InSymphony September 2018

SEP TEMBER 2 018

the magazine of the

Oregon Symphony

Renée Fleming INSIDE Rodrigo y Gabriela Star Wars: A New Hope in Concert The Music of U2 Lily Tomlin Opening Night with Renée Fleming Brahms’ Fourth Symphony

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CONTENTS SEPTEMBER 2018 14

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about us LETTER FROM THE PRESIDENT 7 CONDUCTORS 9 ORCHESTRA, STAFF & BOARD 10 RECOMMENDED RECORDINGS 31 OUR SUPPORTERS 40

Rodrigo y Gabriela

Star Wars: A New Hope in Concert

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featured KAREN GOMYO 12 THE ARLENE SCHNITZER CONCERT HALL 51 LILA DOWNS 52 CAPAX INFINITY 55 CHARLES NOBLE 56

The Music of U2

Lily Tomlin

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performances RODRIGO Y GABRIELA 14 SEP. 5, 7:30 PM

STAR WARS: A NEW HOPE IN CONCERT 16

SEP. 7, 7:30 PM | SEP. 8, 7:30 PM | SEP. 9, 2 PM

THE MUSIC OF U2 18 SEP. 15, 7:30 PM Opening Night with Renée Fleming

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Feature

LILY TOMLIN 20

Brahms’ Fourth Symphony Feature

SEP. 22, 7:30 PM

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OPENING NIGHT WITH RENÉE FLEMING 22 SEP. 23, 7:30 PM

BRAHMS’ FOURTH SYMPHONY 32

SEP. 29, 7:30 PM | SEP. 30, 2 PM | OCT. 1, 7:30 PM

Karen Gomyo

Lila Downs

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: Renée Fleming

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SEPTEMBER 2018

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LETTER FROM THE PRESIDENT Dear Friends, Welcome to your Oregon Symphony’s 2018/19 Season. This year, our theme is stories.

Throughout the season we will present some of the most celebrated stories of the classical repertoire, and explore the power of storytelling both musically and visually. Our special series SoundStories intertwines diverse performance genres in three exceptional concerts. Inventive stagecraft helps narrate Petrushka; ethereal shadow puppetry illustrates Hansel and Gretel; and animated photos and artwork enliven Peer Gynt. As you return to the concert hall throughout the year, you will see storytelling feature in the breadth of our programs from Classical to Kids, and from Popcorn to Pops.

But first, Oregon Symphony is privileged to present the world’s foremost operatic soprano, Renée Fleming, as our special guest on Opening Night (September 23). As our work also reaches beyond the concert hall, we will partner with ohsu’s Brain Institute and Ms. Fleming to present “Music and the Mind,” a discussion on music and neuroscience at the ohsu Auditorium on September 21.

Through events like these, Oregon Symphony is committed to bringing the joy of music to more people in new ways.”

And with your support, the Oregon Symphony is changing the notion of what a great symphony can be. We are one of the oldest orchestras in the United States, yet our vision – to inspire audiences, present the best musicians, and build a stronger community – is bold and adventurous.

Artistic excellence, innovative programming, and robust community engagement make the Oregon Symphony a part of your story.

Thank you for joining us. Enjoy the music.

Scott Showalter president & ceo

orsymphony.org | 503-228-1353

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Great concerts in October Star Trek Beyond in Concert OCTOBER 6 & 7, 2018 Norman Huynh, conductor Star Trek Beyond in Concert

The third installment in J.J. Abrams’ franchise reboot, Star Trek Beyond is an epic sci-fi adventure that honors the series’ roots while delivering the mindblowing action expected of today’s hottest blockbusters and a soaring orchestral score

by Michael Giacchino.

Gregory Alan Isakov Gregory Alan Isakov

Karen Gomyo

OCTOBER 20 & 21, 2018 Jeff Tyzik, conductor Dave Bennett, clarinet and vocals Julie Jo Hughes, vocals Stephen Sayer, Chandrae Roettig, Evita Arce, and Michael Jagger, dancers Jump ‘n’ jive from the 1940s right into the jukebox tunes of the ‘50s and ‘60s with hits like “Tuxedo Junction,” “Great Balls of Fire,” and “Rock Around the Clock.” Dancers, vocalists, and clarinet sensation Dave Bennett join in the fun.

Lila Downs

Norman Huynh, conductor

OCTOBER 22, 2018

With songs that tell a story of miles, landscapes, and the search for a sense of place, the indie folk troubadour joins the Symphony for a night of lyrical and emotionally charged music.

Norman Huynh, conductor

Karen Gomyo Plays Sibelius Michał Nesterowicz, conductor • Karen Gomyo, violin Lutosławski: Little Suite • Sibelius: Violin Concerto Kilar: Orawa Shostakovich: Symphony No. 9 Sibelius’ only concerto contains such profound and enigmatic beauty that it can only be described as transcendent.

Karen Gomyo adds her “first-rate vitality, brilliance, and intensity” (Chicago Tribune) to this timeless work.

Garry Trudeau Jeffrey Kahane

Swing is the Thing

OCTOBER 8, 2018

OCTOBER 13, 14 & 15, 2018

Lila Downs

2018/19

OCTOBER 16, 2018

Get ready for Día de los Muertos with Grammy Award winner Lila Downs, whose unique voice, compelling stage presence, and poignant storytelling bridge traditions from across the Americas.

Tchaikovsky’s Symphony No. 4 OCTOBER 27, 28 & 29, 2018 Carlos Kalmar, conductor • Jeffrey Kahane, piano Bernstein: On the Town: Three Dance Episodes • Andrew Norman: Split Tchaikovsky: Symphony No. 4 A foreboding opening from the horns sets the stage for an epic journey through fate and destiny in Tchaikovsky’s powerful Fourth Symphony. Portland favorite Jeffrey Kahane performs a “hyper-active fantasy for piano and orchestra,” composed especially for him.

Social observer and creator of the Pulitzer Prize-winning comic strip Doonesbury, Garry Trudeau has been drawing electoral commentary for nearly a half-century. No political figure has been spared his biting humor. Now, on national tour, Trudeau shares highlights from his latest book, #SAD!: Doonesbury in the Time of Trump.

The Oregon Symphony does not perform.

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 six. 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

Norman Huynh begins his third season as our associate conductor. Selected from a field of more than 100 candidates from around the world, he was chosen 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 has previously conducted the Baltimore Symphony, Toledo Symphony, Charlotte Symphony, Virginia Symphony, Macon Symphony, 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.

He co-founded the Occasional Symphony, an organization renowned for playing innovative musical programs in unique venues throughout the city of Baltimore.

Huynh received his master’s degree in orchestral conducting at the Peabody Institute of the Johns Hopkins University, where he studied with Gustav Meier, Markand Thakar, Edward Polochick, and Marin Alsop.

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 Carlos Kalmar Jean Vollum music director chair A S S O CIATE COND U C TO R Norman Huynh Harold and Arlene Schnitzer associate conductor chair PR IN CIPAL P O P S COND U C TO R Jeff Tyzik

CE LLO Nancy Ives, Mr. & Mrs. Edmund Hayes, Jr. principal cello chair Marilyn de Oliveira, assistant principal Kenneth Finch Trevor Fitzpatrick Antoinette Gan Kevin Kunkel BASS Colin Corner, principal Braizahn Jones, assistant principal Nina DeCesare Donald Hermanns Jeffrey Johnson Jason Schooler

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

concertmaster chair FLU TE Erin Furbee, Harold & Jane Pollin Martha Long, Bruce & Judy Thesenga assistant concertmaster chair principal flute chair Chien Tan, Truman Collins, Sr. principal Alicia DiDonato Paulsen, second violin chair 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 B A S S CL AR INE T Searmi Park Todd Kuhns Vali Phillips Deborah Singer B A S S O ON VIOLA Carin Miller Packwood, principal Evan Kuhlmann, assistant principal Joël Belgique, Maybelle Clark Macdonald Fund principal viola chair** Adam Trussell Charles Noble, principal* CONTR A B A S S O ON Brian Quincey, assistant principal* Evan Kuhlmann Jennifer Arnold Silu Fei H O RN Leah Ilem John Cox, principal Ningning Jin Joseph Berger, associate principal Kim Mai Nguyen* Graham Kingsbury, assistant principal Viorel Russo Mary Grant Martha Warrington Alicia Michele Waite

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

* Acting position ** Leave of absence

Administration MAR KE TING , COMMUNI C ATI ONS & S ALE S Natasha Kautsky, vice president for marketing and strategic engagement Rebekah Phillips, director of marketing, AR TI S TI C O PE R ATI ONS communications, and sales Steve Wenig, vice president Ethan Allred, marketing and

and general manager web content manager Charles Calmer, vice president Liz Brown, partnership marketing and for artistic planning group sales manager Jacob Blaser, director of operations Lisa McGowen, patron communications Monica Hayes, education and manager community programs director Christy McGrew, ticket office manager Susan Nielsen, director of popular

John Kroninger, front of house manager programming and presentations Nils Knudsen, assistant ticket office Steve Stratman, orchestra manager manager Jacob Wade, manager, operations and Eric von Hulha, patron services

artistic administration representative Emily Johnstone, patron

D E VE LO PMENT services representative Ellen Bussing, vice president

Cleo Knickerbocker, patron

for development services representative Courtney Trezise, foundation

Linnea Oddie, patron services

and corporate giving officer representative Rene Contakos, gift officer Amanda Preston, patron services Nik Walton, membership manager representative Leslie Simmons, events coordinator Adam Cifarelli, teleservices manager Kristina Kindel, development associate Scott Showalter, president and ceo Diane M. Bush, executive assistant Susan Franklin, assistant to the music director

Frances Yu, teleservices team leader Rachel Allred, patron services

representative Karin Cravotta, patron services

representative Johnah Garcia, patron services representative Tori Miller, patron services

representative Carol Minchin, patron services representative Rebecca Van Halder, patron services representative B U S INE S S O PE R ATI ONS Janet Plummer, chief financial and operations officer Julie Haberman, finance and administration associate Mike Bellinger, art director David Fuller, tessitura applications administrator Tom Fuller, database administrator Randy Maurer, production manager Peter Rockwell, graphic designer Lynette Soares, finance and administration assistant

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, community leader Gerald R. Hulsman, community leader Walter E. Weyler, community leader 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

orsymphony.org | 503-228-1353 11

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

Karen Gomyo Violinist K aren G omyo first performed with the Oregon Symphony in 2002, when she was 20 years old; she played Bruch’s Violin Concerto.

In the years since then, she has performed with the orchestra four times, presenting concertos by Mozart, Prokofiev, Beethoven, and Mendelssohn.

When asked over the phone about her first appearance with the Symphony 16 years ago, Gomyo remembered it easily, a mark of the esteem in which she holds both the orchestra and its music director, Carlos Kalmar. “When I first came to Oregon – I remember it so well because I enjoyed it so much – the Bruch felt so natural and the ensemble had a great sense of what it means to be partners in a concerto. They’re such good listeners.” For Gomyo, working with the Oregon Symphony, despite its size, feels like playing chamber music. “I love working with Carlos because he’s a violinist himself and is such a sensitive, collaborative performer,” says Gomyo.

Even though I’m the soloist, I feel like I’m part of the ensemble. As a soloist, I have my back to the orchestra and I can’t see who I’m playing with, so the conductor is crucial to making the ensemble work.”

All performers have a special connection to certain pieces; for Gomyo, Sibelius’ Violin Concerto, which she performs with the Oregon Symphony on October 13, 14, and 15, has particular significance. In a 2017 interview in the Australian magazine Limelight, Gomyo lists the Sibelius as one of her three all-time favorite pieces of music.

“This concerto has a special place in my heart for several reasons,” she explains.

I studied it as a student for several 12 artslandia.com

years beginning in my early teens, and first performed it when I was 19. It’s remained in my repertoire since then. At first I just admired the music, but over the years it has become deeply personal to me. This music first came into my life at a time when I was going through big personal changes. Since then, I’ve re-encountered it every time something really important has happened to me.” In this context, the Sibelius has evolved for Gomyo into an intensely personal soundtrack illuminating critical moments and events in her life.

“Each time I work on it, I hear different elements in it, in ways I’ve never heard it before. It’s like a mirror that reflects my state of mind at any given time.”

Like all great music, the Sibelius resonates with Gomyo on several levels.

She also hears the Violin Concerto as a narrative, with a clear arc and direction.

“Here Sibelius has created a world that’s unique to him, but somehow he draws you in. I always describe it as a dark fairy tale. There’s such a landscape to this piece; it takes you on a journey into a world that’s very passionate and lonely. Sibelius struggled with drink and the death of his daughter when he wrote the Violin Concerto; you feel that struggle in the music – you hear it. It’s a kind of detached pain.” Along the way, Sibelius creates what Gomyo describes as “volcanic moments” juxtaposed with more serene interludes.

by Elizabeth Schwartz

As a child growing up in Montreal, Gomyo lived a pretty normal life, with no plans to become a professional musician.

“I did other things besides violin – ballet and karate – but violin was where I improved the most rapidly.” When Gomyo was 11, her Suzuki violin teacher submitted a video of Gomyo to the late violin pedagogue Dorothy DeLay as an audition for a master class. DeLay, who headed the violin department at Juilliard, invited the 11-year-old Gomyo to study with her in New York City. Karen and her mother discussed what this would mean – moving to New York from Montreal, for starters – and when Gomyo received a full scholarship from Juilliard’s precollege division, “that was the moment we decided we’d have to make music the focus. We were given a chance and we thought it would be silly not to take it.”

Despite her prodigal talent, Gomyo had some difficulty adjusting to her new life. “I was naïve about what it meant to have a musical career, particularly the intensity of the competition among the students and especially their parents,” she remembers. “At first I felt pretty isolated because I was the new kid and not especially competitive, and I didn’t want to be considered superior to anyone. My peers’ parents were the ones who kept me at arms’ length.”

The pre-college division offers musical instruction to its students on Saturdays so as not to conflict with regular school,

which meant Gomyo attended school six days a week, in addition to countless hours of practice. After seven years in Juilliard’s pre-college program, Gomyo attended one year of college there. When DeLay retired, after her freshman year, Gomyo transferred to Indiana University, where she worked with Mauricio Fuks. Later she attended New England Conservatory, where she studied with Donald Weilerstein and earned an artists’ diploma. “My performing career started at 15 [after winning the 1997 Young Concert Artists International Auditions],” says Gomyo. “I wanted to stay in school as long as possible, but eventually it became unworkable.”

Since 2001, Gomyo has performed exclusively on a Stradivarius violin made in 1703, which was bought for her use by a private sponsor. To its official designation, “ex-Foulis,” Gomyo has added the name “Aurora.” Right after she acquired the violin, she flew to Europe, with a layover in Reykjavik, Iceland. “I remember seeing this incredible light out the window of the plane, so I called her Aurora,” says Gomyo. “I refer to it as a she – maybe it’s a sisterhood thing.”

Gomyo’s relationship with her violin is necessarily intimate, and she regards Aurora as a living, breathing entity with whom she collaborates. “It’s very much like a relationship between two people,” she explains. “When we perform, we are one unit, but sometimes she suddenly becomes unwell [due to fluctuating temperature or humidity]. When that happens, I have to go with the flow and listen [and adjust] to where she’s at.”

Gomyo is looking forward to her upcoming performances with the Oregon Symphony. “I was in my early 20s when I first played with the Oregon Symphony and was developing my own voice as an adult,” says Gomyo.

“This orchestra has been part of my personal growth as well, and that’s a very special relationship.”

Violinist Karen Gomyo performs Sibelius’ Violin Concerto with the Oregon Symphony on October 13, 14, and 15 at the Arlene Schnitzer Concert Hall. Find tickets and more at orsymphony.org. orsymphony.org | 503-228-1353 13

RODRIGO Y GABRIELA WEDNESDAY, SEPTEMBER 5, 2018, 7:30 PM Norman Huynh, conductor

Ernesto Lecuona Gitanerias

Georges Bizet Carmen Suite The Toreadors The Dragoons of Alcala Seguidilla

Intermezzo

Aragonaise

Prelude Bohemian Dance

Arturo Márquez Danzón No. 2 INTERMISSION

Rodrigo y Gabriela will announce their program from the stage.

ARLENE SCHNITZER CONCERT HALL

Biography Sydney Opera House, Red Rocks Amphitheatre, and Le Zenith in Paris on numerous occasions.

