InSymphony April 2019 by Artslandia

APRIL 2 019

the magazine of the

Oregon Symphony

Emanuel Ax FE ATURED CONCER T S Pink Martini with Meow Meow: Hotel Amour Monterey Jazz Festival on Tour Emanuel Ax Sci-Fi at the Pops

2019

EROICA TRIO Saturday, June 22, 8 p.m. Works by Vasks, Gershwin & Mendelssohn MIVOS QUARTET Thursday, June 27, 7:30 p.m. Works by Gubaidulina, Eckardt & Haas

Three Faces of Romanticism

OREGON MUSIC FESTIVAL

CONCERTS

BRAHMS DOUBLE/SCHUMANN’S 4th Saturday, June 29, 8 p.m. Works by Vasks, Brahms & Schumann FARRUGIA PLAYS MOZART Tuesday, July 2, 7:30 p.m. Works by Mozart, Vasks & Brahms GUBAIDULINA’S OREGON PREMIERE Saturday, July 6, 8 p.m. Works by Gubaidulina, Grieg & Britten KLEIN COMPETITION LAUREATE PLAYS BRUCH Thursday, July 11, 7:30 p.m. Works by Bruch, Schubert & Finzi BRAHMS’ REQUIEM Sunday, July 14, 4 p.m. Phillips/Tipton/Hačko Portland Symphonic Choir Oregon Festival Orchestra

Summer Edition: June 19-July 14

Tickets & more information www.oregonmusicfest.org

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CONTENTS APRIL 2019 12

Feature

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

Pink Martini with Meow Meow: Hotel Amour

Storm Large

featured STORM LARGE 12 KAREN WAGNER 40 LLOYD CENTER MALL 43 JAMEY HAMPTON 45

Monterey Jazz Festival on Tour

Emanuel Ax

Feature

performances PINK MARTINI WITH MEOW MEOW: HOTEL AMOUR 14 MONDAY, APRIL 1, 7:30 PM MONTEREY JAZZ FESTIVAL ON TOUR 20 TUESDAY, APRIL 2, 7:30 PM EMANUEL AX 24 SATURDAY, APRIL 6, 7:30 PM SUNDAY, APRIL 7, 2 PM MONDAY, APRIL 8, 7:30 PM

Karen Wagner

Sci-Fi at the Pops

Feature

Lloyd Center Mall

Feature

Jamey Hampton

SCI-FI AT THE POPS 30 SATURDAY, APRIL 27, 7:30 PM SUNDAY, APRIL 28, 2 PM

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: Emanuel Ax

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LETTER FROM THE PRESIDENT Hello Friends, In April, your Oregon Symphony kicks off the month with Portland’s own international sensation, Pink Martini with special guest vocalist Meow Meow (April 1). We then host the Monterey Jazz Festival on Tour, featuring the up-and-coming generation of jazz greats (April 2). In our Classical Series, esteemed pianist Emanuel Ax joins us to perform Stravinsky and Haydn (April 6–8). On April 14, our Kids Series features the charming, orchestral telling of Peter and the Wolf. We round out the month with Sci-Fi at the Pops, featuring the exhilarating themes from Star Wars, E.T., and other science fiction favorites (April 27–28). This spring, your Oregon Symphony is thrilled to bring The Lullaby Project to Portland for a second year. The Lullaby Project, founded at Carnegie Hall, pairs mothers facing housing challenges with professional songwriters. Over the past month, these moms, the songwriters, and Oregon Symphony musicians have worked together to create original lullabies for each family. In this way, we aim to strengthen local families by fostering the hope, healing, and joy of music. The lullabies record the mothers’ dreams for their children, and each is as unique as the children who inspired it. The project culminates in a Celebration Concert, with the musicians presenting this special repertoire, on April 25 at The Old Church Concert Hall. Read more about The Lullaby Project and explore songs and video from the 2018 Celebration Concert at orsymphony.org/lullaby. Subscribers, watch your mailbox at the end of this month for a brochure announcing our line-up of Special Concerts for the 2019/20 Season. Advance tickets for subscribers go on sale April 29.

As always, we thank you, our patrons and donors, for being part of the Oregon Symphony family.” SHARE YOUR STORY WITH #SOUNDSTORIES As part of this season’s theme of SoundStories, we’re collecting stories from you, our audience, about how music has impacted your life. We want to know about the first time you heard the Oregon Symphony, about your favorite musical memories from your childhood, and more. Share your story using the hashtag #SoundStories. @OregonSymphony

It is your support that makes possible our concerts here in the hall and our musical engagement events throughout the community. Enjoy your concert.

Scott Showalter president & ceo

orsymphony.org | 503-228-1353

2018/19

Great concerts in May

The Music of The Rolling Stones

Amadeus in Concert

The Music of The Rolling Stones

Peer Gynt

MAY 2

MAY 11, 12 & 13

Brent Havens, conductor Brody Dolyniuk, vocals

Carlos Kalmar, conductor • Jane Archibald, soprano * Alexander Polzin, visualization Mozart: Don Giovanni Overture • Britten: Les illuminations • * Grieg: Peer Gynt

It’s the ultimate Stones retrospective! Vegas veteran Brody Dolyniuk expertly delivers as Mick Jagger alongside the Oregon Symphony and a full rock band in an evening of legendary hits, including “Satisfaction,” “Ruby Tuesday,” “Honky Tonk Women,” and many more.

Amadeus in Concert MAY 4 Norman Huynh, conductor PSU Chamber Choir

Mahler’s First Symphony

Winner of eight Academy Awards , including Best Picture, Actor, Director, and Adapted Screenplay, Amadeus is a riveting story celebrating the music of Wolfgang Amadeus Mozart through the envious eyes of his frustrated rival, Antonio Salieri. Experience this epic motion picture classic like never before – projected on a giant hd screen while the Oregon Symphony performs its glorious soundtrack live, from the Gran Partita to the haunting Requiem. ®

Peer Gynt

Storm Large

The redemptive journey of Peer Gynt, from his humble peasant village to the trollinfested mountains of Norway, is depicted through the eyes of Peer himself in bold, animated photos and art projected on screens above the orchestra.

