsky: Petrushka (1947 version) Robert Craft – Philharmonia Orchestra Naxos 8557500

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Bruckner: Symphony No. 7 Bernard Haitink – Chicago Symphony Orchestra cso Resound 901704

Recordings by Michael Parsons, who studied music at Lewis & Clark College and has worked professionally with classical recordings for several decades.

BRAVO Youth Orchestra wind students, recipients of Oregon Cultural Trust grants. Photo by Richard Kolbell.

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PORTLAND’5 PRESENTS

Music from the beloved 1990s animated series

SATURDAY, JANUARY 12 | 7:30PM Emmy winner Rob Paulsen as “YAKKO”

Emmy winner Randy Rogel Composer

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

orsymphony.org | 503-228-1353 35

OUR SUPPORTERS The Oregon Symphony thanks these individuals for their generous contributions received from August 1, 2017, to September 14, 2018.

We apologize for any omissions or misspellings. Please notify us of any adjustments.

TRANSFORMATIONAL: $100,000–ABOVE Anonymous (3) Rich* & Rachel Baek Karen & Bill* Early Robert* & Janis Harrison Michael & Kristen* Kern Lynn & Jack Loacker Stephanie McDougal Estate of Minerva T. Nolte, M.D.+ Arlene Schnitzer

& Jordan Schnitzer

Dr. Thomas & Alix Goodman Tige* & Peggy Harris Rick* & Veronica Hinkes The Keller Foundation Priscilla Wold Longfield* Ann Olsen Harold & Jane Pollin Eleanor & Georges St. Laurent Swigert Warren Foundation Estate of David Wedge+ Dan G. Wieden & Priscilla Bernard Wieden

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Anonymous (1) The William K. Blount Family Fund of the Oregon

Community Foundation Duncan & Cynthia Campbell of The Campbell Foundation Drs. Cliff* & Karen Deveney Elizabeth N. Gray Fund of the Oregon Community Foundation Harriet Sterling Hayes Trust Jeff Heatherington* Hedinger Family Foundation The Mary Dooly and Thomas W. Holman Fund of the

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

OPUS SO CIETY: $25,000–$49,999 Anonymous (1) Ken Austin Judith M. Erickson Richard & Janet Geary Foundation Suzanne Geary*

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Anonymous (6) A&E Tax Service, Inc Peter & Missy Bechen Robert & Jean Bennett Susan & Larry Black Mr. & Mrs. Thomas Boklund Evona Brim Mr. & Mrs. Peter Brix William M. Brod Fund of the Oregon Community Foundation Richard Louis Brown & Thomas Mark Cascadia Foundation The Coit Family Foundation Truman Collins, Jr. Mark & Georgette Copeland Daniel* & Kathleen Drinkward Cecil & Sally Drinkward Fund of the Oregon Community Foundation Wayne & Julie Drinkward John S. Ettelson Fund of the Oregon Community Foundation Robyn* & John Gastineau Barbara & Jerry Giesy Frank & Mary Gill Dennis & Marie Gilliam 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 Chocosphere Lamb Family Foundation (WA) Richard & Delight Leonard Mr. and Mrs. Robert McCall

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SILVER BATON: $6,000–$9,999 Anonymous (5) Anonymous Fund #16 of the Oregon Community Foundation 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 Gil & Peggy Miller Millicent Naito Janice Phillips Travers & Vasek Polak Bonnie & Peter Reagan Rod & Cheryl Rogers Rebecca Rooks John Runyan Carol+ & Frank Sampson Scott Showalter§ Ann Ulum & Robert Nickerson Richard H. & Linda F. Ward Dean E. & Patricia A. Werth

Cookie and Merritt Yoelin Fund of the Oregon Jewish Community Foundation Nancy & Herb Zachow Jason Zidell

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OUR SUPPORTERS R. Kent Squires N. Robert & Barre Stoll Patricia Struckman Davida & Slate Wilson Paul M. Work & DeAnn Fairfield Work Jeffrey Yandle & Molly Moran-Yandle

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Michael and Barbara Besand in Memory of Lillian (Lee) Besand Stan & Judy Blauer David Blumhagen Josh & Wendie Bratt Gregory & Susan Buhr Ellen E. Bussing§ Mrs. Robert G. Cameron 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 the Oregon Community Foundation Dr. Pamela Edwards & Mr. Thomas Clark Donald & Katharine Epstein Frank And Mary Gill Foundation Kenneth & Carol Fransen Y. Fukuta Dr. & Mrs. Tony Furnary Richard Gallagher Daniel Gibbs & Lois Seed Don Hagge & Vicki Lewis Robert & Dorothy Haley