Rodrigo y Gabriela

Their film work includes the soundtracks to Pirates Of The Caribbean: On Stranger Tides and Puss In Boots, and they have collaborated on stage and on record with artists as diverse as Robert Trujillo (Metallica), Al Di Meola, Zack De La Rocha (Rage Against the Machine), and Anoushka Shankar. In 2010 Rodrigo y Gabriela played at the White House for President Obama.

Since they left Mexico for Ireland in 1999, Rodrigo y Gabriela have established themselves as one of the most popular acoustic instrumental bands in the world. They have sold in excess of 1.5 million albums worldwide, and have sold out venues like the Hollywood Bowl, Royal Albert Hall,

From humble beginnings as buskers on Dublin’s Grafton Street, endless touring and a great word-of-mouth buzz carried the band forward until their international break out with the release of their self-titled 2006 album, which spawned the hits “Tamacun,” “Diablo Rojo,” and their cover of “Stairway

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to Heaven.” The duo appeared on Jools Holland, BBC TV’s Glastonbury coverage, as well as Letterman and Jay Leno in the United States.

11:11 followed in 2009, and the band went to Cuba in 2012 to record with local musicians for Area 52. The band’s last studio album release was 2014’s 9 Dead Alive. In 2016 alone they performed in 25 countries around the world, including their debut tour of South America.

2017 saw the duo celebrate the tenth anniversary of their self-titled album with a deluxe re-issue and an extensive world tour, during which they performed the album in full each night. They are currently writing and recording a new studio album. rodgab.com

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STAR WARS: A NEW HOPE IN CONCERT FRIDAY, SEPTEMBER 7, 2018, 7:30 PM SATURDAY, SEPTEMBER 8, 2018, 7:30 PM SUNDAY, SEPTEMBER 9, 2018, 2 PM SPONSORED BY

Norman Huynh, conductor Presentation licensed by Disney Concerts in association with 20th Century Fox, Lucasfilm, and Warner /Chappell Music. © 2017 & TM LUCASFILM LTD. ALL RIGHTS RESERVED

ARLENE SCHNITZER CONCERT HALL

Biography

John Williams In a career spanning five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music and served as music director for more than 100 films, including all seven Star Wars films, the first three Harry Potter films, Superman, jfk, Born on the Fourth of July, Memoirs of a Geisha, Far and Away, The Accidental Tourist, Home Alone, and The Book Thief. His 40-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. The Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third 16 artslandia.com

Kind, the Indiana Jones films, Munich, Saving Private Ryan, The Adventures of Tintin, War Horse, and Lincoln. His contributions to television music include scores for more than 200 television films for the groundbreaking, early anthology series Alcoa Theatre, Kraft Television Theatre, Chrysler Theatre, and Playhouse 90, as well as themes for nbc Nightly News (“The Mission”), nbc’s Meet the Press, and the pbs arts showcase Great Performances. He also composed themes for the 1984, 1988, and 1996 Summer Olympic Games and the 2002 Winter Olympic Games. He has received five Academy Awards and fifty Oscar nominations, making him the Academy’s most-nominated living person and the second-most nominated person in the history of the Oscars. He has received seven British Academy Awards (bafta), twenty-two Grammys, four Golden Globes, five Emmys, and numerous gold and platinum records. In 2003, he received the Olympic Order (the ioc’s highest honor) for his contributions to the Olympic movement. He received the prestigious Kennedy Center Honor in December of 2004. In 2009, Mr. Williams was inducted into the American Academy of Arts & Sciences and received the National Medal of Arts, the highest award given to artists by the

u.s. government. In 2016, he received the 44th Life Achievement Award from the American Film Institute – the first time in their history that this honor was bestowed upon a composer.

In January 1980, Mr. Williams was named nineteenth music director of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the title of Boston Pops laureate conductor, which he assumed following his retirement in December 1993 after fourteen highly successful seasons. He also holds the title of artist-in-residence at Tanglewood. Mr. Williams has composed numerous works for the concert stage, among them two symphonies and concertos commissioned by several of the world’s leading orchestras, including a cello concerto for the Boston Symphony Orchestra, a bassoon concerto for the New York Philharmonic, a trumpet concerto for The Cleveland Orchestra, and a horn concerto for the Chicago Symphony Orchestra. In 2009, Mr. Williams composed and arranged Air and Simple Gifts especially for the first inaugural ceremony of President Barack Obama, and, in September 2009, the Boston Symphony premiered a new concerto for harp and orchestra entitled On Willows and Birches.

The Oregon Community Foundation can help your tax-deductible gift pave the way toward a bolder, brighter outlook for Oregon’s future.

oregoncf.org

THE MUSIC OF U2 SATURDAY, SEPTEMBER 15, 2018, 7:30 PM Brent Havens, conductor Tony Vincent, vocals

Program will be announced from the stage.

ARLENE SCHNITZER CONCERT HALL

Biographies for all of the symphonic rock programs including the Music of Led Zeppelin, the Music of Pink Floyd, the Music of Queen, and the Music of Michael Jackson. He also premiered a full orchestral show for Lou Gramm, The Voice of Foreigner, with Lou singing out front.

Brent Havens Berklee-trained arranger/conductor Brent Havens has written music for orchestras, feature films, and virtually every kind of television. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale. He has worked with some of the world’s greatest orchestras including the Royal Philharmonic, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, and countless others.

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

Havens is arranger/guest conductor

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Tony Vincent Tony Vincent grew up in the small town of Albuquerque, nm, where from a young age he was exposed to the music of The Beatles and The Rolling Stones.

While attending university (Nashville, tn), Vincent started a makeshift record company out of his dorm room and recorded a five-song ep, which led to a recording contract with emi records.

Two solo albums (Tony Vincent, One

Deed) followed producing six #1 Billboard radio singles.

Shortly after moving to nyc in 1997 to continue his recording career, joined the cast of Rent as part of the first national tour and made his Broadway debut in the New York production in 1999. In 2002 Vincent originated the role of Galileo Figaro in the rock band Queen’s smash hit We Will Rock You on London’s West End. He also fronted the band itself on several occasions, including a performance of “Bohemian Rhapsody” at Queen Elizabeth’s Golden Jubilee concert for a live audience of over 1 million people surrounding Buckingham Palace and over 200 million television viewers world-wide.

Vincent is best known for his appearance on the second season of nbc’s reality singing competition The Voice. While on the show, Vincent was selected to be on “Team Cee Lo,” and made a lasting impression on fans worldwide with his final performance of The Eurythmics’ “Sweet Dreams.” Tony Vincent continues to write and produce for future projects as a solo artist, as a producer for other artists, and under the band moniker Mercer.

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LILY TOMLIN SATURDAY, SEPTEMBER 22, 2018, 7:30 PM An evening of classic Lily Tomlin.

The Oregon Symphony does not perform.

Lily Tomlin can be found on Facebook, Twitter, and the Lily Tomlin website, www.lilytomlin.com.

“When you Wish Upon a Star” – Words by Ned Washington, Music by Leigh Harline. Copyright 1940 and Renewed by Bourne Co., All Rights Reserved International Copyright Secured, ascap.

ARLENE SCHNITZER CONCERT HALL

Biography The Improvisation, Cafe Au Go Go, and the Upstairs at the Downstairs.

Lily Tomlin Lily Tomlin, one of America’s foremost comediennes, continues to venture across an ever-widening range of media, starring in television, theater, motion pictures, animation, video, and social media. Throughout her extraordinary career, Tomlin has received numerous awards, including seven Emmys, two Tonys, a Grammy, and two Peabody Awards. In 2003 she received the Mark Twain Prize for American Humor, and in December 2014 she was the recipient of the prestigious Kennedy Center Honors in Washington, d.c.

Tomlin was born in Detroit, Michigan, and grew up in a working-class neighborhood on the outskirts of one of the city’s most affluent areas. Although she claims she wasn’t funny as a child, Tomlin admits she “knew who was and lifted all their material right off the tv screen.” Her favorites included Lucille Ball, Bea Lillie, Imogene Coca, and Jean Carroll, one of the first female stand-ups on The Ed Sullivan Show.

She moved to New York in 1965, where she soon built a strong following with her appearances at landmark clubs such as 20 artslandia.com

Tomlin made her television debut in 1966 on The Garry Moore Show and then made several memorable appearances on The Merv Griffin Show. In December 1969, Tomlin joined the cast of the top-rated Laugh-In and immediately rose to national prominence with her characterizations of Ernestine, the irascible telephone operator, and Edith Ann, the devilish six year old.

When Laugh-In left the air, Tomlin went on to co-write, with Jane Wagner, and star in six comedy television specials, for which she won three Emmy Awards and a Writers’ Guild of America Award.

She has guest starred on numerous television shows, such as Saturday Night Live, Homicide, X-Files, and Will and Grace. Tomlin is currently co-starring with Jane Fonda in the widely popular Netflix series Grace and Frankie, which premiered in May 2015. In the first three seasons, Tomlin was nominated for an Emmy, and, in the first season, a Golden Globe. Tomlin was recently honored with the Career Achievement Award from the Television Critics Association.

Tomlin made her Broadway debut in the 1977 play Appearing Nitely, written and directed by Jane Wagner. Appearing Nitely introduced Trudy the bag lady, Crystal the hang-gliding quadriplegic, Rick the singles bar cruiser, Glenna as a child of the sixties, and Sister Boogie Woman, a 77-year-old blues revivalist. Tomlin next appeared on Broadway in 1985 in Jane Wagner’s critically acclaimed play The Search for Signs of Intelligent Life in the Universe.

On film, Tomlin made her debut in Robert Altman’s Nashville (1975); her memorable performance was nominated for an Academy Award. She went on to star with John Travolta as a lonely housewife in Jane Wagner’s Moment By Moment (1978), and then teamed with Jane Fonda and Dolly Parton in the late Colin Higgins’ comedy 9 to 5 (1980). In the ‘90s, Tomlin starred in the film adaptation of The Search for Signs of Intelligent Life In the Universe (1991) and appeared as part of an ensemble cast in Woody Allen’s Shadows and Fog (1992).

Tomlin also joined Jack Lemmon, Dan Akroyd, and Bonnie Hunt in Getting Away with Murder (1996). Tomlin starred in a Paul Weitz movie with Tina Fey and Paul Rudd, Admission (2013), and starred in a second movie which Paul Weitz specifically wrote for Tomlin, Grandma (2015). For her extensive work in film, Tomlin has received the Crystal Award from Women in Film.

Tomlin is well known for supporting philanthropic organizations, particularly those focused on animal welfare, civil rights, health care, protection of elephants, women’s issues, aids-related organizations, environmental concerns, overcoming homelessness, and supporting the lgbtq community in all aspects of life. She has given countless fund-raising performances for organizations across the country and founded the Los Angeles lgbt Center’s Lily Tomlin/Jane Wagner Cultural Arts Center.

Tomlin’s humanitarian efforts earned her the Honickman Foundation’s Golden Heart Award for her impact in breaking the cycle of homelessness and poverty.

OPENING NIGHT WITH RENÉE FLEMING SUNDAY, SEPTEMBER 23, 2018, 7:30 PM SPONSORED BY ROBERT & JANIS HARRISON

Carlos Kalmar, conductor Renée Fleming, soprano

Richard Strauss Don Juan

Kevin Puts/Georgia O’Keeffe Letters from Georgia Introduction Taos Violin Ache Friends Canyon Renée Fleming Samuel Barber Overture to The School for Scandal INTERMISSION Leonard Bernstein Overture to Candide Licinio Refice/Emidio Mucci “Ombra di Nube” (featured in the film Bel Canto) Friedrich von Flotow/Friedrich Wilhelm Riese “’Tis the Last Rose of Summer” from Martha (featured miin the film Three Billboards Outside Ebbing, Missouri) “You’ll Never Know” (featured in the film The Shape of Water) Harry Warren/Mack Gorden/Arr. Desplat Renée Fleming Aaron Copland “Party Scene” and “The Promise of Living” from Suite from The Tender Land Meredith Willson Kander and Ebb Sting/John Logan/Brian Yorkey Stephen Sondheim/Hugh Wheeler

“Till There Was You” from The Music Man “Love and Love Alone” and “Winter” from The Visit “August Winds” from The Last Ship “The Glamorous Life” from A Little Night Music Renée Fleming

ARLENE SCHNITZER CONCERT HALL

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OPENING NIGHT WITH RENÉE FLEMING Biography acclaimed portrayal of the Marschallin in Strauss’ Der Rosenkavalier to the Royal Opera, Covent Garden, and the Metropolitan Opera, in a new production by director Robert Carsen. A dvd of that performance was recently released by Decca. Her current recital and concert schedule spans the globe, including Budapest, Vienna, Amsterdam, Brussels, Paris, London, Madrid, Helsinki, Tokyo, Hong Kong, Beijing, Seoul, Houston, Chicago, Los Angeles, and New York.

Renée Fleming One of the most beloved and celebrated singers of our time, soprano Renée Fleming captivates audiences with her sumptuous voice, consummate artistry, and compelling stage presence.

At a White House ceremony in 2013, President Obama awarded her the National Medal of Arts, America’s highest honor for an individual artist.

Winner of the 2013 Grammy® Award for Best Classical Vocal Solo (her fourth), she brought her voice to a vast new audience in 2014 as the first classical artist ever to sing “The Star-Spangled Banner” at the Super Bowl. As a musical statesman, Renée has been sought after on numerous distinguished occasions, from the 2006 Nobel Peace Prize ceremony to the 2014 televised concert at the Brandenburg Gate to commemorate the 25th anniversary of the fall of the Berlin Wall. In 2012, in an historic first, she sang on the balcony of Buckingham Palace in the Diamond Jubilee Concert for HM Queen Elizabeth II. In January 2009, Renée was featured in the televised We Are One: The Inaugural Celebration at the Lincoln Memorial concert for President Obama.

A groundbreaking distinction came in 2008 when Renée became the first woman in the 125-year history of the Metropolitan Opera to solo headline an opening night gala.

In April 2018, Renée made her Broadway musical debut in a major revival of Rodgers and Hammerstein’s Carousel, for which she earned a Tony Award nomination. In 2017, she brought her

Renée was featured on the soundtrack of two Best Picture and Best Soundtrack nominees at the 2018 Academy awards, Three Billboards Outside Ebbing, Missouri, and The Shape of Water, which won both prizes. Renée will be heard as the singing voice of Roxane, played by Julianne Moore, in the upcoming film adaptation of the best-selling novel Bel Canto. Renée, a fourteen-time Grammy nominated artist, has recorded everything from Strauss’ complete Daphne to the jazz album Haunted Heart to the movie soundtrack of The Lord of the Rings: The Return of the King.

In spring 2017, Renée’s album Signatures was selected by the U.S. Library of Congress for the National Recording Registry, as an “aural treasure worthy of preservation as part of America’s patrimony.” Earlier this month, Decca released Renee Fleming: Broadway, a new album of great musical theater songs from the 1920s to the present day. Her first-ever holiday album, Christmas in New York, was released in 2014, and was the inspiration for a special on pbs.

In 2016, Renée was appointed artistic advisor for the John F. Kennedy Center for the Performing Arts.

Seeking to champion the work being done nationally – both in the medical community and within the arts world – at the intersection of health and the arts, Renée has spearheaded the first ongoing collaboration between America’s national cultural center and its largest health research institute, the National Institutes of Health. In association with the National Endowment for the Arts,

Sound Health brings together leading neuroscientists, music therapists, and arts practitioners to better understand the impact of arts on the mind and body.

Inspired by the Sound Health initiative, Renée has created a presentation called Music and the Mind, exploring the power of music as it relates to health and the brain. Topics include childhood development, music therapy, and cognitive neuroscience. Since September 2017, Renée has presented Music and the Mind in 14 cities around the country.

Renée’s recent opera dvds include Strauss’ Der Rosenkavalier, Dvořák’s Rusalka, Verdi’s Otello, Handel’s Rodelinda, and Massenet’s Thaïs, all in the Metropolitan Opera Live in hd series, as well as Strauss’ Arabella and Ariadne auf Naxos, Donizetti’s Lucrezia Borgia, and Verdi’s La traviata, filmed at London’s Royal Opera House.