MAY 18, 19 & 20 Carlos Kalmar, conductor • Storm Large, vocalist • Hudson Shad, vocal quartet • Weill: The Seven Deadly Sins Mahler: Symphony No. 1, “Titan” Portland’s favorite songstress Storm Large stars in Kurt Weill’s bitingly humorous story of young Anna, caught between her family, her desires, and her own moral compass. Mahler’s ground-breaking first symphony, aptly nicknamed “Titan,” brings the Classical Season to a triumphant close.

Boyz II Men MAY 22 Norman Huynh, conductor

Boyz II Men

Boyz II Men returns to thrill a swooning Arlene Schnitzer Concert Hall with timeless love songs and R&B hits, including “I’ll Make Love to You,” “One Sweet Day,” “End of the Road,” and more.

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

CONDUCTORS Carlos Kalmar Jean Vollum music director chair

Carlos Kalmar is in his 16th season as music director of the Oregon Symphony. He is also the artistic director and principal conductor of the Grant Park Music Festival in Chicago. In May 2011, he made his New York debut at Carnegie Hall with the Oregon Symphony as part of the inaugural Spring for Music festival. Both his imaginative program, Music for a Time of War, and the performance itself were hailed by critics in The New York Times, New Yorker magazine, and Musical America, and the concert was recorded and released on the Pentatone label, subsequently earning two Grammy nominations (Best Orchestral Performance and Best Engineered). Under Kalmar’s guidance the orchestra has recorded subsequent cds on the PentaTone label – This England, featuring works by Britten, Vaughan Williams, and Elgar; The Spirit of the American Range, with works by Copland, Piston, and Antheil, which received another Best Orchestral Performance Grammy nomination; and Haydn Symphonies. New Yorker magazine critic Alex Ross called the Oregon Symphony’s Carnegie Hall performance under Kalmar “the highlight of the festival and one of the most gripping events of the current season.” That verdict was echoed by Sedgwick Clark, writing for Musical America, who described the performance of Vaughan Williams’ Fourth Symphony as “positively searing… with fearless edge-of-seat tempos… breathtakingly negotiated by all…” A regular guest conductor with major orchestras in America, Europe, and Asia, Kalmar recently made his subscription series debuts with three of America’s most prestigious orchestras: those of Boston, Chicago, and San Francisco. Past engagements have seen him on the podium with the Philadelphia Orchestra, the Los Angeles Philharmonic, the Minnesota Orchestra, and the New World Symphony, as well as the orchestras of Baltimore, Cincinnati, Dallas, Houston, Milwaukee, Nashville, Seattle, and St. Louis. Kalmar, born in Uruguay to Austrian parents, showed an early interest in music and began violin studies at the age of 6. By the time he was 15, his musical promise was such that his family moved back to Austria in order for him to study conducting with Karl Osterreicher at the Vienna Academy of Music. He has previously served as the chief conductor and artistic director of the Spanish Radio/Television Orchestra and Choir in Madrid as well as the music director for the Hamburg Symphony, the Stuttgart Philharmonic, Vienna’s Tonnkunsterorchester, and the Anhaltisches Theater in Dessau, Germany. He lives in Portland with his wife, Raffaela, and sons, Luca and Claudio.

Norman Huynh Harold and Arlene Schnitzer associate conductor chair

Now in his third season as Oregon Symphony associate conductor, Norman Huynh was selected from a field of over 100 candidates from around the world for his exceptional conducting technique, his passion for a wide-ranging repertoire, and his unique ability to communicate with an audience. The recipient of the 2015 Felix Mendelssohn-Bartholdy Scholarship, he previously conducted the St. Louis, City of Birmingham (uk), Baltimore, Toledo, Charlotte, and Virginia symphonies, and the Peabody Symphony Orchestra. He made his international conducting debut with the Princess Galyani Vadhana Youth Orchestra in Bangkok, Thailand, and has also conducted the Leipzig Symphony. He previously served as assistant conductor for the Spoleto Festival usa, the Portland Symphony Orchestra in Maine, Opera Carolina, the Lyric Opera of Baltimore, the Peabody Opera Theatre, and The Peabody Singers. Huynh co-founded the Occasional Symphony, an organization that presents innovative programs that resonate with eclectic venues throughout the city of Baltimore. He studied orchestral conducting at the Peabody Institute of the Johns Hopkins University, working with Gustav Meier, Markand Thakar, and Marin Alsop. For backstage stories, follow Huynh on Instagram @normanconductor. Jeff Tyzik principal pops conductor

Jeff Tyzik has earned a reputation as one of America’s foremost pops conductors and is recognized for his brilliant arrangements, original programming, and rapport with audiences. Now in his 25th season as principal pops conductor of the Rochester Philharmonic, Tyzik is also in his 12th season as the Oregon Symphony’s principal pops conductor and continues to serve in the same role with the Seattle Symphony, Detroit Symphony, Florida Orchestra, and Canada’s Vancouver Symphony. Tyzik is also highly sought after as a guest conductor across North America. He holds bachelor of music and master of music degrees from the Eastman School of Music. He lives in Rochester, New York, with his wife, Jill. orsymphony.org | 503-228-1353

O R C H E S T R A , S TA F F & B O A R D Orchestra MU S I C D IR E C TO R

CE LLO

H O RN

Carlos Kalmar Jean Vollum music director chair

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

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

A S S O CIATE COND U C TO R Norman Huynh Harold and Arlene Schnitzer associate conductor chair PR IN CIPAL P O P S COND U C TO R Jeff Tyzik VI O LIN

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

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

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CONTR AB A S S O ON Evan Kuhlmann**