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

Trinity Music & Portland Baroque Orchestra

J.S. BACH: CHRISTMAS ORATORIO Cantatas 1-3: Fri, Dec. 14 – 7pm Cantatas 4-6: Sat, Dec. 15 – 7pm

Now Open at 4pm for Dinner Service Every Friday, Saturday & Sunday RingSideSteakhouse.com

503.223.1513

Guest Conductor MATTHEW DIRST, Artistic Director of Ars Lyrica Houston Cathedral Choir of Girls, Boys and Adults Arwen Myers, soprano Aryeh Nussbaum-Cohen, countertenor Nils Neubert, tenor | Brian Chu, bass Tickets available now at www.trinity-episcopal.org/events

orsymphony.org | 503-228-1353 37

OUR SUPPORTERS Cheryl & Harvey Storey Eustacia Su Scott Teitsworth & Deborah Buchanan Drs. John & Betty Thompson Robert Trotman & William Hetzelson Charles & Alice Valentino Erica Van Baalen & David Hicks David & Christine Vernier Drs. Bastian & Barbara Wagner Pat Wasp & Lou Ann Bennett Wells Family Foundation John & Traci Wheeler Elaine M. Whiteley Robert & Margaret Wiesenthal Zephyr Charitable Foundation Inc. Charlene Zidell

CONCERTO SO CIETY: $1,000–$2,499 Anonymous (11) Carole Alexander Jonathan & Deanne Ater Arthur & Joann Bailey Steve & Mary Baker Alfred & Cara Jean Baker Charles G. Barany Karin & Brian Barber Keith & Sharon Barnes Arleen Barnett David Barrett & Michelle Lowry James & Kathryn Bash Steven Bass Alan & Sherry Bennett Dr. & Mrs. Robert Berselli Paul Black Lynne & Frank Bocarde Henry Bodzin Benjamin & Sandra Bole Fred & Diane Born Christopher Brooks* Barry & Barbara Caplan Rhett & Tiffanie Carlile Donald W. Carlson Melissa Carter & Nevada Jones Carlos Castro-Pareja Helen Chadsey Charles Clarkson Classical Up Close‡ Cynthia & Stanley Cohan Maurice Comeau, M.D. Jeffrey G. Condit James & E. Anne Crumpacker Estate of Joyle Dahl Nima & Nicole Darabi David & Alice Davies Mike & Becky DeCesaro Ginette DePreist Robert & Janet Deupree William Dolan & Suzanne Bromschwig Philip & Nancy Draper

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Gerard & Sandra Drummond Charlene Dunning & Donald Runnels Ronald E. & Ann H. Emmerson Nancy C. Everhart Lee & Robin Feidelson Mr. & Mrs. Paul Fellner Carol L. Forbes Liz Fuller Brian & Rhonda Gard Carolyn Gardner Michael & Gail Gombos Cyril Green & Judy Karush Harriet & Mitch Greenlick Dr & Mrs Price Gripekoven Hank & Margie Grootendorst Jeffrey & Sandy Grubb Susan Halton Louis & Judy Halvorsen James Hampton & Ashley Roland Kregg & Andrea Hanson Howard & Molly Harris Pamela Henderson & Allen Wasserman Jane & Ken Hergenhan John Hirsch Margaret & Jerry Hoerber Eric & Ronna Hoffman Fund of the Oregon Community Foundation Susan, Diane & Richard Hohl Joseph Holloway, Sr. Lee & Penney Hoodenpyle Pamela Hooten & Karen Zumwalt Jack Horne & Mary Rodeback Bruce & Margo Howell Lou & Kathy Jaffe Jon Jaqua & Kimberly Cooper David Jentz Candace Jurrens Bob Kaake Barbara Kahl & Roger Johnston Peter & Patricia Kane Eric Karl & Ana Quinones Carol Brooks Keefer Georgina Keller Tom & Lauren Kilbane Fred Kirchhoff & Ron Simonis Sarah Kwak‡ & Vali Phillips‡ Thomas M. Lauderdale* Paul W. Leavens Dr. & Mrs. Mark Leavitt Dr. John & Elaine Lemmer, Jr. Carol Schnitzer Lewis Fund of the Oregon Community Foundation Joanne Lilley Eric & Hollie Lindauer Richard & Diane Lowensohn Gayle & Jerry Marger Bel-Ami & Mark Margoles Robert & Gwynn Martindale