Renée Fleming is a champion of new music and has performed works by a wide range of contemporary composers, including recent compositions by André Previn, Caroline Shaw, Kevin Puts, Anders Hillborg, Henri Dutilleux, Brad Mehldau, and Wayne Shorter. Among her numerous awards are Germany’s Cross of the Order of Merit, the Fulbright Lifetime Achievement Medal, Sweden’s Polar Prize, and the Chevalier de la Légion d’Honneur from the French government.

Renée’s book, The Inner Voice, an intimate account of her career and creative process, was published by Viking Penguin in 2004. The paperback edition is now in its sixteenth printing. www.reneefleming.com

Renée Fleming appears by arrangement with img Artists, imgartists.com Ms. Fleming is an exclusive recording artist for Decca and Mercury Records (uk).

Ms. Fleming’s gowns are by Vera Wang.

Ms. Fleming’s jewelry is by Ann Ziff for Tamsen Z. orsymphony.org | 503-228-1353 23

OPENING NIGHT WITH RENÉE FLEMING Program Notes RICHARD STRAUSS 1864–1949

Don Juan, Op. 20 composed: 1888 most recent oregon symphony performance: November 7, 2011; Carlos Kalmar, conductor instrumentation: 3 flutes (one doubling piccolo), 2 oboes, English horn, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, cymbals, orchestra bells, triangle, harp, and strings estimated duration: 18 minutes Don Juan is the third of Richard Strauss’ symphonic tone poems, and at its premiere it confirmed Strauss as the preeminent composer of his generation.

Strauss’ matchless orchestrations are showcased throughout this bold, provocative work, and his challenging brass parts are especially noteworthy.

During rehearsals, one horn player asked sarcastically, “Good God, in what way have we sinned that you should have sent us this scourge?!” Strauss sympathized; in a letter to his father, also a horn player, Strauss wrote, “I felt really sorry for the poor horns and trumpets. They blew till they were blue in the face, it’s such a strenuous business for them… [but] the sound was wonderful, with an immense glow and sumptuousness; the whole affair will make an incredible impression here.” He was right. From the moment of its premiere, when Strauss led the Grand Ducal Court Orchestra of Weimar on November 11, 1889, Don Juan both confounded and thrilled audiences with its groundbreaking use of colors and vibrant, musically articulate character portraits.

The Don’s theme explodes into our ears just after the opening introductory flourish, a swashbuckling ascending line in the violins. Immediately we perceive the Don as an impulsive adventurer, forever looking for his next escapade

or conquest, and this theme recurs several times. But Strauss’ Don Juan is more than a roguish libertine; he also embodies a nobility of spirit, captured by a heroic counter-theme first played by four unison horns. Strauss is equally adept at depicting the Don’s seductive virtuosity. A solo violin drips with tender intimacies, and later an oboe soars with a melody of serene gentility.

The character of Don Juan has fascinated writers and artists since it first appeared in Tirso de Molina’s 17th-century play, The Trickster of Seville and the Stone Guest.

Strauss’ Don Juan retains many of the original character’s traits, most notably his unbridled libertinism, but it also includes several accepted 19th-century Romantic tropes. Strauss took as his literary source Don Juan, A Dramatic Poem, written in 1844 by Hungarian Nikolaus Lenau. In Lenau’s poem, the Don is a multifaceted Romantic figure, full of psychological complexity, whose true quest for the ideal woman suggests Goethe’s notion of the elusive and unattainable “eternal feminine.”

Each seduction takes its toll on the Don, and he becomes filled with existential ennui. He begins to long for death, and eventually commits a passive form of suicide by allowing himself to be killed by the son of a man he murdered.

KEVIN PUTS b. 1972

Letters from Georgia composed: 2016 first oregon symphony performance instrumentation: soprano, 3 flutes (2 doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets (1 doubling piccolo trumpet), 2 trombones, bass trombone, tuba, timpani, bass drum, chimes, Chinese cymbal, claves, bowed crotales, cymbals, glockenspiel, gongs, triangle, bowed vibraphone, xylophone, piano, harp, and strings estimated duration: 21 minutes

“My first memory is of light – the brightness of light – light all around.” –Georgia O’Keeffe A graduate of Eastman School of Music, Pulitzer Prize-winning composer Kevin Puts set five letters written by artist Georgia O’Keeffe to music. “I think the sense of space and simplicity and aridity is in the music,” says Puts. “[O’Keeffe’s] language has almost a kind of Hemingway simplicity, which I love. I respond to that better than I think I would to a more florid kind of language. It’s clear and it’s direct, and that’s what I try to do with the music.”

Puts begins the cycle with O’Keeffe’s recollection of her first memory, which is quoted above. “It serves the piece so well,” Puts says, “because the sun is incessantly burning throughout the music. I thought of the clarity of that, setting it musically, and having the orchestra becoming luminous behind Renée.”

In an interview, Renée Fleming describes the letters and the woman who penned them. “They’re all different; they’re provocative, very interesting. She’s a fascinating woman … she was quoted as saying that ‘Singing seems to me to be the most perfect means of expression, spontaneous. After that, the violin. I cannot sing, so I paint.’” Letters from Georgia does not follow a particular narrative arc. As Fleming says, the letters are “vignettes, moments that she wrote about, that corresponded, in Kevin’s mind, to music that he could create around her.”

These five letters, written to O’Keeffe’s husband, Alfred Stieglitz, or her life-long friend Anita Pollitzer, highlight different moments in O’Keeffe’s life. The first, Taos, describes O’Keeffe’s enraptured reaction to the light and space of the New Mexico desert and the Pueblo culture she finds there. In Violin, O’Keeffe ruefully admits her lack of musical ability as she “labors on the violin till all my fingers are sore. You never in your wildest dreams imagined anything worse than the notes I get out of it.” O’Keeffe expresses ardent eroticism and desire for Stieglitz in Ache – “All of me waiting for you to touch the center of me with the center of you.”

orsymphony.org | 503-228-1353 25

OPENING NIGHT WITH RENÉE FLEMING Friends, written from a later vantage point in O’Keeffe’s life, ruminates on the meaning of friendship: is it borne out of usefulness, collaboration, or similarity of viewpoint? “The term ‘friend’ is an odd word,” O’Keeffe admits to Pollitzer. In Canyon, O’Keeffe describes the scenery she sees on a sunset walk – “land that is more like ocean than anything else I know” – and sums up her decades-long connection with the desert: “It is absurd how I love this country.”

until August 30, 1933, with Alexander Smallens leading the Philadelphia Orchestra. Audience and critical reactions were favorable, and The School for Scandal established the young Barber as a rising compositional star.

One reviewer wrote, “A work robustly scored – indeed, almost excessive in instrumentation at times – marked by a certain melodic facility and a sure sense of design, neither purely freakish in effect in the modern manner, nor complacently old-fashioned.”

SAMUEL BARBER 1910–81

LEONARD BERNSTEIN

Overture to The School for Scandal, Op. 5

1918–90

composed: 1931–32 most recent oregon symphony performance: October 1, 2011; Carlos Kalmar, conductor instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, bells, cymbals, triangle, celesta, harp, and strings estimated duration: 8 minutes Throughout his life, Samuel Barber found inspiration for his music in works of literature. Barber’s first work for full orchestra, composed during an Italian summer holiday with his lover Gian Carlo Menotti in Cadegliano, was inspired by Richard Sheridan’s The School for Scandal, an 18th-century comedy of manners. Barber’s music effectively captures the topsy-turvy plot and biting social satire of the play, something he emphasized in his later comments about the work and his motivation for writing it. Far from program or incidental music, Barber said his Opus 5 was “a musical reflection of the play’s spirit.”

Barber was still enrolled as an undergraduate at the Curtis Institute in Philadelphia when he completed Opus 5, but Fritz Reiner, then conductor of the Curtis Orchestra, showed little interest in Barber’s work, and it did not premiere

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Overture to Candide composed: 1956 most recent oregon symphony performance: April 18, 2015; Carlos Kalmar, conductor

Voltaire amounts to a brilliant and sophisticated parody of opera itself.

However, in its original version, which premiered at New York’s Martin Beck Theater on December 1, 1956, Candide failed to appeal to either audiences or critics. In 1973, Bernstein worked with Hugh Wheeler on a revised book with some added lyrics by Steven Sondheim.

This revival version quickly became a hit, both on Broadway and at the New York City Opera.

The music of the overture captures the frenzied hither-and-thither action of the story, with its relentless travel and equally relentless optimism. Candide’s straightforward, simple character emerges in fresh, sparkling orchestral colors and sunny harmonies.

LICINIO REFICE 1883–1954

instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, glockenspiel, snare drum, tenor drum, triangle, xylophone, harp, and strings

Ombra di nube (Shadow of a Cloud)

estimated duration: 5 minutes

estimated duration: 4 minutes

In 1954, Leonard Bernstein teamed up with playwright Lillian Hellman and lyricist Richard Wilbur to adapt Voltaire’s 18th-century satire Candide, the story of a naïve innocent who believes wholeheartedly in the teachings of his mentor, Dr. Pangloss, who proclaims, “This is the best of all possible worlds.”

Determined to prove his teacher right, Candide and his sweetheart, Cunégonde, embark on a worldwide journey of discovery with Pangloss. Together they visit Lisbon, Paris, Buenos Aires, and the mythical land of El Dorado, where they witness the terrible realities of life in the forms of crime, atrocity, and suffering.

Utterly disillusioned, Candide returns to Venice with Cunégonde, stripped of his idealism.

Bernstein’s high-voltage treatment of

composed: 1935 first oregon symphony performance instrumentation: solo voice, solo cello, and string orchestra

Following in the footsteps of his countryman Antonio Vivaldi, Licinio Refice pursued both ecclesiastical and musical careers. As a priest, he taught at Rome’s Scuola Pontifica for more than 40 years; he also composed a number of oratorios and completed two operas. He is best known for Cecille, an opera based on the life of St. Cecilia, the patron saint of music (Refice died during rehearsals of Cecille in Rio de Janeiro).

“Ombra di nube,” although written in the style of a 19th-century aria, is in fact a popular song from the 1930s. Refice wrote it for the Italian soprano Claudia Muzio, whose voice he described as “having God in her throat.” The lyrics describe the beauty of a blue sky, and a plea that the dark clouds dissipate: “Let me see the clear sky for all eternity!” Ms. Fleming’s

NOV 2–10, 2018 KELLER AUDITORIUM

Photo by Cory Weaver/San Francisco Opera

Sung in Italian with projected English captions

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AS ONE MARCH 2019

A Special Concert

BIG NIGHT MAY 2019

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Mozart

LA FINTA GIARDINIERA JULY 2019

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OPENING NIGHT WITH RENÉE FLEMING recording is featured in the soundtrack to the recently released film Bel Canto, based on the novel by Ann Patchett.

HARRY WARREN/MACK GORDEN (ARR. DESPLAT) 1893–1981/1904–59

FRIEDRICH VON FLOTOW 1812–83

“’Tis the Last Rose of Summer” from Martha composed: 1813; 1844–47 first oregon symphony performance instrumentation: solo voice, 2 flutes, oboe, 2 clarinets, 2 bassoons, 2 horns, timpani, harp, and strings estimated duration: 4 minutes In the early to mid-19th century, it was customary during an opera to insert popular songs of the day into the plot.

Usually these songs were chosen by the leading diva, to showcase her particular strengths. Friedrich von Flotow preempted this custom by incorporating an Irish ballad into the second act of his opera Martha. Irish poet Thomas Moore wrote the words for “’Tis the Last Rose of Summer” in 1805, and it was published as a song in 1813, using the melody from a traditional ballad, “The Young Man’s Dream.”

In Martha, Lady Harriet, disguised as a serving wench named Martha, sings the ditty as a means of distracting her “employer,” Lionel, who can’t seem to take his eyes off her. Unfortunately, Lady Harriet’s singing only further beguiles Lionel, who tells her he wishes they could wed, so he could free her from serfdom.

Ms. Fleming’s recording of this song is featured in the soundtrack to the 2017 film, Three Billboards Outside Ebbing, Missouri.

You’ll Never Know composed: 1943 first oregon symphony performance instrumentation: solo voice, 3 flutes (1 doubling bass flute, 2 doubling alto flute), oboe, 2 clarinets, alto saxophone, bassoons, 4 horns, 3 trombones, tuba, drum set, glockenspiel, snare drum, celeste, piano, harp, jazz bass, and strings estimated duration: 5 minutes

This popular song from 1943 was featured in the soundtrack to the 2017 Academy Award-winning film, The Shape of Water, sung by Ms. Fleming. “You’ll Never Know,” whose lyrics were based on a poem written by a young Oklahoma war bride, won the Academy Award for best original song in 1943 for the film Hello, Frisco, Hello!, where it was sung by Alice Faye. Since then it has been covered by a number of other performers, including Frank Sinatra, Dick Haymes, Vera Lynn, Rosemary Clooney, Bette Midler, and Barbra Streisand.

Aaron Copland’s opera, The Tender Land, with a libretto by Copland’s colleague and lover Erik Johns, tells the story of Laurie Moss, a young farm girl growing up in the Midwest. Copland and Johns took inspiration from James Agee’s and Walker Evans’ iconic book Let Us Now Praise Famous Men, which chronicles in words and pictures the plight of Southern sharecroppers during the 1930s. The Tender Land premiered on April 1, 1954, in a production by the New York City Opera, conducted by Thomas Schippers and directed by Jerome Robbins.

“The Promise of Living” concludes the first act of The Tender Land. As he did in Appalachian Spring, Copland uses an actual hymn melody as the basis for “The Promise of Living.” Johns and Copland transform the music of this hymn, “Zion’s Walls,” into a paean of praise for the land and the bonds of family and community. Laurie and her family sing, “The promise of growing/with faith and with knowing/is born of our sharing/our love with our neighbor.”

Although the complete opera is not often performed (it garnered harsh criticism at its premiere), several selections from the opera, including an orchestral suite and “The Promise of Living,” have become a standard part of both the orchestral and choral repertoire.

AARON COPLAND 1900–1990

MEREDITH WILLSON

“Party Scene” and “The Promise of Living” from Suite from The Tender Land

1902–84

composed: 1948–54

composed: 1957

most recent oregon symphony performance: September 16, 2010; Carlos Kalmar, conductor

first oregon symphony performance

instrumentation: piccolo, 2 flutes, oboe, English horn, 2 clarinets (one doubling bass clarinet), 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, orchestra bells, ratchet, slapstick, snare drum, triangle, woodblock, xylophone, celeste, piano, and strings

“’Til There Was You” from The Music Man

instrumentation: solo voice, 2 flutes, 2 clarinets, bassoon, 3 trumpets, 3 trombones, timpani, glockenspiel, temple blocks, triangle, vibraphone, whistle, wood block, xylophone, and strings estimated duration: 4 minutes

estimated duration: 19 minutes orsymphony.org | 503-228-1353 29

OPENING NIGHT WITH RENÉE FLEMING Meredith Willson’s The Music Man features a long list of indelible hits, most particularly “’Til There Was You.” This song was recorded and released even before the show premiered, and prior to the release of the original cast album, in an arrangement by Nelson Riddle featuring a 17-year-old Sue Raney on vocals.

The 1957 show, which won five Tonys, including Best Musical, has never lost its timeless popularity, whether on Broadway, at regional and community theatres, in film, or on high school stages around the country. The album recorded by the original cast won the first Grammy for best musical theater album. Following on the heels of the show’s success, others hurried to cover the tune. The most famous cover, by the Beatles on their second album, Meet the Beatles!, features an impossibly young Paul McCartney on vocals. This cover earned more royalties for Willson and his estate than did the actual show.

Willson used his hometown, Mason City, Iowa, as the backdrop for his delightful comedy about a con man who ends up falling for the prim librarian, who discovers his scam and falls for him anyway.

The hit team of composer John Kander and Fred Ebb are best known for their hit shows Cabaret and Chicago. The duo continued creating musicals until Ebb’s death in 2004, including their 2000 musical The Visit. Based on a dark satire by a Swiss playwright, The Visit tells the story of the richest woman in the world, Claire Zachanassian, who comes back to her hometown and offers its financially strapped citizens a chance to improve their fortunes if they agree to murder her former lover, Anton Schell.

Kander and Ebb wrote The Visit with Angela Lansbury in mind as Claire.

During rehearsals, Lansbury withdrew from the show to care for her husband, and was replaced by Chita Rivera. The Visit opened in Chicago less than a month after the September 11, 2001 attacks. The unfortunate timing of world events, along with the show’s dark plot about greed and revenge, combined to prevent The Visit from making its planned move to Broadway until 2015.