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

Administration Rene Contakos, gift officer Scott Showalter, president and ceo Ella Rathman, development associate Diane M. Bush, executive assistant Leslie Simmons, director of events Susan Franklin, assistant to the Courtney Trezise, foundation music director and corporate giving officer Ellen Bussing, vice president Nik Walton, annual giving manager for development Charles Calmer, vice president MAR KE TING , for artistic planning COMMUNI C ATI ONS & S ALE S Natasha Kautsky, vice president of Ethan Allred, marketing and marketing and strategic engagement web content manager Janet Plummer, chief financial Liz Brown, marketing partnership and operations officer and group sales manager Steve Wenig, vice president Katherine Eulensen, audience and general manager development manager John Kroninger, front of house manager B U S INE S S O PE R ATI ONS Lisa McGowen, patron Allison Bagnell, senior graphic designer communications manager David Fuller, tessitura applications Rebekah Phillips, director of marketing, administrator communications, and sales Tom Fuller, database administrator Julie Haberman, finance and administration associate Randy Maurer, production manager Peter Rockwell, graphic designer Lynette Soares, finance and administration assistant D E VE LO PMENT Meagan Bataran, annual fund director Hilary Blakemore, senior director of development

TI CKE T O FFI CE

Rachel Allred, patron services representative Adam Cifarelli, teleservices manager Karin Cravotta, patron services representative Alison Elliot, patron services representative Ethan jh Evans, patron services representative Rebecca Van Halder, patron services representative Emily Johnstone, patron services representative Chris Kim, patron services representative Cleo Knickerbocker, patron services representative Nils Knudsen, assistant ticket office manager O PE R ATI ONS Christy McGrew, ticket office manager Carol Minchin, patron services Jacob Blaser, director of operations representative Ryan Brothers, assistant stage manager Monica Hayes, education and community Amanda Preston, patron services representative engagement program director Robert Trujillo, patron services Susan Nielsen, director of popular representative programming and presentations Ashley Weatherspoon, patron services Steve Stratman, orchestra manager representative Lori Trephibio, stage manager Frances Yu, lead patron services Jacob Wade, manager, operations and representative artistic administration

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

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

Kristen Kern Thomas M. Lauderdale Martha Long Priscilla Wold Longfield Roscoe C. Nelson III Dan Rasay James Shields Larry Vollum Derald Walker Jack Wilborn E X- O FFI CI O MEMB E R S Scott Showalter, Oregon Symphony Association Jo Ann Young, Oregon Symphony Association in Salem

orsymphony.org | 503-228-1353 11

F E AT U R E D A R T I C L E editor’s note: the following article contains some strong language No one who has seen Storm Large perform can deny her charisma. Her presence on stage is almost tactile; the combined intensity of her expressive voice, glamorous persona, and instant connection to the audience gives her performances both immediacy and intimacy. Large projects the confidence of a born star, so it might come as a surprise to her fans that she still sometimes sees herself as she did as a child: uncool, a loser. “I still have a hard time believing in myself,” Large admits. Large’s father, a football coach, made sports a priority for his three children. “I was good at sports, but it wasn’t my scene, so I just got called a loser a lot,” Large remembers. She began singing, starting with commercial jingles – she even composed her own, including “a loving ode to Snickers bars” – when she was 5. “I noticed that when I sang, people paid attention in a way where I could tell that they were impressed,” says Large. “When I sang, I got a reaction from people that wasn’t anger or annoyance.”

Buoyed by this response, Large continued to sing, even as she battled a negative selfimage. “When I was 23, I was on stage with a friend’s band in California, in a roomful of people who went apesh*t when I sang a rock song, and I finally said, ‘I’m not pretty, not skinny; I have no money, no connections. In this moment, I have everything I need, and it’s only because I can sing. So I’m going to keep singing and get by on that.” For the next decade or so, Large performed with a number of punk bands in California and Oregon, and her confidence steadily grew. At 27, Large began practicing yoga, got healthy, and started to cultivate her allure. Today, she is equally at home on stage with small groups, a mid-size band like Pink Martini, or fronting the Oregon Symphony.

For Large, the adrenaline rush she gets on stage is only a part of what fuels her passion to perform; she also uses her life experience to give back to her audience. “Everybody suffers some kind of slight, pain, trauma, whatever, and it can be an ongoing experience or one major blow,” she explains. “I think there are two kinds of people: one kind of person says, ‘Life is bullsh*t; love is a lie, and the world owes me because this happened to me, and it’s why everything is wrong.’ The second kind of person experiences trauma and says, ‘That hurt, and I want to make sure nobody else ever feels that way. I’m going to transmute my pain into my art, not to deny the pain or pretend it didn’t hurt but to be vulnerable. It will be the grit in my oyster that makes the pearl.’

When I’m in front of 3,000 people, my energy grows inside my skin to be big and bright and loud enough to hold everyone in my arms and voice and in my energy field. I want everyone to feel whatever I’m feeling.”

“I learned through being an artist that being vulnerable is far more compassionate and inviting to an audience. You tear a hole in the façade of yourself and say, ‘Look, this is where I’m hurt, and I’m going to speak from this place because I know you’re hurt there too.’ Doing that with a child, or a loved one, or in front of 3,000 people makes us all less alone.”

STORM

by Elizabeth Schwartz

LARGE 12 artslandia.com

Next month, Large appears in Kurt Weill’s The Seven Deadly Sins with the vocal quartet Hudson Shad and the Oregon Symphony. Since she first sang the role of Anna with the Symphony in 2013, Large has made The Seven Deadly Sins a signature part of her repertoire and has performed it with orchestras around the country. Featuring a scathing libretto by Bertolt Brecht, The Seven Deadly Sins

describes the plight of Anna, forced into prostitution to support her lazy family.

house in Louisiana,’ I think the Annas die; the journey ends with their death.”

“You’re supposed to be appalled by the story,” says Large. “It’s a big metaphor for capitalism that points a finger and says, ‘This is disgusting.’ You’re supposed to be dismayed, and the family is supposed to be repugnant and awful. Brecht hated America so much and saw capitalism as an evil that can only lead to death and destruction and the corruption of the soul. On the other hand, Anna is a split personality. Anna No. 1 is dominant, acting as a guide or teacher or mother. She is in charge, telling Anna No. 2 how to behave as if she is a child. Eventually the two Annas merge together as the story grows more unseemly and desperate. My interpretation is that Anna has a meltdown at the end, jealous of all these people who get to live off her, and she can’t partake because she’s a whore. When Anna says to her little sister, ‘Now, we’re here in our little

Beyond the literal narrative, Large sees the story of The Seven Deadly Sins as a useful metaphor that fits a number of current events. “You could see Anna as Earth or the environment and the family as a repugnant multinational corporation raping the planet, or you can view the story through the lens of our current political administration in its disregard for human rights.” Singing with the Oregon Symphony gives Large a particular charge.