Sir James and Lady McDonald Designated Fund of the Oregon Community Foundation Carolyn McMurchie Karen McNamee Lois R. Mills Drs. Beth & Seth Morton Jonathan Nagar Chris & Tom Neilsen Ralph & Susan Nelson Libby Noyes Wanda & George Osgood Jim Palmer Barbara & Art Palmer Parsons Family Fund of the Oregon Community Foundation Duane & Corinne Paulson Mr. & Mrs. Donald E. Petersen Vic Petroff Tod Pitstick Diane Plumridge David & Marian Poindexter Wally & Bettsy Preble William Pressly & Carole Douglass Dr. & Mrs. Kevin Proctor Ronald & Lee Ragen Brian Ramsay William’s Trust Vicki Reitenauer & Carol Gabrielli Dr. Gerald & Alene B. Rich Charles & Selene Robinowitz Dr. Lynne Diane Roe Charles & Katherine Rood Debora Roy Robert & Ann Sacks April Sanderson Brian & Sue Schebler Steven & Karen Schoenbrun Anna Roe & Ken Schriver Cynthia Shaff Hadel John Shipley Jinny Shipman & Dick Kaiser Dr. Rick Simpson Al Solheim David Staehely Doug Stamm & Jackie Gordon Jack & Charlene Stephenson Anne Stevenson Zachary & Vasiliki Stoumbos Straub Collaborative, Inc. Barbara J. & Jon R. Stroud Sandra Suran Drs. Donald & Roslyn Elms Sutherland Erik Szeto & Anita Chan Anonymous Fund #26 of the Oregon Community Foundation David Thompson Mike & PriscillaThompson Angelo Turner Tony & Bianca Urdes

Ann Van Fleet Missy Vaux Hall Bill & Janet Wagner Charles & Cherie Walker Hans & Naomi Wandel Kevin & Sharon Wei Joan & David Weil David & Leigh Wilson Loring & Margaret Winthrop Bing Wong Jane Work Lawrence & Jo Ann Young

SONATA SO CIETY: $600–$999 Anonymous (7) Carole Asbury Michael Axley & Kim Malek Gerald & Lori Bader Tom Bard Robert & Sharon Bennett Homer & La Donna Berry Robert & Gail Black Alice Pasel Blatt Markus & Gloria Bureker Craig & Karen Butler Mary Bywater Cross Martin & Truddy Cable Gerald Calbaum & Jan Marie Fortier-Calbaum Cecile Carpenter Frank & Val Castle Thomas & Cara Crowder Enrique deCastro Edward & Karen Demko Kay Doyle Tom Drewes Herman Taylor & Leslye Epstein Laura Fay & John Holzwarth JoAnn Ferguson The Flesher Family Fund of InFaith Community Foundation Peter*‡ & Laurie Frajola Thomas & Rosemary Franz Gerald Fritz Ted Gaty Willis & Liz Gill Richard & Susannah Goff Goldy Family Designated Fund Richard & Jane Groff Elvin Gudmundsen Rachel Hadiashar Frances F. Hicks Arvin & Kari Hille Kenneth Holford & Harry Hum Maryanne & David Holman Pam Horan Donna Howard Laurence & Janis Huff Janice & Ben Isenberg Philanthropic Fund Douglas Jenkins & Michael Boyles Drs. Susan & Jeffrey Johnson

Katherine Joseph Aase S. Kendall Andrew Kern James & Lois King Paul & Marijke Kirsten Mark Koenigsberg & Polly Alexander Willa Fox & Becky Kreag Moshin & Christina Lee Robert & Nancy Leon William Liedle Pamela MacLellan Jim & Midge Main Marta Malinow Gail & Jim Manary Linda & Ken Mantel Geoffrey McCarthy John & Ann Moore Jeffrey Morgan Greg & Sonya Morgansen Jane & John Morris Roger & Joyce Olson Phil & Gretchen Olson Alfred & Eileen Ono William O’Shea Terry Pancoast & Pamela Erickson Lance Peebles Vicki Perrett Sandford B. Plant Portland Art Museum H. Roger Qualman Kim & Roger Reynolds Eric & Tiffany Rosenfeld Mr. David Roth & Ms. Tangela Purdom Jane Rowley Julie & David Sauer Hubert & Ludmila Schlesinger Fund of the Oregon Community Foundation Douglas & Ella Seely Leslie and Dorothy Sherman Fund of the Oregon Community Foundation The Shulevitz Family Sara Stamey Michael & Judy Stoner Brian Thomas & Susan Morgan Richard & Larie Thomas Dave Thompson Jon Vorderstrasse Mr. and Mrs. Steve§ & Alexandra Wenig Roberta Lee White Gordon D. Wogan & Patricia Hatfield Susan E. Wohld Darrell & Geneva Wright P. J. & Donald Yarnell

*current board ‡current musician §current staff

Hallelujah! It’s back!