Claire sings “Love and Love Alone,” a paean to love’s ability to thwart carefully laid plans near the end of the show, as she waits for Anton to arrive at their old meeting place. In “Winter,” from the end of Act I, Claire describes Anton’s perfidy and her vow to get revenge.

b. 1927/1928–2004

STING

“Love and Love Alone” and “Winter” from The Visit

b. 1951

first oregon symphony performance instrumentation: solo voice, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 3 trumpets, 3 trombones, tuba, drum set, glockenspiel, mark tree, triangle, vibraphone, celeste, piano, accordion, banjo, harp, and strings estimated duration: 3 minutes

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Gideon, son of a shipbuilder in Wallsend, decides to defy family tradition and leave his hometown to see the world. He tries to convince his girlfriend Meg to join him, but she remains behind, and sings “August Winds” as she waits by the harbor for Gideon’s return.

STEPHEN SONDHEIM b. 1930

“The Glamorous Life” from A Little Night Music composed: 1972

JOHN KANDER/FRED EBB

composed: 2000

Gordon Sumner, better known to fans around the world as Sting, first made his name with the British band The Police, who had a string of top ten hits in the late 1970s and through the 80s. Sting went on to a successful solo career, and has since expanded his musical horizons in unexpected directions, including his 2006 album Songs from the Labyrinth, which reinterprets the lute and solo music of 16th-century composer John Dowland. In 2011, Sting began writing The Last Ship, an original musical that tells the story of the slow death of the shipbuilding industry in his hometown, Wallsend, in northeastern England. The Last Ship premiered in 2014 and went on to garner two Tony nominations, for best original score and best orchestrations.

“August Winds” from The Last Ship composed: 2013 first oregon symphony performance instrumentation: solo voice, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, timpani, bass drum, cymbal, mark tree, triangle, acoustic guitar, and strings estimated duration: 4 minutes

first oregon symphony performance instrumentation: solo voice, piccolo, 2 flutes, oboe, 2 clarinets, bassoon, 3 horns, 2 trumpets, trombone, timpani, bells, crotales, snare drum, triangle, xylophone, piano, harp, and strings estimated duration: 4 minutes No Broadway composer turns a phrase better than Stephen Sondheim, whose hit musicals span more than half a century and include West Side Story (lyrics), Company, Sweeney Todd, Into the Woods, and Sundays in the Park with George, among many others. Hailed as “the greatest and perhaps best-known artist in the American musical theater”

OPENING NIGHT WITH RENÉE FLEMING by critic Frank Rich, Sondheim is equally renowned as a composer; he has won eight Tonys, eight Grammys, and numerous other honors, including the 2015 Presidential Medal of Freedom.

A Little Night Music, which premiered in 1973 and went on to run for over 600 performances, takes its title from Mozart’s serenade of the same name, better known in German as Eine kleine Nachtmusik, and the outline of its plot

from the 1955 Ingmar Bergman comedy Smiles of a Summer Night. The film traces the romantic journeys of several couples on Midsummer Night at a country house in turn-of-the-last-century Sweden. Sondheim tweaks Bergman’s comedy, giving it a poignant dimension as the female lead, Desiree Armfeldt, a prominent stage actress, discovers too late that she had love and lost it in pursuit of her career.

Desirée, an actress, is introduced in “The Glamorous Life,” juggling the demands of motherhood, provincial touring, and filial duty. In Renée’s performance, Desirée just might be a soprano, and the group number (in time-honored diva fashion) is distilled to a monologue. © 2018 Elizabeth Schwartz

RECOMMENDED RECORDINGS RECOMMENDED BY RENÉE FLEMING

RECOMMENDED FROM BRAHMS’ FOURTH SYMPHONY

Distant Light A recital of songs by Barber, Hillborg, and Gudmundsdottir; Fleming’s most recent solo release Sakari Oramo – Royal Stockholm Philharmonic Orchestra

Copland: Piano Concerto Garrick Ohlsson Michael Tilson Thomas – San Francisco Symphony

RCA Victor Red Seal 68541

Decca 002609602

Haydn: Symphony No. 83, “Hen”

The Beautiful Voice Jeffrey Tate – English Chamber Orchestra

Leonard Bernstein – New York Philharmonic

Decca 458858

2-Sony Classical 47550

Strauss: The Four Last Songs, etc.

Brahms: Symphony No. 4

Christian Thielemann – Munich Philharmonic Orchestra

Otto Klemperer – Philharmonia Orchestra

4-EMI/Warner Classics 043382

Decca 001185102 Opera Arias by Puccini, Verdi, Bellini, etc.

Sir Charles Mackerras-London Philharmonic Orchestra

Decca 467049 Renée Fleming: Broadway Rob Fisher – BBC Concert Orchestra Decca 467049 Recordings selected by Michael Parsons, longtime manager of Classical Millennium and expert in classical recordings.

orsymphony.org | 503-228-1353 31

BRAHMS’ FOURTH SYMPHONY SATURDAY, SEPTEMBER 29, 2018, 7:30 PM SUNDAY, SEPTEMBER 30, 2018, 2 PM MONDAY, OCTOBER 1, 2018, 7:30 PM Jun Märkl, conductor Inon Barnatan, piano

Katherine Balch Chamber Music (World premiere commission)

Franz Joseph Haydn Symphony No. 83 in G Minor, “Hen” Allegro spiritoso Andante Menuet: Allegretto Vivace

Aaron Copland Piano Concerto Andante sostenuto Molto moderato (molto rubato) – Allegro assai Inon Barnatan INTERMISSION

Johannes Brahms Symphony No. 4 in E Minor Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato

ARLENE SCHNITZER CONCERT HALL

CONCERT CONVERSATION Conducted one hour before each performance, the Concert Conversation will feature guest conductor Jun Märkl and host Robert McBride. You can also enjoy the Concert Conversation in the comfort of your own home. Visit orsymphony.org to watch the video on demand.

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BRAHMS’ FOURTH SYMPHONY Biographies passion for contemporary music has seen him commission and perform many works by living composers, including premieres of pieces by Thomas Adès, Sebastian Currier, Andrew Norman, and Matthias Pintscher.

Inon Barnatan Inon Barnatan last appeared with the Oregon Symphony on November 18, 2013, when he performed Ravel’s Piano Concerto in G Major with conductor Justin Brown.

“One of the most admired pianists of his generation” (The New York Times), Inon Barnatan is celebrated for his poetic sensibility, musical intelligence, and consummate artistry. He is the recipient of both a prestigious 2009 Avery Fisher Career Grant and Lincoln Center’s 2015 Martin E. Segal Award, which recognizes “young artists of exceptional accomplishment.” He was recently named the new music director of the La Jolla Music Society Summerfest, beginning in 2019.

A regular soloist with many of the world’s foremost orchestras and conductors, the Israeli pianist recently completed his third and final season as the inaugural artist-in-association of the New York Philharmonic. After his recent debuts with the Leipzig Gewandhaus Orchestra, Hong Kong Philharmonic, and Chicago, Baltimore, and Seattle symphonies, he opened the season with the Los Angeles Philharmonic at the Hollywood Bowl.

In recital this season, Barnatan returns to venues including New York’s 92nd Street Y and London’s Wigmore Hall and Southbank Centre, besides making Carnegie Hall appearances with soprano Renée Fleming and his regular duo partner, cellist Alisa Weilerstein. His

“A born Schubertian” (Gramophone), Barnatan’s critically acclaimed discography includes Avie and Bridge recordings of the Austrian composer’s solo piano works, as well as Darknesse Visible, which scored a coveted place on The New York Times’ “Best of 2012” list. His most recent album release is a live recording of Messiaen’s 90-minute masterpiece Des canyons aux étoiles (From the Canyons to the Stars).

to the Dallas, Atlanta, and Vancouver symphonies in North America; the Netherlands Radio Philharmonic and Tonkuenstler Orchestra Vienna in Europe; and debuts with the Malaysian Philharmonic Orchestra, the Seoul Philharmonic, and the National Symphony Orchestra of Taiwan in Asia.

As an opera conductor, Märkl was a regular guest at the state operas of Vienna, Munich, and the Semperoper Dresden, and was permanent conductor of the Bavarian State Opera for many seasons. He made his Royal Opera House debut with Götterdämmerung in 1996 and his Metropolitan Opera debut with Il trovatore in 1998.

Märkl has released over 50 recordings.

His recordings of the complete orchestral works of Claude Debussy on Naxos brought him the French Ministry of Culture’s coveted “Chevalier de l’Ordre des Arts et des Lettres” award in 2012. His recordings also include three cds with works by Japanese composer Toshio Hosokawa. Recordings of works

by Saint-Saëns and Strauss are to be released in 2018.

Jun Märkl Jun Märkl last appeared with the Oregon Symphony on April 24, 2017.

The program included Mendelssohn’s The Hebrides Overture, Britten’s Violin Concerto with Simone Lamsma, Hosokawa’s Circulating Ocean, and Debussy’s La mer.

Born in Munich, Märkl’s father was a distinguished concertmaster and his mother a solo pianist. Märkl studied at the Musikhochschule in Hannover, with Sergiu Celibidache in Munich, and with Gustav Meier in Michigan.

In 1986 he won the conducting competition of the Deutsche Musikrat, and a year later he won a scholarship to study at Tanglewood with Leonard Bernstein and Seiji Ozawa.

Conductor Jun Märkl is recognized as a devoted advocate of both symphonic and operatic Germanic repertoire, and as a rare specialist for his idiomatic explorations of the French impressionist composers. He has held the music director posts of the Orchestre National de Lyon, the mdr Symphony Orchestra Leipzig, and the Basque National Orchestra, and appears as a regular guest with the world’s leading orchestras. This season, he returns

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BRAHMS’ FOURTH SYMPHONY Program Notes KATHERINE BALCH b. 1991

Chamber Music (World premiere commissioned by the Oregon Symphony)

composed: 2018 first oregon symphony performance instrumentation: 3 flutes (1 doubling piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, tuba, timpani, bass flexatone, bongos, capiz shell wind chime, cymbals, crotales, 4 graduated flower pots, 2 Luis Conte shakers, slapstick, snare drum, tam tam, 3 graduated toms, vibraphone, 3 wood blocks, xylophone, prepared piano, harp, and strings estimated duration: 11 minutes Katherine Balch writes music that aims to capture the intimacy of existence through sound. Often influenced by extra-musical arts, philosophy, and literature, she seeks a heterogeneous yet formally cohesive aesthetic driven by attention to detail, textural lyricism, and playful sonic investigations. Balch currently serves as composer-inresidence for the California Symphony.

Additionally, she holds the William B. Butz Composition Chair as composer-inresidence for Young Concert Artists.

When composers write for orchestras, they often take advantage of the full sound spectrum of instruments and timbres within the ensemble. In creating Chamber Music, Balch has chosen to focus on the intimacy of collaboration, what she describes as “interconnected introversion,” rather than an expansive soundscape. Balch describes the work as “a very intimate, intricate music intended for close listening and made among friends. There are many soloists who chatter amongst each other and exchange musical materials. I wanted to distinguish this from the idea of a ‘concerto’ for orchestra, without the sort of virtuosic 34 artslandia.com

extroversion that a concerto implies.

I guess I’m attracted to the idea of an intimate or hushed virtuosity.”

Constructed in two halves, the first section of Chamber Music alternates periods of bouncy rhythmic woodwind textures with what Balch calls “whisper music.” “Whisper music is all sorts of little clicking, popping, crunching, whispering sounds that soloists babble to each other,” Balch explains. “Sometimes this is a playful, active gossiping; other times it’s more solemn and still.” The second section features a quiet chorale that flutters and disappears. “Sometimes parts of the orchestra ‘fall out of tune’ with other parts (by playing a quartertone lower), which results in what to me are very colorful and expressive beatings in the music.”

Chamber Music is a companion piece to Balch’s Leaf Fabric, which was commissioned and premiered in 2017 by the Suntory Summer Arts Festival in Japan. “Both are inspired visually by the intricate, detailed veination of leaves, and sonically by the dense but very quiet omnipresent sounds of the outdoors – imagine lying down in the grass and just listening to all the crinkling, swishing, and chirping around you,” says Balch.

JOSEPH HAYDN 1732–1809

Symphony No. 83 in G Minor, Hob. I:83, “Hen”

composer came with several advantages, most notably secure employment and the freedom to experiment with new styles and forms. Job security and a supportive employer notwithstanding, however, by the 1780s, after more than 20 years as the Esterházy family court composer, Haydn was, creatively speaking, bored.

Haydn’s music had been known and admired in Paris since the 1760s, when some of his string quartets were first published there. In the early 1780s, a new ensemble, the Concert de la Loge Olympique, was formed. In 1785, one of its leaders, Claude-François-Marie Rigoley, the Comte d’Ogny, commissioned six symphonies from Haydn, and offered what was described as “un prix colossal,” 25 louis d’or for each symphony, with an added five for the publication rights.

(Annotator James Keller notes that this fee was well above what the organization usually paid for this type of commission and adds, “in today’s currency, 25 louis d’or would translate in the neighborhood of $60,000.”)

Haydn’s “Paris” symphonies were an instant success with Paris audiences when they premiered in 1787 (the exact dates are not known). A contemporary reviewer wrote, “Each hearing increases our appreciation and admiration of the works of the great genius, who, in all his pieces, understands so well how to draw the richest and most varied developments from every theme.”

Symphony No. 83, “Hen,” gets its name not from Haydn but from a fowl-like composed: 1785 clucking motive in the upper strings in most recent oregon symphony the first movement. It is the only one performance: February 9, 2009; of the six Paris Symphonies to feature James Gaffigan, conductor a minor key, although it abandons its G instrumentation: flute, 2 oboes, minor opening tonality halfway through 2 bassoons, 2 horns, and strings the first movement, and the subsequent movements are all in major keys. Scholars estimated duration: 23 minutes disagree about the meaning and mood of this symphony; some interpret it as being At the age of 29, Joseph Haydn secured full of irony and conflict, while others an appointment to the court of Prince see it as the quintessential example of a Esterházy as Kapellmeister, and for almost Classical symphony in both its structure 30 years he remained in the Prince’s and treatment of musical themes. service. Serving as Esterházy’s court

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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.

BRAHMS’ FOURTH SYMPHONY AARON COPLAND 1900–90

Piano Concerto composed: 1926 most recent oregon symphony performance: April 9, 1991; Lawrence Leighton Smith, conductor; Lorin Hollander, piano instrumentation: solo piano, piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, soprano saxophone, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, bass drum, Chinese drum, cymbals, snare drum, tam-tam, triangle, woodblock, xylophone, celesta, and strings estimated duration: 17 minutes In the 1920s, American composers had not yet established a national American sound among audiences or certain influential critics and conductors, most of whom came from Europe. During this time, almost all American composers, Aaron Copland included, went to Europe to study, and their music often, if unconsciously, revealed an underlying European sensibility. In a 1976 interview, Copland talked about the need for an authentically American style as he looked back 50 years to his 1926 Piano Concerto: “To use jazz materials seemed a quite easy way to sound American right away without any effort.”

For Copland, incorporating jazz idioms made his music sound clearly American to audiences. In this context, jazz lent a special flavor to his work, but Copland was not interested in delving deeper into jazz as a genre; in fact, in the same 1976 interview, Copland characterized jazz as somewhat restrictive. “I found that the use of jazz materials, though limiting you somewhat as to the nature of the emotional context of the music, did solve the problem of how you write serious concert music which everyone will recognize as being that of an American composer. That was not so common in the 20s… we didn’t have many composers

who were recognizable [as Americans] even to ourselves, certainly not to foreigners, as typically serious American concert music. That was my fascination with jazz.”

In 1926, Serge Koussevitzky, leader of the Boston Symphony, asked Copland for a piano concerto. Koussevitzky added an irresistible bonus: if Copland wrote the concerto, he could perform the solo part, “a temptation too good to pass up,” Copland recalled. Mindful of the success of George Gershwin’s Rhapsody in Blue (1924) and Concerto in F (1925), Copland probably also felt some pressure to create a jazz piano work of his own, even though Copland did not share Gershwin’s natural affinity for – or fluency with – jazz.