There’s such a rush of pride being at home with my home orchestra. They’re so good, and they all know me, and I don’t have to prove anything.” There’s a familiarity. I adore Carlos; he’s a huge legend, but he’s never acted like a legend around me. He advocates for the artist and for the art, and he’s a supporter. With some people, their reputation precedes them, and you end up hanging out with their reputation, and they end up being kind of a jerk. Carlos has never done that.”

Storm Large sings Kurt Weill’s The Seven Deadly Sins with the Oregon Symphony May 18, 19 & 20 at the Arlene Schnitzer Concert Hall. For more information, go to orsymphony.org.

orsymphony.org | 503-228-1353 13

PINK MARTINI WITH MEOW MEOW: HOTEL AMOUR MONDAY, APRIL 1, 2019, 7:30 PM Norman Huynh, conductor Thomas M. Lauderdale, piano China Forbes, vocals Meow Meow, guest vocals Edna Vazquez, guest vocals Jimmie Herrod, guest vocals Phil Baker, upright bass Dan Faehnle, guitar Gavin Bondy, trumpet Mihail Iossifov, trumpet Robert Taylor, trombone Nicholas Crosa, violin Maureen Love, harp Timothy Nishimoto, vocals and percussion Brian Davis, congas and other percussion Miguel Bernal, congas and other percussion Reinhardt Melz, drum kit and other percussion Andrew Borger, drum kit and other percussion Program will be announced from the stage. ARLENE SCHNITZER CONCERT HALL

Biographies

Pink Martini In 1994 in his hometown of Portland, Oregon, Thomas Lauderdale was working on political campaigns, with the intention of eventually running for office. Drawing inspiration from music from all over the world – crossing genres of classical, jazz, and old-fashioned pop – and hoping to appeal to conservatives and liberals alike, he founded the “little 14 artslandia.com

orchestra” Pink Martini to bring a little bit of Breakfast at Tiffany’s to political fundraising for causes such as civil rights, affordable housing, cleaning up the Willamette River, libraries, and education, among others.

inclusive America... the America that is the most heterogeneously populated country in the world. Except for Native Americans, all of us are immigrants from every country, of every language, of every religion,” says Lauderdale.

One year later, Lauderdale called China Forbes, a Harvard classmate who was living in New York City, and asked her to join Pink Martini. They began to write songs together. Their first song – “Je ne veux pas travailler,” or “I don’t want to work” – became an overnight sensation in France, was nominated for Song of the Year at France’s Victoires de la Musique Awards, and to this day remains a mantra for striking French workers. “Pink Martini is an American band, but because we spend a lot of time abroad, we have the incredible diplomatic opportunity to represent a broader, more

Featuring a dozen musicians with songs in over 25 languages, Pink Martini performs its multilingual repertoire on concert stages and with symphony orchestras throughout Europe, Asia, Greece, Turkey, the Middle East, Northern Africa, Australia, New Zealand, and North and South America. Pink Martini made its European debut at the Cannes Film Festival in 1997 and its orchestral debut with the Oregon Symphony in 1998 under the direction of Norman Leyden. Since then, the band has gone on to play with more than 70 orchestras around the world, including

FESTIVAL OF FREE CONCERTS APRIL 20 – MAY 5

njoy classical music up close when Oregon Symphony musicians and their special guests present an extraordinary series of 15 FREE chamber music concerts – six full-length evening concerts, six intimate Blitz performances, and three Kids’ Concerts for children of all ages and their families – in locations all around the Portland metro area! Visit www.classicalupclose.org for concert dates, times, locations, and programs.

Six FREE Evening Concerts: April 23, St. Mary’s Cathedral Special Guest Suzanne Nance, President and CEO of All Classical Portland

April 24, Mt. Scott Park Presbyterian Church April 26, German American Society of Portland April 30, Tigard United Methodist Church May 1, Bethany Presbyterian Church May 3, Milwaukie Lutheran Church

PLUS six intimate FREE Blitz concerts: April 20 - 10 am, Mt. Scott Park Community Center April 20 - 12 pm, Powell’s City of Books

Special thanks to Jordan Schnitzer and James and Linda Hamilton for their extraordinary support. SPONSORED IN PART BY

April 24, 10 am, Symposium Coffee, Tigard April 25, 1 pm, Fleur de Lis Café April 29, 5 pm, Bethany Public House May 1, 1:30 pm, Milwaukie Center

The Rose E. Tucker Charitable Trust • Herbert A. Templeton • The Autzen Foundation

OFFICIAL MEDIA SPONSOR

AND Kids’ Concerts for children of all ages and their families: April 7, 11 am, Multnomah Co. Central Library May 5, 1 & 2:30 pm, Tigard Public Library

Visit www.classicalupclose.org for complete details Follow us on Facebook and Twitter at: @upclosepdx and on Instagram at: classicalupclose

PINK MAR TINI WITH MEOW MEOW: HOTEL AMOUR multiple engagements with the Los Angeles Philharmonic at the Hollywood Bowl, the Boston Pops, the National Symphony at the Kennedy Center, the San Francisco Symphony, the Chicago Symphony, the Minnesota Orchestra, the Seattle Symphony, the Cleveland Orchestra, and the bbc Concert Orchestra at Royal Albert Hall. Other appearances include the grand opening of the la Philharmonic’s Frank Gehry-designed Walt Disney Concert Hall, with return sold-out engagements for New Year’s Eves in 2003, 2004, 2008, 2011, 2014, and 2016; four sold-out concerts at Carnegie Hall; the opening party of the remodeled Museum of Modern Art in New York City; three sold-out shows with the Sydney Symphony at the renowned Sydney Opera House; sold-out concerts at Royal Albert Hall in London in 2011, 2013, and 2016; sold-out concerts at Paris’ legendary L’Olympia Theatre in 2011 and 2016; and Paris’ fashion house Lanvin’s 10-year anniversary celebration for designer Alber Elbaz in 2012. In 2014, Pink Martini was inducted into both the Hollywood Bowl Hall of Fame and the Oregon Music Hall of Fame. Television appearances include The Late Show with David Letterman, Late Night with Conan O’Brien, The Tonight Show with Jay Leno, Later with Jools Holland, and a feature on cbs Sunday Morning. The band created a nationally broadcast 2015 npr holiday concert special, Joy to the World: A Holiday Spectacular, and has been featured on multiple New Year’s Eve broadcasts on npr’s Toast of the Nation. The band has collaborated with numerous artists, including Phyllis Diller, Jimmy Scott, Carol Channing, Rita Moreno, Jane Powell, Rufus Wainwright, Japanese legends Saori Yuki and Hiroshi Wada, Henri Salvador, Chavela Vargas, New York performer Joey Arias, puppeteer Basil Twist, Georges Moustaki, Michael Feinstein, Charo, Doc Severinsen, filmmaker Gus Van Sant, Courtney Taylor-Taylor of The