HANDEL’S MESSIAH DEC 7 | 8 | 9 | 10

Plus don’t miss:

AN EMPIRE OF SILVER & GOLD

MUSIC OF 18TH CENTURY LATIN AMERICA

NOV 16 | 17 | 18

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OUR SUPPORTERS Corporate Partners The Oregon Symphony thanks these corporations for their generous contributions received from August 1, 2017, to September 14, 2018.

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. TerwilligerPlaza.com . 503.808.7870 orsymphony.org | 503-228-1353 41

OUR SUPPORTERS Foundation and Government Support The Oregon Symphony thanks these organizations for their generous contributions received from August 1, 2017, to September 14, 2018.

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

GLOBE FOUNDATION

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

JAMES AND SHIRLEY RIPPEY FAMILY FOUNDATION

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

CLARK FOUNDATION

WILLIAM AND FLORA HEWLETT FOUNDATION

THE JAY AND DIANE ZIDELL CHARITABLE FOUNDATION

MAYBELLE CLARK MACDONALD FUND ROSE E. TUCKER CHARITABLE TRUST

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

HAMPTON FAMILY FOUNDATION OF OCF

ANONYMOUS (1) AARON COPLAND FUND FOR MUSIC, INC

LAMB FAMILY FOUNDATION

ROBERT & MERCEDES EICHHOLZ FOUNDATION

HERBERT A. TEMPLETON FOUNDATION

ESCO FOUNDATION

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

JUAN YOUNG TRUST

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

E. NAKAMICHI FOUNDATION

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

AUTZEN FOUNDATION

CON CE R TO $1, 0 0 0 – $ 2 , 49 9

H.W. & D.C. IRWIN FOUNDATION

DAVID & LOA MASON CHARITABLE TRUST

KINDER MORGAN FOUNDATION

WHEELER FOUNDATION (WA)

TR IB U TE Tribute gifts March 17, 2017– September 14, 2018 In Memory of Dr. Michael Baird Marta Malinow In Memory of Dick Ebert Carol Kieg In Memory of Katherine Forrest Althea Jordan In Memory of Lynn Getz-Riley Julie & Wayne Anderson Catherine Bentley

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In Memory of Mary Rose Guimond Travel Portland

RESER FAMILY FOUNDATION WALTERS FAMILY FOUNDATION THE WOLLENBERG FOUNDATION

SCHLESINGER FAMILY FOUNDATION

Fran & Fritz Bloemker Don Carson Tom & Maggie Churchill Chase & Lynne Curtis Julie Firestone David Grainger Robert Lynn Gregory Mast Andrew & Joan McKenna Joseph & Tracy Merrill In Memory of Isabel and A. Sheridan Grass Isabel Sheridan

JACKSON FOUNDATION

WINTZ FAMILY FOUNDATION

In Memory of Mike Hertz Judith Hertz

In Memory of Carol Ann Sampson Frank Sampson

In Memory of Arnetta Turner Ingamells Mary Tuck Eleanore Turner

In Memory of Sue Showalter Renée* & Irwin Holzman

In Memory of Dorothy Millikan Barbara Millikan

In Honor of Sarah Kwak and the Oregon Symphony Kay Bristow

In Memory of Richard Oliverio Les Vuylsteke

In Honor of Dylan Lawrence Dan & Lesle Witham

In Memory of Gregory Pikus, Irma Lapis, and Alexander Lapis Fedor G. Pikus

Encore Society The Oregon Symphony Encore Society was established to thank and recognize those generous individuals who have remembered the Oregon Symphony in their estate plans. For more information, please contact the Development Office at 503-416-6325.

Anonymous (10) Markus Albert Kirby & Amy Allen Margaret A. Apel Margaret & Scott Arighi Laurel Bardelson Lynda R. Bell Steve & Patt Bilow Leola J. Bowerman Dean Boyd & Susan Wickizer John & Yvonne Branchflower Steve & Kristine Brey Ellen E. Bussing§ Craig & Karen Butler Elaine Calder & William J. Bennett Carl & Connie Clark Helen Kirkpatrick+ Debi Coleman Terry & Peggy Crawford Dr. Jim Darke Niel B. DePonte‡ Ginette DePreist Jess Dishman Allen L. Dobbins William Dolan & Suzanne Bromschwig Clarke Donelson Kay Doyle Gerard & Sandra Drummond Bill* & Karen Early Herman Taylor & Leslye Epstein Judith M. Erickson The John S. Ettelson Fund of ocf George Fabel Louise P. Feldman Beulah Felt+ Bill Findlay+ Ed Reeves & Bill Fish Harry & Gladys Flesher Mark Gardiner & Mary Nolan Robyn Gastineau* Jim & Karen Halliday Susan Halton Betsy & Gregory Hatton Diane M. Herrmann Carol Herron Henry M. Hieronimus Rick* & Veronica Hinkes Renée* & Irwin Holzman Donna Howard Beth & Jerry* Hulsman Judy & Hank Hummelt Anne & Charles Jochim Karen & Keith Johnson Dennis Johnson & Steven Smith Susie Kasper Richard & Ruth Keller Georgia A Koehler Sally & Tom Kuhns Kyle & Marcia Lambert Wayne & Carolyn Landsverk Barbara A. Lee Fernando & Dolores Leon