The first section of the concerto has a bluesy rhapsodic feel, and features a recurring melodic fragment borrowed from Rhapsody in Blue. In the second section, as biographer Howard Pollack points out, Copland uses jazz elements such as bent notes, off-beat percussive rhythms, and blaring brasses “in order, if not to actually portray New York, at least to impart a sense of life in a great American metropolis… Copland’s intentions are clearly more symbolic than picturesque.”

For audiences and critics of the time, the Piano Concerto seemed like either an assault upon proper music, or a pointed insult. Reviews accused it of mocking “the life of our American cities – nervous, irrelevant, and pitched almost to a scream.”

One critic opined, “In his zeal to assert a kinship with the radical style, Mr. Copland may have overdone matters.” For today’s listeners, accustomed to hearing a broad spectrum of styles in the concert hall, these reactions seem quaintly puzzling.

Koussevitzky led the Boston Symphony in the premiere on January 28, 1927, with Copland, as promised, at the piano. For Copland’s parents, who traveled from Boston to hear their son premiere his latest work, the night was an unqualified triumph.

“I was delighted when Ma said it was her proudest moment and that my playing in the Concerto made all those music lessons worthwhile!” Copland later wrote.

JOHANNES BRAHMS 1833–97

Symphony No. 4 in E Minor Op. 98 composed: 1884–85 most recent oregon symphony performance: March 23, 2014; JeanMarie Zeitouni, conductor instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, and strings estimated duration: 40 minutes In a 1947 essay titled “Brahms the Progressive,” Arnold Schoenberg described Johannes Brahms as one of few composers whose music emerges from a simultaneous and indivisible combination of inspiration and intellectual skill.

Brahms’ Fourth Symphony is an exquisite synthesis of heart and mind; its elegance suggests a mathematical equation whose deceptively simple formula expresses new, startling, and complex concepts.

In the 19th century, music was defined in large part by the aesthetic rift between Richard Wagner and Brahms and their respective followers. Wagner was seen as the fearless pioneer who scorned the musical establishment; his self-described “Music of the Future,” based on his own original musical concepts and philosophies, took music into previously unexplored territory.

Wagner also suggested that Beethoven had made all the great innovations in the symphonic form, and therefore the true successor to Beethoven would make their mark in other genres. A composer who continued to write symphonies was, by Wagner’s definition, moribund.

During his lifetime and for some years after, Brahms was perceived as essentially conservative, a gifted writer of melody, but a man whose work reflected styles of the past, and (according to the Wagnerites) added nothing original to the musical canon. All generalizations contain a grain of truth: Brahms did work within the traditional forms and harmonic structures of his time. However, Brahms’ work is far from unoriginal; on the

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BRAHMS’ FOURTH SYMPHONY contrary, Brahms’ music displays subtle, even subversive, innovations. Instead of abandoning established genres and forms (like the four-part symphony, for example), Brahms dug deep inside them, reinventing the symphony from the inside out. Brahms had enormous respect for the music and composers of past eras (in his Fourth Symphony, Brahms pays homage to the contrapuntal style of J.S. Bach and the harmonic ideas of Beethoven, for example). Brahms’ inventiveness consisted of combining styles from past eras with his own creative impulses.

Brahms’ desire to write symphonic music stemmed in part from his preoccupation with the notion that the symphony as a genre was lapsing into mediocrity after the great heights it reached with Beethoven.

Brahms’ four symphonies, in this context, can be seen as attempts to prove the symphony was still an aesthetically relevant and innovative genre.

Brahms composed the Fourth Symphony during the summers of 1884–85 in Mürzzuschlag, his summer retreat in the mountains southwest of Vienna. In September 1885, Brahms wrote to Hans von Bülow, conductor of the Meiningen Orchestra, expressing his hope that von Bülow would take on the new symphony.

Brahms also admitted to doubt the work’s appeal, “I’m really afraid it [the Fourth Symphony] tastes like the climate here.

The cherries don’t ripen in these parts; you wouldn’t eat them!” Despite Brahms’ concerns, von Bülow warmed to the new symphony; after his first rehearsal, von Bülow wrote, “No. 4 gigantic, altogether a law unto itself, quite new, steely individuality. Exudes unparalleled energy from first note to last.”

Brahms led von Bülow’s Meiningen Court Orchestra in the premiere of the Fourth Symphony on October 25, 1885. Despite Brahms’ misgivings that the public would not respond well to his “neue traurige Symphonie” (new tragic symphony), the audience applauded each movement.

A contemporary of Brahms reported, “After the public had left the hall, the Duke [of Meiningen] and his entourage along with the foreign guests remained behind in order to hear the first and third 38 artslandia.com

movements again. This time Brahms directed with if possible even greater fire and the orchestra seemed electrified…”

The influential 19th-century critic Eduard Hanslick, a lifelong champion of Brahms’ music, included this encomium in his review of the Fourth Symphony: “Brahms is unique in his resources of genuine symphonic invention; in his sovereign mastery of all the secrets of counterpoint, harmony, and instrumentation; in the logic of development combined with the most beautiful freedom of fantasy.”

melody, which continues to move between minor and major, with excursions into an archaic scale known as the Phrygian mode (another example of Brahms’ homage to earlier musical periods). The stark atmosphere of the Phrygian scale softens into the sweet harmonies characteristic of Brahms’ distinctive sound. The gentle warmth at the beginning grows into a passionate outpouring of melody, heard in the cellos. Countering the criticisms of his work as “too cerebral,” here Brahms writes music of pure aural pleasure.

The main theme of the Allegro non troppo reveals Brahms’ gift for economy: the essence of this lyrical sighing melody is its first four notes. Brahms’ endlessly inventive elaborations and development of these four notes generate much of the music of this movement. When Brahms first performed the first movement in a four-hand piano arrangement for some friends, there was an uncomfortable silence upon the movement’s conclusion.

Hanslick declared, “I feel like I’ve just been beaten up by two intelligent people.”

This wry comment, which drew laughter from the assembled company, bore out Brahms’ worries that his colleagues would not understand the new symphony. “I don’t give a damn about the shouters in the pit – and the rest of the public, between you and me, ditto,” Brahms told his friend Max Kalbeck, who advised Brahms to throw out the scherzo, make the final movement an independent work, and then compose two new movements to replace them. However, the fact that Kalbeck and Hanslick and several other colleagues, whose opinions Brahms respected, did not understand what Brahms was trying to do with the Fourth Symphony was a cause for concern.

It may have been that the music, written for orchestra, simply did not translate well in a piano arrangement. More likely is the fact that a work as conceived and structured as the Fourth Symphony needed time and repeated hearings to make its impact on listeners, as Hanslick later admitted in his review.

The Allegro giocoso scherzo begins with an energetic wallop of sound and an amusingly odd rhythm; here Brahms allows his sense of humor to peek out of this boisterous music. The style and mood of this scherzo also pays direct homage to Beethoven in its muscular energy, unexpected humor, and bold digressions into distant tonal areas. At the premiere, the audience delighted in this rowdy ebullient music and called for an encore of the scherzo. While Brahms was pleased with their reaction, he declined their request.

The horns’ austere melody opens the Andante moderato, which begins the shift from the first movement’s E minor to E major. Various winds play with the horns’

For many years Brahms had been drawn to the Baroque form of the chaconne, a style of continuous variation, of a moderate to slow tempo, usually written in 3/4 time. Harmonically, the movement of a chaconne often changes from measure to measure. In an 1877 letter to Clara Schumann, Brahms wrote of his fascination with this format. “If I could picture myself writing, or even conceiving, such a piece, I am certain that the extreme excitement and emotional tension would have driven me mad.” Hanslick described the last movement as exhibiting “an astonishing harmonic and contrapuntal art never conspicuous as such and never an exercise of mere musical erudition.” For the Allegro energico e passionato Brahms produced a chaconne of his own, with 32 variations and a coda. He begins with eight massive chords in the woodwinds and brasses; these chords form the basis for the chaconne or passacaglia (variations on repeating bass or harmonic progression) in which all the variations are presented.

Brahms’ absolute mastery of form is revealed in this music of profound depth and power. © 2018 Elizabeth Schwartz

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Helen Chadsey Oregon Community Charles Clarkson Foundation Classical Up Close‡ Patti & Lloyd Babler Cynthia & Stanley Cohan David & Jacqueline Backman Maurice Comeau, M.D. Anne M. Barbey Jeffrey G. Condit Ed & Becky Bard James & E. Anne Crumpacker Robert & Laurie Barrett Estate of Joyle Dahl David E. & Mary C. Becker James & Nancy Dalton Fund of the Oregon

Nima & Nicole Darabi Community Foundation David & Alice Davies Tabitha & Patrick Becker Mike & Becky DeCesaro Michael and Barbara Besand in Ginette DePreist Memory of Lillian (Lee)Besand Robert & Janet Deupree Stan & Judy Blauer William Dolan

David Blumhagen & Suzanne Bromschwig Josh & Wendie Bratt Philip & Nancy Draper Gregory & Susan Buhr Gerard & Sandra Drummond Ellen E. Bussing§ Charlene Dunning

Joan Childs & Jerry Zeret & Donald Runnels Nicholas & Jamie Denler Ronald E. & Ann H. Emmerson Allen L. Dobbins Nancy C. Everhart Richard B. Dobrow, M.D. Lee & Robin Feidelson Leigh & Leslie Dolin Mr. & Mrs. Paul Fellner Sterling Dorman Carol L. Forbes David & Erin Drinkward Liz Fuller Stephen & Nancy Dudley Brian & Rhonda Gard Family Fund of the Oregon Carolyn Gardner Community Foundation Robert & Carolyn Gelpke Dr. Pamela Edwards

Michael & Gail Gombos & Mr. Thomas Clark Cyril Green & Judy Karush Donald & Katharine Epstein Harriet & Mitch Greenlick Frank And Mary Gill Foundation Dr & Mrs Price Gripekoven Kenneth & Carol Fransen Hank & Margie Grootendorst Y. Fukuta Jeffrey & Sandy Grubb Bruce & Terri Fuller Susan Halton Dr. & Mrs. Tony Furnary Louis & Judy Halvorsen Richard Gallagher James Hampton & Ashley Roland Daniel Gibbs & Lois Seed Kregg & Andrea Hanson Don Hagge & Vicki Lewis Howard & Molly Harris Mr. & Mrs. W. Dennis Hall Karen & Doug Hartman Drs. James & Linda Hamilton Pamela Henderson

Kirk & Erin Hanawalt & Allen Wasserman Sonja L. Haugen Jane & Ken Hergenhan Dennis & Judy Hedberg CON CERTO S O CIETY: John Hirsch Diane M. Herrmann $ 1, 000– $ 2, 499 Margaret & Jerry Hoerber Gregory Hinckley Anonymous (10) & Mary Chomenko Hinckley Anonymous Fund #26 of Eric & Ronna Hoffman Fund of the Oregon Community Dan & Pat Holmquist the Oregon Community Foundation Brad Houle Foundation Susan, Diane & Richard Hohl Ajitahrydaya Keiko Amakawa

Joseph Holloway, Sr. Dennis Johnson & Steven Smith & Dr. Harvey Fishman Lee & Penney Hoodenpyle Andy Johnson-Laird Jonathan & Deanne Ater Pamela Hooten & Karen Zumwalt & Kay Kitagawa Arthur & Joann Bailey Jack Horne & Mary Rodeback Estate of David Karr+ Steve & Mary Baker Bruce & Margo Howell Susan D. Keil Alfred & Cara Jean Baker Lou & Kathy Jaffe David & Virginia Kingsbury Charles G. Barany Jon Jaqua & Kimberly Cooper Drs. Arnold & Elizabeth Klein Karin & Brian Barber David Jentz Lakshman Krishnamurthy Keith & Sharon Barnes Candace Jurrens & Rasha Esmat Arleen Barnett Mary Lago David Barrett & Michelle Lowry Bob Kaake Barbara Kahl & Roger Johnston Dorothy Lemelson James & Kathryn Bash Peter & Patricia Kane Cary & Dorothy Lewis Steven Bass Eric Karl & Ana Quinones Jerome Magill Alan & Sherry Bennett Carol Brooks Keefer Dana & Susan Marble Dr. & Mrs. Robert Berselli Georgina Keller M. & L. Marks Family Fund Broughton & Mary Bishop Tom & Lauren Kilbane of the Oregon Community Family Advised Fund of cfsww Fred Kirchhoff & Ron Simonis Foundation Paul Black Gary & Martha Kruger Duane & Barbara McDougall Lynne & Frank Bocarde Nancie S. McGraw Bonnie McLellan Chris & Betsy Meier Jean & Walter Meihoff Mia Hall Miller & Matthew Miller Anne K Millis Fund of

the Oregon Community Foundation Dolores & Michael Moore John & Nancy Murakami Bill & Kathy Murray Hester H. Nau Susan Olson & Bill Nelson Ward & Pamela Nelson John & Ginger Niemeyer George & Deborah Olsen Thomas Pak Heidi & David Pasqualini George & Mary Lou Peters Charles & Ruth Poindexter Jeff & Kathleen Rubin Drs. Emilia & Jon Samuel Susan Schnitzer John Sears & Cindy Powell Dr. & Mrs. G.E. Sebastian Gil Shaham Francine Shetterly Peter Shinbach Jaymi & F. Sladen Ms. Barbara A. Sloop Kyle Smoot & Winthrop Hall Annetta & Ed St. Clair Jack & Crystal Steffen Mrs. James G. Stevens Mr. & Mrs. W. T. C. Stevens Cheryl & Harvey Storey Eustacia Su Scott Teitsworth

& Deborah Buchanan Drs. John & Betty Thompson Robert Trotman

& William Hetzelson Charles & Alice Valentino Erica Van Baalen & David Hicks David & Christine Vernier Drs. Bastian & Barbara Wagner Pat Wasp & Lou Ann Bennett Wells Family Foundation John & Traci Wheeler Elaine M. Whiteley Robert & Margaret Wiesenthal Zephyr Charitable Foundation Inc. Charlene Zidell

OUR SUPPORTERS 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 Dante Marrocco & Julia Marrocco Robert & Gwynn Martindale Sir James and Lady McDonald Designated Fund of the Oregon Community Foundation Carolyn McMurchie Karen McNamee Lois R. Mills Monday Musical Club of Portland Lindley Morton & Corrine Oishi Drs. Beth & Seth Morton Chris & Tom Neilsen Ralph & Susan Nelson Libby Noyes David & Carol Oelke Wanda & George Osgood Jim Palmer Barbara 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 Rigby Family Fund of

the Oregon Community Foundation Charles & Selene Robinowitz Dr. Lynne Diane Roe Charles & Katherine Rood Debora Roy 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 Drs. Donald

& Roslyn Elms Sutherland Erik Szeto & Anita Chan David Thompson Mike & Priscilla Thompson Angelo Turner Tony & Bianca Urdes Ann Van Fleet Missy Vaux Hall Bill & Janet Wagner Charles & Cherie Walker

Peter*‡ & Laurie Frajola Thomas & Rosemary Franz Gerald Fritz Bill Fuegy Ted Gaty Willis & Liz Gill Richard & Susannah Goff Goldy Family Designated Fund Richard & Jane Groff SONATA S O C IETY: Elvin Gudmundsen $600–$999 Rachel Hadiashar Anonymous (10) Frances F. Hicks Carole Asbury Arvin & Kari Hille Michael Axley & Kim Malek Kenneth Holford & Harry Hum Gerald & Lori Bader Maryanne & David Holman Tom Bard Donna Howard Robert & Sharon Bennett Laurence & Janis Huff Homer & La Donna Berry Intel Corp.