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PINK MARTINI WITH MEOW MEOW: HOTEL AMOUR

Dandy Warhols, clarinetist and conductor Norman Leyden, Italian actress and songwriter Alba Clemente, dj Johnny Dynell and Chi Chi Valenti, Faith Prince, Mamie Van Doren, the original cast of Sesame Street, the Portland Youth Philharmonic, Mariachi Aztlan of Pueblo High School in Tucson, the Jefferson High School Gospel Choir, the Royal Blues of Grant High School, the Pacific Youth Choir, and Karen Early (who played sleigh bells and crash cymbals on the band’s holiday album and the band’s collaborative album with Japanese singer Saori Yuki, respectively). In 2016, Pink Martini released its ninth studio album, Je dis oui!, featuring singers China Forbes, Storm Large, Ari Shapiro, fashion guru Ikram Goldman, civil rights leader Kathleen Saadat, and Rufus Wainwright. The album’s 15 songs span eight languages (French, Farsi, Armenian, Portuguese, Arabic, Turkish, Xhosa, and English) and affirm the band’s 25-year history of global inclusivity and collaborative spirit. Most recently, the band released two singles in 2018. “Exodus” features the vocals of incredible local singer Jimmie Herrod, and “I Am Woman,” the band’s bold and empowering cover of the Helen Reddy’s 1970 feminist anthem, features the vocals of both China Forbes and Storm Large. The song was featured on npr’s “American Anthem” series.

Thomas M. Lauderdale Thomas Lauderdale was raised on a plant nursery in rural Indiana. He began piano lessons at age 6 with Patricia Garrison. When his family moved to Portland in 1982, he began

studying with Sylvia Killman, who to this day continues to serve as his coach and mentor. He has appeared as soloist with numerous orchestras and ensembles, including the Oregon Symphony, the Seattle Symphony, the Portland Youth Philharmonic, Chamber Music Northwest, and Oregon Ballet Theatre (where he collaborated with choreographer James Canfield and visual artists Storm Tharp and Malia Jensen on a ballet based on Felix Salten’s Bambi, written in 1923). In 2008, he played Gershwin’s Piano Concerto in F with the Oregon Symphony under the direction of Christoph Campestrini. Lauderdale returned as soloist with the Oregon Symphony in multiple concerts in 2011 and again in 2015, under the direction of Carlos Kalmar. In 2017, he and his partner Hunter Noack created and performed a dazzling, rhapsodic twopiano arrangement of George Gershwin’s “Rhapsody in Blue” with choreographer Nicolo Fonte for Oregon Ballet Theatre. Active in Oregon politics since a student at u.s. Grant High School (where he was student body president), Thomas served under Portland Mayor Bud Clark and Oregon Governor Neil Goldschmidt. In 1991, he worked under Portland City Commissioner Gretchen Kafoury on the drafting and passage of the city’s civil rights ordinance. He graduated with honors from Harvard with a degree in history and literature in 1992. He spent most of his collegiate years, however, in cocktail dresses, taking on the role of “cruise director”… throwing waltzes with live orchestras and ice sculptures, disco masquerades with gigantic pineapples on wheels, midnight swimming parties, and operating a Tuesday night coffeehouse called Café Mardi. Instead of running for political office, Lauderdale founded Pink Martini in 1994 to play political fundraisers for progressive causes such as civil rights, the environment, affordable housing, and public broadcasting. In addition to

his work with Pink Martini, Lauderdale is currently working on three different recording projects with international superstar and singing sensation Meow Meow, the surf band Satan’s Pilgrims, and singer/civil rights leader Kathleen Saadat respectively. In spring 2008, Lauderdale completed his first film score for Chiara Clemente’s documentary Our City Dreams, a portrait of five New York City-based women artists of different generations. In 2016, Lauderdale created the score and three featured songs for the Belgian film Souvenir, starring the legendary French actress Isabelle Huppert. Lauderdale currently serves on the boards of the Oregon Symphony, Pioneer Courthouse Square, the Oregon Historical Society, Confluence Project with Maya Lin, and the Derek Rieth Foundation. He lives with his partner, Hunter Noack, in downtown Portland, Oregon.

China Forbes China Forbes was born and raised in Cambridge, Massachusetts, where she graduated cum laude from Harvard and was awarded the Jonathan Levy Prize for “most promising actor” in 1992. She appeared in New York regional theater and Off-Off Broadway productions, earning her Equity card alongside future stars of stage and screen such as Norm Lewis, Peter Jacobson, and Rainn Wilson. China and her first band played regularly at cbgb’s Gallery, the Mercury Lounge, and Brownies in New York City. Her first solo album, Love Handle, was released in 1995, and she was chosen to sing “Ordinary Girl,” the theme song to the tv show Clueless. orsymphony.org | 503-228-1353 17