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

NOV 25 - DEC 30

DEC 6 - DEC 30

ft. Chris Harder & Susannah Mars

A HEARTWARMING HOLIDAY CLASSIC

THIS HOLIDAY SEASON, ARTISTS REP HAS SOMETHING FOR EVERYONE. 5 0 3 . 24 1 .1 2 78 • a r t i s t s r e p . o r g • 1 5 1 5 S W M o r r i s o n S t .

Portland Columbia SymPhony Steven ByeSS, MuSic Director Literary Inspirations November 16 & 17, 2018 MOZART: Overture to Abduction from the Seraglio DAUGHERTY: Tales of Hemingway for Cello & Orchestra KORNGOLD Much Ado About Nothing Suite KORNGOLD Kings Row Suite

Allison Eldredge, cello ...recipient of the coveted Avery Fisher Career Grant, & Musical America’s “Young Artist of the Year.” columbiasymphony.org 503.234.4077 for information & additional programming

+ in memorium

orsymphony.org | 503-228-1353 43

PORTLAND ARTS

at your fingertips.

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your cultural concierge Photos (left to right): Brent Luebbert, Daniel Kirk, Alicia Cutaia, photo by Michael Shay Polara; Carlos Kalmar, photo by Leah Nash; Caroline MacDonald, photo by Blaine Truitt Covert; Deidrie Henry, photo by Patrick Weishampel; Kayla Banks, photo by Meg Nanna.

THEN & NOW

Portland Art Museum Past & Present 1973

Burrell Tree, Portland Art Museum, March 1973.

Photo File 1759.3 Negative R-163 bb017505.

2018

Photo by Kristen Seidman, Artslandia.

A group of seven cultural and business luminaries convened in 1892 with the goal of creating an art museum for the people of Portland. The first exhibition of the Portland Art Museum, a $10,000 collection of Greco-Roman sculptures in 1895, drew crowds to the original location within the public library at sw 7th and sw Stark. Having outgrown the space by 1905, the Museum moved to its own building at sw 5th and sw Taylor, which it christened with an exhibition of paintings from the Lewis & Clark Exposition held in Portland the same year. In 1932, the Museum moved to its current building designed by famed Portland architect Pietro Belluschi and doubled its gallery space with the completion of the Hirsch Wing in 1939. The Hoffman Memorial Wing, completed in 1970, included a sculpture mall, a new vault for the collections, an auditorium, and space for the Museum Art School, which evolved into Pacific Northwest College of Art. The acquisition and renovation of the neighboring Masonic Temple gave us the Mark Building, which was purchased in 1994 and re-opened postrenovation in 2005 after earlier updates to the Main Building and Hoffman Wing. Currently in process is the Connections Campaign to support an expansion and renovation project to achieve a number of objectives, including full accessibility for those with disabilities.

Historic photographs for this series are provided by the Oregon Historical Society, a museum, research library, archive, and scholarly asset located in the heart of Portland’s Cultural District.

View more photos of historic Portland on the new ohs Digital Collections website at digitalcollections.ohs.org/ portland-cityscapes.

Have an anecdote or old school photograph of you posing in front of Portland Art Museum?

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

orsymphony.org | 503-228-1353 45

CUR ATIONS

Painting by Tawaraya Sōtatsu with a waka (form of Japanese poetry) by Kakinomoto no Hitomaro written in calligraphy by Shōkadō Shōjō. This artwork is from the early 17th century and is done in ink on gold-and silver-decorated paper called shikishi.

Courtesy of the Portland Art Museum.

IN THE SPOTLIGHT

Portland Art Museum’s current exhibition of Japanese art demonstrates the brilliance of the three-woman curatorial team.

POE TIC

By Laurel Reed Pavic

The Curator of Asian Art at the Portland Art Museum, Maribeth Graybill, calls the collection of Mary and Cheney Cowles “without question one of the finest collections of Japanese art in private hands.” Through January 13, the public has the opportunity to see selections from this collection – most of which have never been exhibited – at Portland Art Museum’s Poetic Imagination in Japanese Art: Selections from the Collection of Mary and Cheney Cowles.