Robert & Gail Black Janice & Ben Isenberg

Alice Pasel Blatt Philanthropic Fund Markus & Gloria Bureker Douglas Jenkins & Michael Boyles Craig & Karen Butler Drs. Susan & Jeffrey Johnson Mary Bywater Cross Katherine Joseph Martin & Truddy Cable Gerald Calbaum & Jan Marie Aase S. Kendall Andrew Kern Fortier-Calbaum Kiko Kimura Cecile Carpenter James & Lois King Frank & Val Castle Paul & Marijke Kirsten Bud Clark Mark Koenigsberg

Denise Cooper & Polly Alexander Thomas & Cara Crowder Barbara Kommer & Kurt Koenig Enrique deCastro Willa Fox & Becky Kreag Edward & Karen Demko Moshin & Christina Lee Kay Doyle Robert & Nancy Leon Tom Drewes Herman Taylor & Leslye Epstein Pamela MacLellan Jim & Midge Main Pat & Bruce Eyer Marta Malinow Laura Fay & John Holzwarth Gail & Jim Manary JoAnn Ferguson Linda & Ken Mantel The Flesher Family Fund of InFaith Community Foundation Geoffrey McCarthy John & Ann Moore Hans & Naomi Wandel Kevin & Sharon Wei Joan & David Weil David & Leigh Wilson Loring & Margaret Winthrop Bing Wong Jane Work Lawrence & Jo Ann Young

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 James & Pam Phillips Sandford B. Plant H. Roger Qualman Kim & Roger Reynolds Eric & Tiffany Rosenfeld Mr. David Roth

& Ms. Tangela Purdom Jane Rowley Julie & David Sauer Hubert & Ludmila Schlesinger Fund of the Oregon

Community Foundation Douglas & Ella Seely Leslie and Dorothy Sherman Fund of the Oregon

Community Foundation Jenny Silberger & Nathan Schultz Sara Stamey Michael & Judy Stoner Brian Thomas & Susan Morgan Richard & Larie Thomas Dave Thompson Jon Vorderstrasse Roberta Lee White Gordon D. Wogan

& Patricia Hatfield Darrell & Geneva Wright P. J. & Donald Yarnell

OVERTUR E : $ 300– $ 599

Anonymous (27) Cherrie Abraham

& Rosalie McDougall Susan Ackerman Kelly & Karen Adams George Adlhoch Maria Agoston Mrs. Roudabeh Akhavein Ray & Kris Amling William Apt & Grant Molsberry Ross A. & J. Alexandra Arnold Annette Arrieta Roberta Badger-Cain

& Leonard Cain Vlasta N. Barber Don & Joan Batten Donna & Leo Bauer John & Claudette Beahrs Bruce Beattie Dr. Douglas Beers & Leslie Taylor Inara Beitlers Joy Belcourt Barry & Jacqueline Bennett P. & P. Benninghoff Joyce Bernheim Jonathan Betlinski John & Carol Betonte Angela Blizzard William Bloom Victor Bloomfield Priscilla Blumel Bettie Bowen Dr. Bruce D. Boyd Dean Boyd & Susan Wickizer Jane Bradley Stephen & Marge Brenneke Bill Britton William & Morgan Brown

EVENT • PORTRAITURE COMMERCIAL • LIFE

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OUR SUPPORTERS Mrs. Fred M. Buchwalter A. Sonia Buist, M.D. Virginia V. Burgess Lucien Burke Mr. & Mrs. Roger Burpee Jean Butcher & Tom DeLoughery Martha M. Butler Dr. James Buxman Michael & Ida Rae Cahana Mark & Tracy Cahill Charles Calmer§ & Tom Lewis Jeffrey Carlson & Lori Makinen Karen Carnahan Dr. and Mrs. Walter

& Carolyn Carr Janice E. Casey, M.D. Joe & Sandy Cecchini Deborah & George Chaltas Paula Chernoff Myles & Linda Clowers John & Kathryn Cochran Janie & Richard Cohen Alice Bergman & Ralph Cohen William & Cathy Conerly Susan Cooksey Dan Corcoran J. Neal Cox Neale E. & Marian Creamer Brian Cremeans James Crino Eloise Damrosch

& Gary Hartnett Joseph & Carol Davids David & Courtney Davies Natasha Dayna Roland & Judy de Szoeke Anthony Defriez Dale & Constance Denham René Deras & Joshua V. Burns Al Didier & Sherry Holley Alfred Dowrie Edward Doyle M.D. Pat J. Doyle John & Anita Drew Allan & Margaret Dunn Lisa & Jerry Eckstein Barbara Edwards Douglas Egan & Susan Bach Jeffrey Eisen & Mark Bruns Bill & Elizabeth Eklund Pamela & Paul Elsner Kevin & Cinda Embree Lawrence R. Erickson Miriam and Gunther

Erlebacher Philanthropic Fund Rachel Fenton & Kris Martinez Virginia Finch Richard & Cindy Finlayson Ruth Fisher Nina & Al Fleckenstein Michael & Karen Foley Heather Folts Marsha & Randy Freed Ian & Judy Freeman Margaret Freese Gerald & Olivia Froebe Barbara Zappas Erin Furbee‡ & Mitch Schain Betty Lee Fyan

& Allison Howard Morris J. Galen William & Bev Galen Mary Ellen Gardner Hugh & Coleen Garrabrant Lee Ann Garrison & Tom Strini Paul Gehlar Kenneth Gengler Gary & Janet Goby Constance Gohlman Marvin & Barbara Gordon-Lickey David & Caroline Greger Kerry Griffin & Dr. Eilis Boudreau Louise & Herbert Grose Paul Gunderson James Hall Rosemary Hamerton-Kelly David & Erika Hammond

42 artslandia.com

Ulrich H. Hardt & Karen Johnson Judith Hatton Grant Hay & Christine Placek Paula Heimberg Patsy Heinlein Tom & Holly Henderson Gina Henderson Rosemary Hendrickson Carol & Timothy Henry Deborah Henry Pamela Henry Shirley & Walter Hercher Susan Herron Gary L. Hewitt Lane Hickey Jimmy Hicks Ron & Suzanne Hockley Mike Ossar & Gretchen Holden Pam Horan Robert & Jill Hrdlicka Robert & Cecelia Huntington Holly Hutchason Carolyn Hymes Darwin & Mary Isensee Nancy Ives‡ Jack & Sheila Jakobsen Saad & Grace Jazrawi Joanne Jene, M.D. Sharon Johnson & Bill Patten Alison Jones Becky & Jarrett Jones Wallace Jones Richard Josephson Helga P. Joyce Leslie E. Kahl Myrna M. Kane Gordon Kaplan Mark & Ethel Katz Judy C. Kelley William & Delores Kelly Ernest Kim Joan Kingsley Todd & Michelle Kohlbush Eliana Kozin Teresa Kraemer & Margaret Carley Becky Kuhn & James Gorter Kathleen Kusudo Susan Lair & Douglas Trobough Carole Laity Paul Lambertsen Wayne & Carolyn Landsverk Frank Langfitt & Mary Steen Jim Lathrop Jenny Lauder Yvonne L. Laun Dennis & Elizabeth Lazaroff Mary Lou Leahy Gerald Leatherman Wilma M. Lee Phyllis J. Leonard Kathleen Lewis Richard Lewis & Margaret Larson Peter Lidskog William Liedle Jane & Robert Lightell Susan Lindauer & Chris Maloney Craig & Anne Lindsay Janice Linsky Lydia & Derek Lipman Judith K. Litt Leo & Sharon Little Christine Liu & Justin Smith Barbara Loehr Martha Long* Donna Loveland Gary & Jerrie Lovre May Lu Frederic & Carina Luyties Jackie MacGregor Roderic & Priscilla MacMillan Sydney Maehara A. & Neena Maldikar Linda L. Mann Ben & Cecile Manny Judith & Michael Marcus Sylvia Marks Carl & Linda Marschall

Margaret Marshall Micah Martin Oscar Mayer Raymond Allen Mayer, Jr. Gregg McCarty & Karen Henell Pete McDowell Bryce & Cynthia McMurdo Bill McRae Ted Meece Debra Meisinger

& Barry Buchanan Toinette & Victor Menashe David Menashe

& Deborah Goldberg Mark & Brenda Merizan Lora & Jim Meyer Susan & Dennis Meyer Rick & Sharon Meyer Louis R. Miles Walter & Marlene Milliman Dr. Valdine and Jonathan Mishkin James Mitchell & Elise Legere James Mitchell Laveta Moles John & Shanna Molitor Elaine & Ted Molskness Robert & Dee Moore Diane & Greg Morgan Carol Morgan Pat Morris-Rader Juanita Muntz John Murphy & Evelyn Mareth Michael Nagel Steven C. Neighorn Debra Nippert Mari Nirschl Greg Nissl Matt Norman Elizabeth O’Callaghan Paul & Mary Oldshue Carillon Olmsted Dr. Barry Olson Erika & Jack Orchard Milo & Beverly Ormseth Marianne Ott Karen & Abby Oxendine Jeffrey & Suzanne Parker Rod & Mary Anne Parrott Linda Schuld Paulson Steve & Clara Pawlowski Norman Pearson Jennifer Pedersen Jim & Sally Petersen Dr. Ron & Patrice Petersen Rebekah Phillips & Lars Campbell§ Richard & Helen Phillips Robert L. & Leslie Phillips J. Randolph & Irene Pickett Walter & Susan Piepke Diane Pinney & Clifford Droke Carl & Cynthia Pixley Peter & Josphine Pope Morgan & Constance Pope Anne Porfirio Karen E. Price Roberta Jean Pullen Willis & Anne Rader Richard & Susan Radke Meenakshi Rao Steven A. Rapf Carol & Walter Ratzlaf Richard & Mary Raub Randi Reeder Kangail Robert C. Reis Rod & Sheila Renwick Ruth & Phil Rhoads Andrew Rice Forrest & Sharon Rae Richen Philip Riedel & Carolyn Bailey Roche Bobois Lee A. Rodegerdts James & Elinore Rogers Crystal Rose Mary Rose & Maxwell Whipps Ellen Rosenblum

& Richard Meeker Alan S. & Eve O. Rosenfeld

LaRayne & Leo Rowland Alise Rubin

& Wolfgang Dempke Scott & Joan Rustay Michael Sands & Jane Robinson Anne Savaria Elaine Savinar James & Julianne Sawyer Eric Schaefer Janet Schaefer Rod & Vicki Schmall Holly Schmidt Peter & Elaine Schmidt Fedor & Claudia Scholtz Jack & Barbara Schwartz Sheila & Gary Seitz Peter & Penny Serrurier Jon & Linda Sewell Barbara & Gilbert Shibley James Shields Joan Shireman Brian & Kathy Shoemaker Barbara Short & Linda Wood Gwen & Alan Shusterman Joseph Sillay & Laila Raad-Sillay J. & C. Skuster Damon & Kristen Smedley Marjorie M. Smith V. L. Smith & J. E. Harman Bill & Barbara Smith Charles & Melissa Sollitt Pat Southard John Southgate Mary & Gordon Spezza Tom & Joan Stamper Nicholas & Carolyn Stanley Robert Staver Paul Steger & Pat Ferguson-Steger Scott Stephens

& Leslie Houston Dr. Rudolph & Elaine Stevens David & Deborah Stewart Marjorie Stewart Annette Swartz & Daniel Palka Bobbi & Aron Swerdlin Ernest & Stephanie Talley Kunal Taravade Christopher & Emily Thomas Matt Thomas John Thompson

& Mary Amdall-Thompson Kathleen Thompson Grant & Sandra Thurston Dr. Elizabeth Tierney Laura Tomas Misty Tompoles Julie Lou Tripp Juliana Trivers

& Matt Donahue Charlotte Tsai Jacques & Mary Vaillancourt Linda & Stephen VanHaverbeke Louise Varley Peter Vennewitz Mr. & Mrs. David Verburg Dan Volkmer & Frank Dixon Edward & Mary Vranizan Carol Walker David & Julie Wall W. Michael Warwick

& Susan V. Bailey Claudia & Ken Weber Bruce Weber Carolyn & Gary Weinstein Judith Weintraub

& Gregory Dubac Weiss Fund of the Oregon Community Foundation Mr. and Mrs. Steve§

& Alexandra Wenig Robert & Frances Weyant Diana & James M. White Merlin White Margaret Wilson Alan Winders Lewis & Susan Van Winkle Ted & Sheila Winnowski

Carol S. Witherell Susan E. Wohld Nancy Wolff & E. David Booth Richard & Leslie Wong Brian Young Jonathan & Pearl Yu Tamara Yunker John & Nancy Zernel David & Eliese Zonies Floyd Michael Zula

PRELUDE: $ 100– $ 299

Anonymous (105) Cleve Abbe & Trish Brown Paul & Nancy Abbott Geri Abere Kyle Adams & Jack Wussow Roger & Barbara Alberty Gregory & Susan Aldrich George & Sharon Alexander Antoinette Aljibury Debbie Allaway Dan Allie Miguel Alonso David & Chris Alteneder Flora Amir-Alikhani Scott & Rachael Anderson Daniel Anderson & Joy Strand Margaret Anderson Peggy Anderson Tom Anderson & Joan Montague Jacqueline Andrews Richard & Kristin Angell Ruby Apsler Laura Arcidiacono Jacque Arellano Richard & Caroline Arnold James & Mary Ann Asaph Stephen & Judith Auerbach Nicolette Augustine

& Thomas Beck Ted* & Kathi Austin David & Louise Avery Susannah Axelrod

& Bill Gillispie John T. Bagg Peter B. Baker Sharon Baker Marius Balanescu Cindy Banzer & John Kilian Pete Barkett Dr. Larry Barnes Marian Barney Norma & Peter Barnhisel Harry & Jan Barrett Wayne Bartolet & Susan Remick Elizabeth Wagner Paul Bascom Steven Peter Battaglia Dorothy Bauer Todd & Lori Bauman Neil Bauman Kathleen Bauska Kristen Baustien Mary Beach Robert & Carolyn Beall Howard Beckerman Michael Beeson Dennis Bell Yelena Benikov George & Mary Benson Debora Bergeron Sara & Tim Berglund Karen Berkowitz

& Robert Rutenberg Sally Byrd & Luiz Bermudez Gert Bernstein & Ed McVicker Dee Bierschenk§ Donald B. Billings Peter Bilotta

& Shannon Bromenschenkel Bill & Elouise Binns Warren Black Ann M. Blanton Ms. Florence Blitch Colleen Blohm Bob & Susan Boal

Egon & Diana Bodtker Ralph Bolliger Suzanne Bonamici

& Michael Simon Chris Bonnell Christine & Mark Bonney Fanny Bookout Sherwood & Pamela Bosworth Claude Bosworth Richard Botney Michelle Bounds Colleen & Anna Bourassa Robert Bowen Tracy & Melody Boyce Mary & Michael Brandon Lawrence & Daniela Brandt Julie Branford Sherry A. Brazda Leslie Brenton Nancy & Bob Briand William & Barbara Briare Glenn W. Bridger & Karen Bridger David Brook Dennis Brophy David Brothers & Asha Singh Jean Brown Rich & Stephanie Brown Patsy Bruggere Peggy Archer Bryant Nancy Bubl Bonnie Buckley Lee & Jan Buddress John & Malinda Bukey Joseph E. Buley Richard & Ruthanne Bullock Richard & Ruth Bunker Linda Hathaway Bunza JoAnn Burch Brenda & Scott Burg Elizabeth Burke Susan Burke & Clive Thomas Mary Butler Anne Byrd Gary & Ulrike Calaba Carolyn Call John & Barbara Camp William & Carla Canfield June Canty Tim & Susan Carey Suzanne Carlbom John Wacker & Susanne Carlson Kay Carlson-Bilbao

& Richard Carlson Ray & Betsy Carnes Tom Carney William & Gail Carr Geoffrey Carr Sergio Carreno Andrew & Monica Carter Duncan & Jan Castle Jean Cauthorn Tracy Ceccacci Holly Chamberlain Christy & Michael Chamish Gary Chapman Deanna Chappell Robert & Mee Lun Chau Yvonne Chen & Jeremy Crown Ann Chilcote Ilze Choi Bob & Sue Christenson Robert Church Hillary Churchill JáTtik Clark‡ P Bradford Cobb Bill & Kathryn Coffel Sandra Coila Marilyn A. Coldwell William B Cole Alane Collar Ms. Beverly Collins Mr. Craig Collins Brooke Collison Jenn Columbus

& Alex Paraskevas Janet Cooke Deborah & Jim Coonan

Carol & Ken Cooper Elburn & Elizabeth Cooper John & Zaida Cooper Chris & Kathy Copeland Abigail Corbet Jerry & Jean Corn Kristin Cornuelle Nathan Corser & Kristen Minor Paul & Kathleen Cosgrove Rosanne Costanzo Dennis & Wanda Costi Jacob & Jessica Cottam Thomas & Marilyn Councell Jennifer & Diego Covarrubias Ann & John Cowger John C. Cowles

& Mary Ellen Ulmer Cynthia Cristofani, M.D. W. Ron Crosier Mary Felice Crowe Don Cushing Bruce Cuthbertson Susan Cyganiak Fran & Rod Daggett John & Mary Lou Daily James Dalrymple Karen Dalrymple Brad Daniels Arthur & Winnifred Danner Marcia Darm, M.D.