PINK MARTINI WITH MEOW MEOW: HOTEL AMOUR In 1995, she was plucked from New York City by Harvard classmate Thomas Lauderdale to sing with Pink Martini, and she has since co-written many of the band’s most beloved songs with Lauderdale, including “Je ne veux pas travailler,” “Lilly,” “Clementine,” “Let’s Never Stop Falling in Love,” “Over the Valley,” and “A Snowglobe Christmas,” which can be heard on Pink Martini’s holiday album Joy to the World. Her original song “Hey Eugene” is the title song of Pink Martini’s third album. She sang “Qué Será Será” over the opening and closing credits of Jane Campion’s film In the Cut, and her original song “The Northern Line” appears at the end of sister Maya Forbes’ directorial debut Infinitely Polar Bear (Sony Pictures Classics). Both films star Mark Ruffalo. columbiagorge hotel .com

Forbes has performed songs in over 20 languages and has sung duets with Michael Feinstein, Jimmy Scott, Georges Moustaki, Henri Salvador, Saori Yuki, Faith Prince, Carol Channing, and Rufus Wainwright, among others. She has performed in venues from Carnegie Hall to Red Rocks and from the Hollywood Bowl to the Grand Rex in Paris. She released her second solo album ’78, a collection of autobiographical folk-rock songs, on Heinz Records in 2008.

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Meow Meow Post-post-modern diva Meow Meow has hypnotized, inspired, and terrified audiences globally. The spectacular crowd-surfing queen of song had her New York Pops debut in 2015 at Forest Hills Stadium with Pink Martini and her London Philharmonic debut in 2013 as Jenny in Brecht/Weill’s Threepenny Opera in Paris’ Théâtre des ChampsÉlysées and London’s Royal Festival

Hall. She sold out her Lincoln Center American Songbook Series and Sydney Opera House concerts, toured the concert halls of Australia with Barry Humphries and the Australian Chamber Orchestra (singing 1920s works from Weimar Germany), and in 2014, performed contemporary opera with the la Philharmonic in Andriessen’s De Materie and for Pina Bausch Company in Germany. This was followed by an extended season of the award-winning original music comedy work Feline Intimate in London at the Southbank Centre and again a critically acclaimed season at London’s Southbank with her Apocalypse Meow. Meow starred on London’s West End in Kneehigh Theatre and Michel Legrand’s The Umbrellas of Cherbourg, as well as in her own solo concerts at the legendary Apollo Theatre. David Bowie, Pina Bausch, and Mikhail Baryshnikov are amongst her curators, and she has created works for festivals from Shanghai to Wroclaw, performing everything from Schubert and Schumann with orchestra to touring with punk outfit Amanda Palmer and The Dresden Dolls. Named “One of the Top Performers of the Year” by The New Yorker, multiaward winning Meow Meow has also been called “Sensational” (The Times), “diva of the highest order” (New York Post), “The Queen of Chanson” (Berliner Zeitung), and “a phenomenon” by the Australian press. She opened Berkeley Rep’s 2014 season with the new music theater work An Audience with Meow Meow. Meow’s albums Vamp and Songs from a Little Match Girl are available on iTunes. For more information, please visit meowmeowrevolution.com

MONTEREY JAZZ FESTIVAL ON TOUR TUESDAY, APRIL 2, 2019, 7:30 PM SPONSORED BY DAN AND PRISCILLA WIEDEN

Cécile McLorin Salvant, vocals Bria Skonberg, trumpet Melissa Aldana, tenor saxophone Christian Sands, piano and music director Yasushi Nakamura, bass Jamison Ross, drums Program will be announced from the stage. The Oregon Symphony does not perform. ARLENE SCHNITZER CONCERT HALL

Biographies

Montery Jazz Festival The Monterey Jazz Festival is pleased to present its fifth national tour from March 15–April 14, 2019, featuring some of the greatest critically acclaimed, Grammywinning, and Grammy-nominated jazz artists of their generation, including three winners of the Thelonious Monk International Jazz Competition. World-renowned for its artistic excellence, sophisticated informality, and longstanding mission to create and support year-round jazz education and performance programs in local, regional, national, and international venues, Monterey Jazz Festival has stayed true to expanding live performances of jazz around the country since 2008 by presenting national tours that have reached over 115,000 fans in 163 shows across the United States and Canada. The 2019 Monterey Jazz Festival on Tour band features a top roster of diverse and international millennial talent and the 20 artslandia.com

leaders of jazz’s future, including Cécile McLorin Salvant, vocals; Bria Skonberg, trumpet and vocals; Melissa Aldana, tenor saxophone; Christian Sands, piano and music director; Jamison Ross, drums and vocals; and Yasushi Nakamura, bass. The Monterey Jazz Festival on Tour 2019 is produced by Tim Jackson for Monterey Jazz Festival and Danny Melnick for Absolutely Live Entertainment (ale).

of the Big Three – Billie Holiday, Sarah Vaughan, and Ella Fitzgerald – it is [her],” wrote The New York Times. Her three Mack Avenue releases, For One to Love, Dreams and Daggers, and The Window each won Grammy Awards for Best Jazz Vocal Album. Rolling Stone describes Cécile as “... one of the greatest jazz singers of her generation, but that label sells her short.”

Bria Skonberg Cécile McLorin Salvant One of the most acclaimed vocalists of her generation, Cécile McLorin Salvant is the winner of the 2010 Thelonious Monk International Jazz Competition. Other honors include selection for Jazz Album of the Year by the DownBeat International Critics Poll and npr, as well as Up-andComing Jazz Artist of the Year and Top Female Vocalist from the Jazz Journalists Association. McLorin Salvant grew up in a bilingual household in Miami and traveled to Aix-en-Provence to pursue a degree in French law while training as a classical and baroque singer before switching to jazz. “If anyone can extend the lineage

Canadian singer, trumpeter, and songwriter Bria Skonberg has been described as one of the “most versatile and imposing musicians of her generation” by The Wall Street Journal, recognized as one of 25 for the Future by DownBeat Magazine, and cited as a millennial “shaking up the jazz world” by Vanity Fair. Signed to Sony Music Masterworks’ OKeh Records, Skonberg released her eponymous major label debut in 2016, winning a Canadian juno award and making the Top 5 on Billboard jazz charts. Her many accolades include Best Vocal and Best Trumpet awards from Hot House Jazz Magazine, Outstanding Jazz

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M O NTE R E Y J A Z Z FE S T I VA L O N TO U R Artist at the New York Bistro Awards, and DownBeat’s Rising Star award. In addition to performing at jazz festivals around the world, Skonberg is an avid educator and supporter of public school opportunities, giving numerous workshops and concerts for students of all ages.