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The exhibition is a testament to the curatorial team’s deep knowledge and great enthusiasm for Japanese art and culture. Graybill, along with Jeannie Kenmotsu, the Japan Foundation Assistant Curator of Japanese Art, and Sangah Kim, the Cowles Curatorial Fellow in Asian Art, have created a robust program, which includes multiple events and supplementary activities.”

Cheney Cowles began collecting Japanese art 40 years ago. Though from a prominent Northwest family with deep ties to arts patronage, the focus on art from Japan is his.

Personal affinity drives his approach to collecting; Graybill describes it as “confidence in his own eye.” He has “works by the most famous Japanese artists, and for the cognoscenti, this show is filled with very satisfying exposure to great works by A-list artists, but Cowles also goes completely off the rails and is willing to be idiosyncratic,” Graybill says.

“His tastes are very broad and very Catholic; the exhibition will show the breadth of his eye.”

Whereas many exhibitions of private collections result in a survey of the “best” works, here the curatorial team has taken a different approach and focused entirely on the theme of “poetic imagination.”

The curatorial team behind this exhibit brings a tome of experience.

Graybill, who has been the Arlene and Harold Schnitzer Curator of Asian Art since 2007, is responsible for the acquisition, display, and interpretation of the museum’s collection of Asian and Islamic art. In addition, Graybill coordinates gallery rotations of Chinese, Japanese, Korean, and panAsian sacred art, as well as thematic exhibitions on various topics, such as Persian narrative painting and the techniques of the Japanese Noh drama. She is the force behind numerous exhibits at pam, such as the museum’s major exhibition in 2011, The Artist’s Touch, The Craftsman’s Hand: Three Centuries of Japanese Prints. Fluent in Japanese, Graybill holds a master’s in Japanese studies and a Ph.D. in Japanese art history from the University of Michigan.

Kenmotsu came to pam in November of 2017 as an assistant curator. She received her Ph.D. from the University of Pennsylvania, and a five-year grant from the Japan Foundation supports her position at the museum. A specialist in Japanese art of the Edo Period (1603–1868), Kenmotsu has contributed to works on color printing and illustrated books on the 18th century, including entries for The World of the Japanese Illustrated Book: The Gerhard Pulverer Collection at the Freer and Sackler Galleries and at the Smithsonian Institution.

Sangah Kim received a Master of Arts degree from the University of Oregon.

Kim was intimately involved with the repatriation of the Five Buddhas to Korea in December 2016. The painting was on loan to the museum when the Korean Cultural Heritage Administration identified it as stolen. Kim curated an exhibit entitled The Shape of the Land: Topographical Painting and Maps in Late Joseon Korea; it is in a space immediately adjacent the Poetic Imagination exhibit.

As the Cowles Curatorial Fellow in Asian Art, Kim works under the direction of Graybill, conducting research on the >>> CONTINUED ON PAGE 48

Graybill met Cowles soon after she started at the Portland Art Museum in 2007, first visiting him at his Crane Gallery in Seattle and later at his home along with the Asian Art Council from the Portland Art Museum and the Seattle Art Museum.

Graybill recounts an occasion when Cowles was pulling paintings down from his attic to show the group, and she was asked to speak. She thinks Cowles was initially impressed by her ability to “blather on endlessly about a painting that I hadn’t seen before,” she says. Graybill’s knowledge and enthusiasm won over the collector, and this show is the culmination of many years of discussions and work.

Maribeth Graybill, Ph.D., The Arlene and Harold Schnitzer Curator of Asian Art, Sangah Kim, Cowles Curatorial Fellow in Asian Art, and Jeannie Kenmotsu, Ph.D., Japan Foundation Assistant Curator of Japanese Art, stand beside the work of Nakabayashi Gochiku (Japanese, 1826–1913), before 1913, pair of hanging scrolls; ink on paper, Gift of Mary and Cheney Cowles. Photo by Jon Richardson, courtesy of the Portland Art Museum.

orsymphony.org | 503-228-1353 47

<<< CONTINUED FROM PAGE 47 Asian Collections in the Portland Art Museum and working to improve the museum’s catalog database, including adding information in the original language (Chinese, Korean, or Japanese) wherever possible.

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A constructed Japanese architectural pavilion in the sculpture court will set the tone for the exhibition and showcase a replica of a hanging scroll along with ikebana displays. There is also the sincere hope that people will be moved to compose and share their own poetry in response to the show. The curators are hoping for spontaneous poetry slams.

PORTLAND’S FAVORITE HOLIDAY TRADITION

GEORGE BALANCHINE’S

There are also three Japanese Poetry Art & Culture Weekends planned for October 19–20, November 16–17, and January 11–12. The Friday night programs aim at a social crowd when the museum is open late and will incorporate sake and beer. The Saturday activities are for all ages.