& Bruce Berning Dave & Kim Daschel Ilene Davidson Pamela & Tony H. Davidson Clifford & Mary Davis Abby & Marvin Dawson Terry Day & Joan Lintz John & Rocio Deatherage Peter & Patrice DeGraff Pat Demeo Lore Demme Richard Denman John & Nancy Dennis Niel B. DePonte‥ Chuck & Patt DeRousie Austin DeSimone Brian Detman

& Katherine Deumling Loree Devery

& Robert Trachtenberg Di Loreto & Associates,

Consulting Civil Engineers Jon Dickinson & Marlene Burns Dorothy K. Dinneen Mrs. Henry Dixon John Dobson Alan & Davina Doby Arleigh & Marion Dodson Norma Dody Carol Doehne David & Rita Doerfler Carole & Dan Doerner David & Wendy Doerner Bruce & Janet Doerr Clara Dolen Phil Dollar Chris Domschke Mary & Robert Donley Thomas & Nancy Doulis Mark & Denise Downing Ken & Gail Doxtader Dena & George Drasin Theo Dreher Timothy & Emily Duerfeldt Dianne Dukelow & Shawn Redfern Carol & Sam Duncan Julie Duncan Janet Dunn Laurence & Wendy Dunn Elaine Durst Robert & Elizabeth Dyson Dale & Edith Dzubay Heather Eberhardt Dean & Jane Ebersberger Vida Edera Jane Edwards Vickie Edwards

David Eiseman Mihail Elisman Julie Ellis Karen Ellmers Jerry & Donna Elsasser Jackie Endicott Erma Engels Robert Enman Joan Erath Laura & Robert E. Erickson Robert Ericson & Pam Martin Tom Kuffner Ervin Czimskey Steve & Bonnie Esbensen John Etter Martha E. Evans Gregory Ewer & Becky Hornsten George Fabel Kenneth & Lori Faris Dale Farley Al & Yoli Feiner In Memory of Wayne Felder Ed & Lynn Ferguson Muriel Feuer Amy Fields Kathy Fischer James & Emily Fishback Ross Fisher & Marie Weiskopf Diana Fisher Aaron Flatten Rebecca Fleischman Phoebe Flynn Clark Foley James Fontaine Kevin Foren Sam Foulger Georgie Fox Gerald & Heidi Fox Natalie Frajola Kenneth A. Franceschi Ian Frank Pamela Frankel Marc Franklin Julie Frantz Debbie & Bill Franzke Paula Frechen Emily Free Louis & Debbie Freeman Tom Freeman

& Monique Hayward Louise Freeze Douglas R. French Merilee Frets Bonnier George Freyer Paul & Nancy Frisch Mary Fromwiller John Funatake Virgil Funk Zach Galatis Samuel C. Galbreath, Jr. Ms. Jean Gale Jeri L. Gamaney Kathleen Gannett Susan & Richard Garber Raelyn & Jack Garland Caroline Garland Catherine Garman Carolyn Garnaas Carolyn Gassaway J. M. & Nancy Gaston Stephanie Gates Patricia Gauer Lucile Gauger Charles & Charline Gebhardt Michael J. Gentry Katherine Giachetti Barbara Gicking Bryan & Mary Gilbert Bob & Janette Gill Arthur & Judith Ginsburg Barbara Glazewski Marlene Gleason Susan Glosser Kathy Goeddel John & Jackie Goldrick Tom & Linda Goldsmith Raul Gomez & Sarah Smith Laura Good

Portland Columbia SymPhony Steven ByeSS, MuSic Director Mighty Russians September 21 & 23, 2018 GLAZUNOV: Autumn from The Seasons STRAVINSKY : Suite from The Firebird RACHMANINOFF: Piano Concerto No. 2

Robert Henry, piano ...a rare combination of musical insight, creative inspiration & dazzling technique.

columbiasymphony.org 503.234.4077 for information & additional programming

orsymphony.org | 503-228-1353 43

OUR SUPPORTERS Sarah Goodlin Mrs. Rosalie Goodman Robert Gordon Russell & Jan Gorsline Daniel Gouger G. & Jeanine Gougler Lynette Graap John Grant K. Grant Linda Graves David Gray & Joan Hamilton Maxine Gray Lynn Green Nathan & June Greene Ann & Andrew Greenhill Michele & Mark Greenwood Betty Greer James Grew & Leslie Neilson Noel Grey Bette J. Grimm Marilyn Guarino Marsia Gunter Carl & Charleen Gutmann Mary Ellen Hagewood Carolyn I. Hale Karen & Daniel Halloran Robert & Paula Hamm David & Erika Hammond Audria Hampshire Victoria L. Hanawalt Irv & Gail Handelman Diane & Westley Hanken Jack & Barbara Hansen Henry Happel Marilyn J. Harbur Thomas Hard & Mary Stevens Dr. Wesley & Virginia Harper Elicia M. Harrell Joan Harris Sigler Mr. Philip Harris

& Ms. Debi O’Donnell Drs. Hugo & Linda Hartig Joseph Hartnett Frances Hartwell Donald & Jette Haslett Michael & Josephine Hatfield Roland Havens Insurance, Inc Josephine Hawthorne Michael & Nikki Hayes Jean Healy Jim & Lauren Hearn Irene Hecht & Ron Saroff Andrea Heid Maria Hein M.J. & Lee A. Helgerson Diana Helm Ray & Doren Helterline Stokley & Roswitha Helton Jeff Hemmerling Richard & Margaret Henkel Janice Hennessey Jerry & Donna Heppell Jim Herb Don Hermanns‡/arc

publishing Kim & Celia Heron Kenneth R. Herrick Mary Jo Hess Nancy Hill Kirk Hirschfeld Diane Hitti Andrea Hollingshead Robert & Karen Holman Eugene & Linda Holt John & Susan Hoover Ellen Hopper Albert Horn Claire & Kendall Horn Dr. Elizabeth Horn Don & Sharon Houck Celeste Howard Doris Howard Patricia Howard Joe & Adele Hromco Tom Hudak Jeff Huff Charles & Doris Hull

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Nancy Hull Clare E. & Rosalie Humphrey Stacy Humphrey Sarah & Ann Hunt Gabe & Mike

Hunter-Bernstein JK & Carolyn Hussa John & Delores Hutcheon Hilary Hutchinson Norman Huynh‡ Roger Ikert & Katie McRae Lech & Elizabeth Ilem Marita Ingalsbe Ruth Irons In Memory of Patricia Iverson Frances Jackson Janice Jacobs Harlow & Nancy Jacobson Jon & Henrietta Jacobson Steven Jacobson Dick & Mary Jaffe Janie Jameson Judy & Paul Janssen Roberta M. Janssen Elizabeth Jay Linda & Richard Jenkins James A. Jerde Carolyn & J. Michael Johnson Daniel & Marilyn Johnson Shirley Johnson Ellin & Fletcher Johnson Jeffrey W. Johnson Karen Johnson Mary Johnson Michael & Lynne Johnson Vernon & Margaret Johnson Barbara & Chris Jones Edi Jones Harlan Jones Marilyn Jones Renate Jordan Igo & Cookie Jurgens Jack & Farol Kahle Mike & Sherrie Kaiel Dr. Robert & Mrs. Becky Kalez Jack & Geneal Kanalz Ross & Paula Kaplan Nina Kapur

& Sidharth Bhardwaj Diana Karabut Janice Karpenick Ken Karsted Mrs. Marilyn Kaufmann Natasha Kautsky Andrew R. & Carol Kay Kenneth & Nancy Keating Arthur & Kristine Keil Edward & Elaine Kemp Nancy G. Kennaway Jeanne Kennedy Sue & Rich Kennedy Rhonda & Jim Kennedy Mrs. Donald Kephart Thomas Kettle Ahmad Khoshnevis Paul J. Killorin Foster Kimble Joani Kimoto Mary King Mary & Timothy Kingsbury Lois & Willard Kleen Cynthia Kleinegger

& Roger Carpenter Paul & Susan Knoll James & Morley Knoll Herbert Koenig Bruce & Jan Koepke Franki Kohler Judith & Fritz Kokesh Curt Kolar

& Georgann Wingerson Van & Sonja Kollias Malle Kollom Kathryn Kolonic Paul & Lori Kondrath Stan & Greta Kopec Karl Kosydar

Charles & Gloria Kovach Robert Kravitz Sophia Kremidas Tammie Krisciunas Valery Kriz William Kroonen Leonard Kuhl Charles & Donna Kuttner Dr. and Mrs. Bruce LaBrack George & Donna La Frazia William & Joyce LaBarre Mr. & Mrs. B. Robert LaFord Dan Lamberger Roy Lambert & Mary Maxwell Catherine & Loran Lamb-Mullin Priscilla Lane & Joji Kappes Nancy Lapaglia

& Stephen Slusarski Lynn Larsen & Kristan Burkert Steve Laveson

& Lesley Isenstein Lyndon Lawless Thomas & Fonda Lawson Martha E. Leachman David & Janna Lebakken Barbara A. Lee Eugene & Patsy Lee Thomas & Marcia Lee Robert Leitner Roger J. Leo David Leonard Mel & Sheila Leskinen Olga Levadnaya Mary Lewis Scott Likely Nadja and David Lilly Ernest & Judith Lindahl Patricia Lindquist Natalie Fay Linn Leo & Shirley Lippincott Jeffrey Littman Hu & Mai Lo Renate Long Glenna Lopez Henry Louderbough Dennis & Linda Loveland Eini Lowell & James Ammeson David & Kate Ludwig Karen Lyman Darlene Lynch & Gerhard Meng Bruce & Barbara MacIntyre Sandra and Jack MacPhail Ian Madin & Hilary Johnson Larry Madson & Lynne Johnson Linda Magness Ralph & Merrill Maiano Ryan Malarkey

& Jean McFarlane-Malarkey Dr. Gary Malecha

& Dr. Linda Gammill James Mallay & Nancy Zacha Barbara Manildi Bob & June Manning Phyllis Markee Eileen Markson Victor & Kathleen Marquardt Mary Marshall Ken & Nancy Martin MacKenzie Martin d.j. Martsolf Construction Janice Marvin Nicole Mathes Sharon Mathes Robyn Matsunaga Mrs. Robert Mausshardt Diane Maxon Zana Mays John & Christine McAfee Pat McAleer Galen & Kathy McBee Robert McBride John & Jean McCabe Sean McCombe Bill & Beth McDonald Grant McFarland

& Elaine LaJoie Bernard & Suzanne McGrath

Sue McGraw/Robert Owens Lois McIntosh Ed & Judy McKenney Ann McKinney Martha McKinnon Phyllis A. McLaughlin Edna McLean Cleo McLeod Andy Mcmillin John & Candace McMunn Elizabeth Mehren Anne Meixner Kathy Melzer Dr. Bob Mendelson George Mercer Jeff & Teresa Metke Martha Metzger Marion Meyer Beverly Miles & Carol Bird Fred B. & Pamela G. Miller Diane Miller Lori Miller Philip Mirkes Alison Mitchell Lois Mitchell Heather Moats Randy & Tammy Moe Lorelei Moersch Daniel Montag

& Kathryn Martinson Barbara Moore Ve Anna Morgan & Pam Town Lawrence and Shirley Morrell Marianne & Stephen

Mortenson David & Margaret Moser Arthur & Nancy Moss John & Donna Muehleck Martin Muller William Mullette-Bauer Archie Mulvena Richard & Sarah Munro Judith Munter Kathleen Murphy Denise Myrick John & Debbi Nagelmann Linda Robinson & William Nelson Carol Nelson & Glen Rea Debbie Nelson Richard & Diana Nelson Jill Neuwelt Loraine Nevill Jeanne Newmark James & Emaline Newton Rose Neyman Mary & Ken Nichols Erling & Satoko Nielsen Ms. Elaine Noonan Steve & Sandy Norcross Anne North Mary Nunamaker Mary Lynn O’Brien Hilary O’Hollaren James O’Keefe Robert & Bonnie Olds George P. & Reba O’Leary Neal & Kathe Oliver Kris Oliveira Deborah Olson Janet Olson Jory A. Olson Masayuki & Towako Onose Amy & Evan Osterlund Jeff Ota Gay G. Otey Lori Ott Terry & Mary Owen Raymond & Dorothy Packouz Bob Packwood Sandra Pagano Gerry & Jackie Painter Ethelyn & Loren Pankratz Beatrice A Parham Daniel Mueller

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Rebecca T. Hill

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& Sandra Linnerud Stan Sandberg Rebecca Sanders Patricia Sandholm Clint & Sandra Sanford Carol Savant Kevin Savetz Tad & Kate Savinar Kathleen Scanlan Brent & Diane Schauer Patricia Scheans Bill & Kathleen Schlaudecker Richard & Kathryn Schneider William & Donna Schoen Jason & Cymbrie Schooler Mary Lou Schrader Jim & Freddie Schrider Clifford Schrock Tanya Schroder Marc Schuette Ursula & Eric Scriven Donald Scrivens Jill & Lew Seager Reiko Seger Glenn & Anne Seim Carl Selin Virginia Sewell Dr. & Mrs. Robert Shangraw Dave Shanley Lynda Shapiro Justin Sharp & Clarisse Messemer Ann & David Shearer Harriet Sheridan Karen Sheridan Joe & Joan Shipman Mr. & Mrs. James Shotwell Gary & Darsein Shull Mark Siegel & Patricia Casey David Siegel & Elaine Smith Bob & Maxine Silverman Wendy & Ross Simmons Steve Simonds Steven & Bonnie Simonson Kathleen Sims Dana & Robert Skelly Lydia & Gary Slangan Helen Slater Carol Sloan Paige & Larry Smith Peter & Gillian Smith Richard & Leonie Smith Jane Ann Smith Merriley Smith Monne Smith Terry Smith Richard & Mary Ann Snider E. Ned & Carolyn Snow Myrna Soule Thomas and Kim Spathas Dan Spencer & Laurie Louden Mike Sprager Charles & Karen Springer Lewis & Judy Sprunger Julia Staigers & Gerard Koschal Emily Standish Drs. Robert & Nancy Stepsis Ginny Stern Helen & Jerry Stern Kimberly Stevens Daniel Steves Sandra Stewart Sandy Stewart

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& Cynthia Scheel Jim & Cheryl Stonier James & Joan Strassmaier Henry Stromquist Fred Strong & Sandra Brown Christina Strong Chenaya Strutton Jan Sturdevant Alfred & Anne Sturtevant George Su Peter & Joyce Swan Donna Swanson Rick Swee John & Janet Switzer Patricia Tangeman Emanuel & Amy Tanne Judson Taylor Sarah & Robert‡ Taylor Leif & Marjorie Terdal Shreekant & Kit Thakkar Amie Thomas Frederick & Jean Thompson Betty Thompson Philip Thor & Elizabeth Pratt Romona & Patrick Thornburgh Ms. Elizabeth Thorpe Alexander Thurber David and Lucy Anne Tillett Linda & W. Tittle Thomas & Katherine Tomaszek James & Josie Tomes Melina Tomson Elizabeth Touchon Sally Townend Wayne D. Trantow

& Toni Parque Susan Auerbach Triplett Leslie & Scott Tuomi Thomas & Priscilla Turner Helen Unfred Catherine Unis Richard & Ann Uphoff Roberta & Ward Upson Susan Van Lente Barbara Van Ness Richard & Kendra Van Patten Tom Van Raalte

& Pamela Peck D.T. Van Wart Fund Jerry & Thuy Vanderlinde David & Janice VanDyke James E. Vannice Leo VanSwam Stanley Vernon

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

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OUR SUPPORTERS Corporate Partners The Oregon Symphony thanks these corporations for their generous contribution received from July 1, 2017, to June 30, 2018.

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46 artslandia.com

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OUR SUPPORTERS Foundation and Government Support The Oregon Symphony thanks these organizations for their generous contribution received from July 1, 2017, to June 30, 2018.