George Coleman, among others. She is also a recipient of the Martin E. Segal Award from Jazz at Lincoln Center and a double recipient of the Altazor Award, Chile’s highly prestigious national arts prize. She has released four albums as a leader, including her latest, Back Home, on Concord. Aldana “…balances technical bravura with musical depth, a hallmark of her playing,” writes The Chicago Tribune.

Melissa Aldana Tenor saxophonist Melissa Aldana was born in Santiago, Chile, and in 2013 she became the first female instrumentalist and the first South American ever to win the Thelonious Monk Competition. Aldana attended the Berklee College of Music, studying with George Garzone, Danilo Pérez, and Patricia Zarate, while hitting the clubs with Greg Osby and

Christian Sands Pianist and Montery Jazz Festival on Tour Music Director Christian Sands is a five-time Grammy nominee. As a child in New Haven, Connecticut, he began music classes at age 4, started playing professionally at the age of 10,

Mary Kathryn Nagle pairs Sacajawea and the present day fight to protect the Mnisose (what Europeans named the “Missouri River”) in this Northwest Stories world premiere.

Apr. 13 – May 5 Season Superstars

In this hysterical comedy by Karen Zacarías, well-intentioned neighbors turn into feuding enemies as they clash over their approach to gardening – and life.

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and received his bachelor’s and master’s degrees from the Manhattan School of Music. A protégé of Dr. Billy Taylor, Sands began a six-year association with bassist Christian McBride in 2009, touring jazz festivals and clubs worldwide. Sands has followed in Dr. Taylor’s footsteps by encouraging, inspiring and advocating for the preservation and history of jazz, teaching young people as well as adult audiences. In 2015, he started the Jazz Kids of Montmartre in Copenhagen, Denmark; he also teaches at Jazz in July, where he is an alumnus. His debut for Mack Avenue, Reach, “showcases his significant talents as an imaginative composer, a clever arranger and a skillful technician with a fluid style,” wrote DownBeat. His new Mack Avenue release, Facing Dragons, was released on September 21, 2018 and was reviewed by npr as a “...crisply assured new album... that expresses new ideas without abandoning the old.”

Portland Center Stage at

MONTEREY JA ZZ F E S T I VA L O N T O U R

Yasushi Nakamura Bassist Yasushi Nakamura is one of the most commanding voices on bass today. Born in Tokyo, Nakamura moved to Seattle, Washington, eventually receiving his bachelor’s degree in jazz performance from Berklee College of Music and an artist diploma from the Juilliard School. He has recorded or performed around the world with Wynton Marsalis, Wycliffe Gordon, Toshiko Akiyoshi, Hank Jones, Dave Douglas, and many others. As an educator, Nakamura has led master classes and summer intensive courses at Juilliard, The New School, Koyo Conservatory, Osaka Geidai, and Savannah Swing Central. Nakamura made his highly-anticipated album debut as leader in late 2016 with A Lifetime Treasure, followed by Hometown in 2017.

this music.

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Listen around the world at allclassical.org

Portland Columbia SymPhony Steven ByeSS, MuSic Director

Jamison Ross Grammy-nominated drummer and vocalist Jamison Ross won the Thelonious Monk International Jazz Competition in 2012. A Jacksonville, Florida native, Ross received his bachelor’s degree in jazz studies from Florida State University and his master’s degree from the University of New Orleans. He has toured internationally and recorded with a variety of esteemed jazz artists including Cécile McLorin Salvant, Jonathan Batiste, Dr. John, Jon Cleary, Christian McBride, and Carmen Lundy. His debut album, Jamison, was released on Concord Records and was nominated as for a Best Jazz Vocal Album Grammy in 2015. He released his latest album, All for One, in January 2018. Jamison’s “roots in jazz and gospel give him thrilling chops and unfailing feel,” writes npr.

Slavic Spectacular May 3& 5, 2019 LISZT: Hungarian Rhapsody No. 2 DVORÁK: Czech Suite BARTÓK: Rumanian Folk Dances KODÁLY: Suite from Háry János

Orchestral Showpieces

Listen to this music — you get the feeling that the composer is telling you a story, and one’s soul can travel there, even if the body cannot!

columbiasymphony.org 503.234.4077 for information & additional programming

orsymphony.org | 503-228-1353 23

EMANUEL AX SATURDAY, APRIL 6, 2019, 7:30 PM SUNDAY, APRIL 7, 2019, 2 PM MONDAY, APRIL 8, 2019, 7:30 PM SPONSORED BY

Carlos Kalmar, conductor Emanuel Ax, piano Daniel Auber

Fra Diavolo Overture

Joseph Haydn

Piano Concerto in D Major Vivace Un poco adagio Rondo all’Ungarese: Allegro assai Emanuel Ax

Igor Stravinsky

Capriccio Presto—Doppio movimento Andante rapsodico Allegro capriccioso ma tempo giusto Emanuel Ax

INTERMISSION John Corigliano

Symphony No. 1, “Of Rage and Remembrance” Apologue: Of Rage and Remembrance Tarantella Chaconne: Giulio’s Song Epilogue ARLENE SCHNITZER CONCERT HALL

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

Biography

Emanuel Ax Born in modern day Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. His studies at the Juilliard School were supported by the sponsorship of the Epstein Scholarship Program of the Boys Clubs of America, and he subsequently won the Young Concert Artists Award. Additionally, he

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attended Columbia University where he majored in French. Ax made his New York debut in the Young Concert Artists Series and captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975, he won the Michaels Award of Young Concert Artists, followed four years later by the coveted Avery Fisher Prize.

Of rage, remembrance – and healing. The Oregon Symphony supports the rights and dignity of all human beings. On April 6–8 we are proud to present John Corigliano’s Symphony No. 1, “Of Rage and Remembrance,” a piece inspired by the devastating impact of the AIDS crisis, in cooperation with these outstanding community partners.