THE NUTCRACKER

®

Dec. 8-26, 2018

obt.org Photo by Yi Yin

12 Performances feature the OBT ORCHESTRA! 48 artslandia.com

The curators’ commitment to public education is as strong as their impressive academic backgrounds. Throughout the exhibition, the museum will provide enrichment opportunities designed, in the words of the curators, to ‘help people see the show better,’ such as demonstrations to model the kinesthetic engagement inherent in calligraphic practice.”

Portland is fortunate to have access to both the Portland Japanese Garden in Washington Park and the extensive collection of Edo Period prints in the Ladd Collection at the Portland Art Museum.

Poetic Imagination in Japanese Art introduces a previously unseen private collection of paintings and promises to be both a significant contribution to scholarship and an opportunity for people to encounter a less familiar facet of Japanese history and culture.

Soul

ART DEPT

P

aola Delfin, a muralist from Mexico City, is known for her style of painting realistic, monochrome female figures.

Delfin’s serene 2017 mural Soul stands as a dedication to her beloved dog who died. Of the carefully crafted mural of latex paint on brick, Delfin says, “Despite the complexity of us humans, I believe that, behind every face and mind, there is a soul that truly defines who we all are and will represent each of us when we conclude our journey in this earth. Every line and moment from this mural was made in memory of a very special and loved soul, Moss.”

Photo by Anthony Taylor.

Know where this mural is located? Email the address to submit@artslandia.com with ‘Subject: Ar t Dept’ for the chance to win an Artslandia Box.

orsymphony.org | 503-228-1353 49

ON A HIGH NOTE The specifics of violinist and force of nature Lisbeth Carreno’s career leave us to wonder if she’s somehow found a way to squeeze more than 24 hours into each day. Originally from Portland, Carreno returned to our fair city in 2011 to join the Oregon Symphony after four years with the Virginia Symphony Orchestra as a section player and acting assistant principal second violin and earning her bachelor and master’s degrees in music from the Manhattan School of Music. In addition to taking the summer festival circuit by storm and holding a position with the Oregon Ballet Theatre orchestra, she’s a prolific soloist and instructor with a penchant for playing Argentine tango music at festivals and with the Alex Krebs Sextet. Carreno lives in nw Portland with her newish husband, Assistant Principal Timpanist Sergio Carreno, and their dog, Harry.

What initially drew you to choose the violin as your instrument?

My cousin played the violin, and I wanted in. At four years old, I asked for and received a violin for my birthday. Later, in middle school, I was given a choice to switch to viola in exchange for moving up to the more advanced youth orchestra if only I switched instruments. It was an 8th-grade existential dilemma, but I just couldn’t do it. At 13, I knew I was a violinist.

What inspires you to work with young musicians?

Both of my parents worked in education, so it just feels right to spend time working with young people. I have been so fortunate to have incredible mentors in my life and believe I have a responsibility to pass along what I’ve learned. I want to help ignite that spark.

Oregon Symphony violin

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Photo: Christine Dong, Artslandia.

Lisbeth Carreno

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?

Growing up in Portland, I was very fortunate to have parents who were endlessly supportive guardians of my music education, a role that cannot be overstated. They gave me the opportunity for private lessons with Oregon Symphony violinist Clarisse Atcherson, weekly chamber music instruction at the Community Music Center, and twice weekly rehearsal with the Portland Youth Philharmonic. I am a member of the Oregon Symphony because of the role music education played in my life, but I was so, so lucky. Right now, living in Portland, it takes an extraordinary effort to receive comprehensive music education. I see incredible public school music teachers, such as Ms. Marlene Trigg at Alice Ott Middle School, work tirelessly on behalf of their students. Teachers and parents need to be the guardians of their children’s music education, but why must they have to guard against a curriculum that prioritizes other subjects over the arts? How many more kids would have the opportunity to develop a love of an instrument, or simply the chance to explore the world of music, if the curriculum fully supported the arts?

What was the process of learning the violin like for you? What’s it like for you to usher students through that process as a private instructor?

Learning any instrument is tricky. People often come up to me a say they played an instrument as a kid but just weren’t talented. Maybe I had a bit more of a knack than the next kid, but I was far from a gifted student. I liked playing the violin and enjoyed the challenge. Things took off once I was competent enough to perform in an ensemble. I loved my little string quartet. Then, playing in my youth orchestra quite simply blew my mind.

The process of learning and polishing real repertoire was a fascinating challenge, and there is nothing like the sensation of being in the middle of a huge orchestra. I adore being a small

cog in a large machine like that. What I never did love was practicing. But I’m stubborn, so I practiced. Somewhere along the way, I learned to love it, too.