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In Memory of Katherine Forrest Althea Jordan

Andrew & Joan McKenna Joseph & Tracy Merrill

In Memory of Richard Oliverio Les Vuylsteke

In Memory of Lynn Getz-Riley Julie & Wayne Anderson Catherine Bentley Fran & Fritz Bloemker Don Carson Tom & Maggie Churchill Chase & Lynne Curtis David Grainger Robert Lynn Gregory Mast

In Memory of Isabel and A. Sheridan Grass Isabel Sheridan

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

In Memory of Mike Hertz Judith Hertz In Memory of Arnetta Turner Ingamells Mary Tuck Eleanore Turner In Memory of Dorothy Millikan Barbara Millikan

In Memory of Carol Ann Sampson Frank Sampson In Honor of Sarah Kwak and the Oregon Symphony Kay Bristow In Honor of Dylan Lawrence Dan & Lesle Witham

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 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

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orsymphony.org | 503-228-1353 49

Love your jewelry Maloy’s Jewelry has been a downtown Portland tradition for over 30 years, with one of the finest selections of fully restored jewelry on the West Coast. A glittering jewel box full of treasures from all the most beautiful periods of jewelry design, you will find everything from Edwardian engagement rings to Art Nouveau pendants, Victorian lockets to Art Deco earrings. We also have a full staff of expert bench jewelers right on site, so we can work our restoration or redesign magic on your own family heirlooms.

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O U R S TA G E S , T H E N & N O W

The Arlene Schnitzer Concert Hall Past & Present 1938

Photo by Wesley Andrews, Paramount Theatre, circa 1938, Oregon Historical Society, bb000873

2018

Photo by Christine Dong, Artslandia

in 1928, the heyday of the movie palace in America, famed theater architects Rapp & Rapp’s opulent 3000-seat, Italian Rococo Revival-style venue opened as Portland Public Theatre on sw Broadway. The massive sign above the marquee first proclaimed “Portland” in 6,000 dazzling lights but was amended to read “Paramount” to match the new namesake in the early ‘30s. Paramount Theatre thrived as a cinema, event space for proms and weddings, and host to wide-ranging musical acts, such as Sinatra and Madonna, before decades of disrepair led to condemnation. The city purchased the theater as part of the new downtown performing arts complex – Portland’5 Centers for the Arts – and renamed it The Arlene Schnitzer Concert Hall in honor of a top donor to the $10 million dollar restoration. In a nod to history, the renovation, completed in 1984, included a return to the original wording of the “Portland” sign. The nowiconic sign, refurbished in 2017 for $500,000, is 65 feet high and 12 feet wide!

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

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

Have an anecdote or old school photograph of you posing in front of the Schnitzer?

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

orsymphony.org | 503-228-1353 51

IN THE SPOTLIGHT

Photo: Marcela Taboada

Downs belts canciones that’ll move you to dance, cry, swig mezcal, and raise your picket signs proudly. Artslandia caught up with her in anticipation of her October show with the Oregon Symphony in Portland.

by Emilly Prado

52 artslandia.com

mexican born musician Lila Downs makes music for the people.

Long before carving her own niche in the musical landscape with her selfreleased debut album, Ofrenda, in 1994, winning a Grammy and several Latin Grammys, or studying classical voice as an undergraduate student at the University of Minnesota, Downs began singing songs steeped in tradition just a few short years after learning to use words. “I was five or six when I imitated the performers in old films with Pedro Infante and Lola Beltrán,” she says.

“I think, by nature, I was attracted to those songs.” “[My mother] used to dance in clubs in Mexico City. My dad said that they were clubs, but, of course, she said that they were cafes,” Downs recalls with a laugh. “She used to dance and sing in her very Indian manner – very sentimental and attached to rancheras, our traditional form of music, kind of like the blues of Mexico.”

While holding intense love for culture was a household keystone for Downs’ parents – a Mixtec cabaret singer and a Scottish-American professor of art and cinema – it was an outlook Downs herself had to work diligently toward throughout her life to fully embrace. Now, she commands international audiences while decorated in vibrant huipils and rebozos, her thick black hair woven in braids with satin ribbon, and bellowing songs in native tribal languages, but embracing her rich indigenous roots wasn’t always second nature.

Downs grew up in flux, evenly splitting her time into yearly intervals between the United States and Mexico with

When Downs was 16 years old, her father suffered a heart attack and died suddenly. In addition to losing a parent, she felt like she was losing a tie to the u.s. and a tie to the identity she learned to be synonymous with value. “I was left with my short and dark Indian mother with a thick [Mixtec] accent. I was very unhappy and uncomfortable,” Downs says. So, she left to the United States to become a Deadhead (a fervent follower of musical group Grateful Dead) and spent years roaming without a clear sense of direction or purpose. But on one fateful trip back home to the Tlaxiaco valley of Oaxaca, Downs’ mother sat her down for a frank conversation.

Even when Downs hasn’t experienced a particular struggle, such as crossing the perilous u.s.-Mexico border, her deep empathy for others and aptitude for songwriting and storytelling serve as a profoundly influential podium.

Her musical journey also shares her continued and relevant story of unlearning and rejecting the potent, lingering effects of colonization on the Americas.

Salón, Lágrimas y Deseo (2017), her 16th album and latest release that winds subtly between genres, won her a fourth Latin Grammy for the Best Traditional Pop Vocal of 2017. On “Peligrosa,” Downs channels the deep-reaching howls of Chavela Vargas’ dramatic rancheras and showcases her everlasting operatic vocals, while “Urge” opts for a mystical, horn-heavy cumbia soundscape. Indie singer Carla Morrison joins Downs on the downtempo ballad “Ser Paloma,” which pays tribute to the strength of women and speaks out against

“I remember she locked the door to the room and said, ‘OK, we’re going to have it out now,’ says Downs. “I said to her, ‘I’m ashamed of hanging out with you because you don’t speak correctly.’ She confronted me and [asked why.] That’s when the turning point started.”

By singing in indigenous languages such as her native Mixtec and Zapotec and Nahuatl, Downs reclaims her heritage while offering a spotlight for the languages and peoples pushed to the margins for centuries.

Photo: Marcela Taboada

“I happen to be from an Indian, or Native American, family in Mexico – the Mixtec – but I wasn’t taught to be conscious of that when I was younger,” she says.

“You learn what you’re taught, and [in Latin America, it] is usually about trying to erase your Indianness and trying to be more European or Spanish. That is a constant contradiction in our identity, and it continues to be an issue in all of Latin America. It’s the story of a lot of us Latin people. [It’s] what we are taught in schools and our socialization.”

her family, but confrontations of her biculturality were constant on both sides of the border. “On top of being kind of denied by our Anglo family and Anglos around me in the U.S., [indigenous people] also [experience] a denial of existence, in a sense, so it’s very difficult to be proud of yourself,” she says. “I ended up having a crisis of identity.”

>>> CONTINUED ON PAGE 54

orsymphony.org | 503-228-1353 53

<<< CONTINUED FROM PAGE 53

NEW SEASON! SERIES STARTS AT $90.

Subscriptions are available at literary-arts.org.

All events are held at the Arlene Schnitzer Concert Hall.

JILL LEPORE

TARA WESTOVER

OCTOBER 11

DECEMBER 4

TAYARI JONES JANUARY 17

JACQUELINE WOODSON APRIL 4

domestic violence. The music video debuted earlier this summer and featured 50 cisgender and transgender women and girls of varying ages, nationalities, and occupations, perfectly epitomizing her continued commitment to social justice and equal representation for all.

JENNIFER EGAN

Although indigenous rights and women’s rights have slowly garnered more attention on a global scale over the past few decades, Downs knows the collective fight is far from over.

PORTLAND ARTS & LECTURES 2018/2019

We have a lot of stigma and racism and ethnocentricism toward original peoples of the Americas to overcome.

We still have to work very hard to legitimize our lives.

We are on the sidelines of society.”

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In addition to creating music fueled by equal parts passion and protest, Downs engages in further political activism by speaking boldly against the oppression of all peoples, encouraging people to vote, and joining nonviolent, nonpartisan initiative El Día Después to urge for peace following the 2018 Mexican presidential elections. Downs is also, naturally, currently working on her 17th album.

As she gears up to visit Portland for her show at the Arlene Schnitzer Concert Hall and continue her tour of the u.s. alongside the likes of Emmylou Harris and Jackson Brown with the Lantern Tour: Concerts for Migrant and Refugee Families, she says she’s excited to continue helping foster community through her work: “I believe that music can really change society.”

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54 artslandia.com

Lila Downs performs with the Oregon Symphony on Monday, October 22, at 7:30 pm at the Arlene Schnitzer Concert Hall. orsymphony.org

ART DEPT

Capax Inf inity

Art and photo by FAITH XLVII

I

nternationally renowned South African artist Faith 47’s contribution to Portland’s street art depicts a towering, ghostly woman with her back turned to the viewer. The mural of spray paint on brick entitled Capax Inf initi was completed in 2014 over three days.

Though the wringing of her hands behind her back and slightly disheveled hair convey tension, the English translation of the mural’s Latin title, “holding the inf inite,” embodies the artist’s intention to illustrate the hard reality of the societal demand that women retain their composure and hide their emotions.

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orsymphony.org | 503-228-1353 55

ON A HIGH NOTE Charles Noble, award-winning assistant principal viola and soloist for the Oregon Symphony since 1995, is no stranger to the viola joke. His favorite?

What’s the difference between a violin and a viola?

A viola burns longer. “Viola jokes have often been promulgated by violists themselves, which proves that we usually get the last laugh. I find them quite funny,” he says, while noting that their frequency makes them just as timeworn as time-honored.

Noble is an active chamber musician – founding the Ethos and Arnica String Quartets and playing with the Pyxis Quartet since 2014 – and a fixture on the festival circuit, including principal for the Sunriver Music Festival. He teaches at University of Portland and blogs about “life on the working end of the viola” at nobleviola.com.

What do you consider to be the most rewarding part of your career as a professional viola player?

The friendships that I make as I go through my career. I’m fortunate to have met and befriended so many wonderful colleagues over the years. As other things change, those friendships continue year after year. I also love to be involved in the process of bringing new works to life, both as an individual and as a member of an ensemble.

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

Time management. I’m naturally inclined to procrastinate, but I’m also extremely busy (not a good combination)! So making sure that I allow time to prepare for each concert and rehearsal period is super important. I’m getting better at it, but I still have room for improvement! Learning to say “no” to opportunities is also something that I’m getting better at as well.

Oregon Symphony assistant principal viola

56 artslandia.com

Photo: Christine Dong, Artslandia

Charles Noble

How does the experience of practicing and playing in a small quartet differ from playing in the Symphony?

Describe your ideal experience of watching a live music performance.

Where are you? Who is onstage?

Right now I’m playing with the Arnica Quartet and the Pyxis Quartet (formerly the Third Angle Quartet). Chamber music is essential to being a well-rounded musician. It keeps you honest – there’s nowhere to hide! I love exploring music in more intimate settings with my quartet companions and our loyal audiences.

There’s a depth and intimacy found in the great chamber works (both new and old) that is hard to equal in the larger ensemble, even with its great masterworks.

The ability to shape one’s conception of a piece of music is also gratifying. We don’t have a conductor telling us her way of how a piece should go. We have total agency in how the work is shaped, and that is vital to feeling empowered and rewarded as a working musician.

This is an experience that I have actually had. Sitting on the lawn at the Tanglewood Festival on a warm summer’s night, watching the sky go from blue to deep blue to black, listening to Schubert’s Die Winterreise sung by Hans Hotter.

How does the experience of playing in a festival compare to a more traditional orchestral setting?

At a chamber music festival, it is rare to get more than three rehearsals for a given work, whereas at home, we’d likely have upward of eight rehearsals spread over a few months’ time. Then there’s the experience of performing with musicians that you’ve never played with before.

You’ve got a short time to get a sense of how someone approaches music and to find commonality with them. I find it exhilarating – and sometimes terrifying – to throw unfamiliar repertoire together in a short time with wonderful musicians that you’ve only just met.

Oregon Symphony’s lineup for this season runs the gamut. How do you view the relationship between popular and classical music? Do you prefer one to the other?

They both have their place, and the lines between the two are blurring more and more. Composers such as Andrew Norman are making connections between modern video games and their large-scale compositions, while others are melding a singer-songwriter model to classical forms as well. Throughout history, popular and ‘high’ art have often intermingled, and when done artfully, it results in benefits to both genres.

The variety of offerings in the upcoming season is incredible – from Petrushka to Star Wars: A New Hope in Concert to Tchaikovsky v. Drake. Which show are you most anticipating and why?

I’m excited about the Star Wars show!

I remember owning the soundtrack to the original Star Wars movie, and it is an iconic score that should be a total blast to play. The Petrushka multimedia performance should also be an incredible experience. John Adams’ Doctor Atomic Symphony is also something that I’m looking forward to a great deal, as I loved the opera from which this music is derived.

What career aspirations have you yet to achieve?

I would like to commission and record pieces by composers who have become my friends over the years.

What changes do you make in your mindset and technique as you tackle different genres of music?

I’m always working on my focus, which can be difficult to maintain between different genres of music. Technique is pretty universal. Because of that, as I get older, I try to do as much basic maintenance work on my technique as possible. It gets harder to take time away from the instrument, even as taking that time away becomes ever more important to keep one’s sanity.

What is your favorite piece of music to perform?

The one I’m playing right now!

Discovery.

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“A miracle on Broadway; a glory to behold!”

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Season Superstars

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O N A N U N R E L AT E D N O T E DÁMA SO RODRÍGUEZ Dámaso Rodríguez is the artistic director of Artists Repertory Theatre, Portland’s longest-running professional theater company. His extensive directing credits include this year’s production of Romeo & Juliet at the Oregon Shakespeare Festival, which runs through October 12.

Dámaso Rodríguez

Susannah: What gives you hope in the world right now?

Dámaso: As troubling as much of what we read every day in the news is, there’s progress every day.

There’re protests, but there’s progress, too, driven by love and connection. That’s, I like to think, how the world basically works over time, despite all these other forces that are always in the way of that.

I think progress wins.

This podcast excerpt has been edited for print.

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

UPCOMING GUESTS: Cory Philley Paul Laroque Connie de Veer Chapel Theatre Collective

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

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#AR T SL ANDIAWA SHERE @osomusicians

osomusicians Such a wonderful opportunity for our OSO colleagues in the Pyxis Quartet: Marilyn De Oliveira, Ron Blessinger, Charles Noble, and guest violinist Ruby Chen! They performed for Philip Glass his Quartet No. 5 at @oregonbachfestival this week. #stringquartet #philipglass #musicianontheroad #offseason #collaboration #education #music #oregonsymphony #osomusicians #pdx #classicalmusic #symphony #portland5 #artslandiawashere #art #musicalfamily

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8/21/18 12:31 PM

SEEN ON THE SCENE

Cycerli Ash, nominated for Best Supporting Actress in a Play.

Tricia Mead and Nicole Lane accepting the Fertile Ground Festival’s Lifetime Achievement Award.

Yasmin Ruvacalba, Community Engagement Coordinator, and Jane Vogel, Founder of Advance Gender Equity in the Arts

Members of the Oregon Symphony with Suzanne Nance and Joan Kingsley of All Classical 89.9.

Musical artist Jimmie Herrod.

Dan Heichelbech, Ashley Heichelbech, Julietta Bauman, Deneen King, Tiffany Grabenhorst, Jamieson Grabenhorst, and Deanna Bitar.

Attendees of the opening night of The Shape of Speed.

Artslandia founder and publisher, Misty Tompoles, and husband Derek.

Jay Leno with automotive journalist and exhibit curator Ken Gross and Portland Art Museum director Brian Ferriso.

2018 DRAMMYS AWARDS

OREGON SYMPHONY GALA

THE SHAPE OF SPEED

f irst row of photos

The annual Drammy Awards recognize exemplary actors, directors, and designers from a pool of over a hundred Portland-area theater productions.

second row of photos

On a spectacular night of music, dinner, and entertainment, the Oregon Symphony’s Gala 2018 raised record-breaking support for its concerts and community programs.

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

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third row of photos

In celebration of the opening of The Shape of Speed: Streamlined Automobiles and Motorcycles, 1930–1942, the Portland Art Museum hosted Jay Leno for a conversation with the exhibit’s guest curator, Ken Gross.

The exhibit showcases early designs of vehicles that embraced aerodynamics for fuel and speed efficiency. Open through September 16.

PHOTO CREDITS: Max McDermott, Artslandia (Drammys and Shape of Speed) Rachel Hadiashar (Oregon Symphony Gala)

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