When it comes to my students, I try to foster enough light bulb moments to sustain their efforts through the lessthan-inspiring practice times. Set an achievable goal, work hard and smart, achieve the goal, and give yourself a little treat. Then, do it again. That’s the formula I try and pass along because it’s the one I use.

How much time do you spend practicing in a week?

I play anywhere from 90 minutes to eight hours a day, but no two weeks are the same. We perform a new classical concert each week, so on any given day, I’m learning notes for next week while polishing passages of the current week’s program in light of whatever we worked on in full rehearsal. Add to that frequent Pops, Kids, and Popcorn series folders, plus whatever solo or chamber music I am working on, and it adds up.

What’s something people would be surprised to know about you?

People might be surprised to learn that my initial preparation for the Oregon Symphony audition was in the gym.

I am no athlete, but there is a huge mental aspect to being a professional musician, and the act of lifting heavy weights or running up stairs became an apt metaphor. My husband was the ultimate coach and helped me get my “mind right.” He gave me his inspirational hip-hop playlist and handed me my first dumbbell. From there, it was a process of learning to trust I can do more than what I initially think. Day by day, I built up mental strength under the bar, all to the immortal words of dj Khaled and Jamie Foxx. Now, whenever I’m feeling shaky, I know it’s time to head to the gym, pick up something heavy, and have a session with my therapist Beyoncé.

®

orsymphony.org | 503-228-1353 51

#AR T SL ANDIAWA SHERE @artandaboutpdx

@portlandopera

osomusicians Swing by @mercantileportland to check out this special La Traviata costume display by our Costume Director, Christine A. Richardson, in partnership with our friends at @artslandia! #portlandopera #opera #fashion #windowdisplay #storedisplay #costume #costumedesigner #vibrant #artslandia #artslandiapdx #window #dress #music #portland #portlandoregon #pdx #pdxarts #oregon #ArtslandiaWasHere #LaTraviata #merchantile

artandaboutpdx Co-Artistic Director Jamey Hampton warming up his leg and his computer before the BloodyVox show tonight. @bodyvox @artslandia #artandaboutpdx #BodyVox #BloodyVox #21season #BloodyVoxDeadlineOctober #pdx #pdxdance #artslandia #ArtslandiaWasHere #Portland #Oregon #performingarts #contemporarydance #halloween #culture #choreography #stretching #warmup

@artslandia

artslandia To spread the good word about @LiteraryArts’ Portland Book Festival, we partnered with historic @John_Helmer_ Haberdasher on a storefront installation promoting this incredible event – where 100+ authors are set to share their works with thousands of book lovers from across the pnw. #ArtslandiaWasHere Use hashtag #ArtslandiaWasHere on your social media posts, and they could end up here!

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O N A N U N R E L AT E D N O T E MAUREEN P OR TER The prolific and impressive acting career of Maureen Porter spans 30 years! Currently, she’s core company member and Managing Artistic Director for Third Rail Repertory Theatre in Portland.

Maureen Porter.

Susannah: If you could pick any generation to grow up in, which would you choose?

Maureen: With everything that’s happening in the world right now, it could be easy to want to go someplace else and live someplace else, but I suspect that there is no time that doesn’t have its issues. I feel like right now is the time – for all the things that we’re up against, this is an amazing time to be alive. And it is a time where I identify with the work that needs to be done and the work that is being done. We actually have a pretty amazing life!

This podcast transcript has been edited and condensed for print.

UPCOMING GUESTS: Portland Opera Oregon Symphony Jefferson Dancers Oregon Repertory Singers

HAVE AN ADVENTURE IN ARTSL ANDIA? EMAIL SMARS@ARTSL ANDIA .COM.

Subscribe to Adventures in Artslandia with Susannah Mars on iTunes or Google Play.

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SEEN ON THE SCENE

William Blayney, Director of Northwest Clarinet Choir.

Kelly and Michael McDonald.

Host of Adventures in Artslandia, Susannah Mars.

Mayuko Kamio, Gold Medalist of the International Tchaikovsky Competition.

Salvador Brotons, Music Director and conductor of The Vancouver Symphony Orchestra, and a fellow attendee.

David Smith and Hannah Chen.

Christina Beningfield and Nien-Wei Hsiao.

Victoria Jean Tullett and Dan Avery.

Musicians of the gala.

THE VANCOUVER SYMPHONY ORCHESTRA GALA The vso held their 2018 Gala, “Celebrating Our Legacy” at the Royal Oaks Country Club. The ruby anniversary fete included Artslandia’s own Susannah Mars as a guest of honor! The evening, which included craft cocktails, a delectable meal, and live music, raised funds to support the vso’s music, education, and community partnerships that have enhanced lives throughout sw Washington for 40 years and counting.

PHOTO CREDIT: Max McDermott, Artslandia.

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

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