CASCADE AIDS PROJECT

Cascade AIDS Project is the oldest and largest AIDS Service Organization in Oregon and Southwest Washington. Our mission is to support and empower all people with or affected by HIV, reduce stigma, and provide the LGBTQ+ community with compassionate healthcare. We offer free testing and prevention services, as well as supportive programs for those who are living with HIV. CAP staff help participants secure housing, find essential medical care, and walk with them as they navigate the path to living a long and healthy life. Prism Health is part of CAP’s expanding mission to serve the broader LGBTQ+ community.

OUR HOUSE

Our House inspires people with HIV to live well. With the help of amazing staff, dedicated volunteers, and exceptional donors, Our House provides healthcare, housing, and other vital services to people in need in our community living with HIV. Our House has been part of the Portland community since 1988. Over the years we have expanded services that now range from regular in-home visits by clinical staff to 24-hour residential skilled nursing services. HIV is a complex and challenging disease that can often be overwhelming. The Our House team tailors services for each individual that defines what “living well” means to them.

PORTLAND GAY MEN’S CHORUS

The Portland Gay Men’s Chorus aspires to expand, redefine, and perfect the choral art through eclectic performances that honor and uplift our community and affirm the worth of all people. Shortly after PGMC’s founding in 1980, the gay community faced the AIDS crisis. PGMC found itself an emotional, spiritual, and social oasis for the community in a time of fear. At the height of the crisis, the Chorus shrunk from over 100 members to fewer than 30. Today, PGMC is a thriving arts organization comprised of over 140 singers, performing to packed houses and conducting community work in Portland and beyond.

Thank you for strengthening our community. Join us for a panel discussion in the concert hall following our Sunday, April 7 performance to learn more about our partners’ work in the community. orsymphony.org | 503-228-1353 MOVING MUSIC FORWARD

EMANUEL A X In partnership with colleagues Leonidas Kavakos and Yo-Yo Ma, he began the current season with concerts in Vienna, Paris, and London with the trios of Brahms, recently released by Sony Classical. In the u.s., his season includes returns to the orchestras in Cleveland, Chicago, New York, Philadelphia, San Francisco, Los Angeles, Minneapolis, Washington, Detroit, Pittsburgh, and Nashville, as well as to Carnegie Hall for a recital to conclude the season. In Europe, he can be heard in Munich, Amsterdam, Berlin, Rome, Vienna, London, and on tour with the Budapest Festival Orchestra in Italy. Always a committed exponent of contemporary composers, with works written for him by John Adams, Christopher Rouse, Krzysztof Penderecki, Bright Sheng, and Melinda Wagner already in his repertoire, most recently he has added hk Gruber’s Piano Concerto and Samuel Adams’ Impromptus. A Sony Classical exclusive recording artist since 1987, recent releases include Mendelssohn Trios with Yo-Yo Ma and Itzhak Perlman, Strauss’ Enoch Arden narrated by Patrick Stewart, and discs of two-piano music by Brahms and Rachmaninoff with Yefim Bronfman. In 2015, Deutche Grammophon released a duo recording with Perlman of sonatas by Fauré and Strauss, which the two artists presented on tour during the 2015/16 Season. Ax has received Grammy Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammy-winning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano. His other recordings include the concertos of Liszt and Schoenberg, three solo Brahms albums, an album of tangos by Astor Piazzolla, and the premiere recording of John Adams’ Century Rolls with the Cleveland Orchestra for Nonesuch. In the 2004/05 Season, Ax also contributed to an International Emmy Award-winning bbc documentary commemorating the Holocaust that aired on the 60th anniversary of the liberation of Auschwitz.

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A frequent and committed partner for chamber music, he has worked regularly with such artists as Young Uck Kim, Cho-Liang Lin, Yo-Yo Ma, Edgar Meyer, Peter Serkin, Jaime Laredo, and the late Isaac Stern. Ax resides in New York City with his wife, pianist Yoko Nozaki. They have two children together, Joseph and Sarah. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Skidmore College, Yale University, and Columbia University. For more information about Ax’s career, please visit emanuelax.com.

Program Notes DANIEL AUBER 1782–1871

Fra Diavolo Overture composed: 1830 first oregon symphony performance instrumentation: Piccolo, flute, oboe, clarinet, bassoon, contrabassoon, horn, trumpet, alto trombone, tenor trombone, bass trombone, timpani, bass drum, cymbals, snare drum, triangle, and strings estimated duration: 9 minutes

opera houses. Auber scholar Herbert Schneider observes, “[Auber’s] ideals were those of the French tradition in general and opéra comique in particular: the greatest possible simplicity, clear lines, and transparent structures, lightness of spirit and coloration, elegance, esprit, and moderation in expression.” Michele Pezza, an early 19th-century guerilla fighter from the southern Italian town of Itri, took as his nom-de-guerre the name Fra Diavolo (Brother Devil). Auber’s opera borrowed both Pezza’s nickname and the broad outline of his nefarious activities, making him into more of a thief than a freedom fighter. The plot, a mélange of star-crossed lovers, mistaken identities, and plenty of convoluted plot twists – when combined with Auber’s music – made Fra Diavolo one of Auber’s most popular operas from the moment of its premiere by the Paris Opéra-Comique on January 28, 1830, at the Salle-Ventadour. The overture begins with a call to action via the snare drum, followed by a precise, lighthearted march. In 1933, 100 years after its operatic premiere, Fra Diavolo was adapted into a 90-minute film directed by Hal Roach and starring Stan Laurel and Oliver Hardy; it was their most successful film.

JOSEPH HAYDN 1732–1809

In the 19th century, opera flourished throughout Europe. Today’s opera fans can be forgiven for assuming that the majority of those operas came from the pens of Italian composers. Name 10 opera composers from the 19th century and your list will inevitably include Rossini, Donizetti, Bellini, and Verdi.

Piano Concerto in D Major, Hob.XVIII:11

Less known today but equally famous in their time were a number of French composers who specialized in the particularly Gallic style of opéra comique. Among those forgotten opéra comique composers, Daniel Auber looms large, and his comic masterpiece, Fra Diavolo, ou L’hôtellerie de Terracine (Brother Devil, or the Inn at Terracine), still enjoys a following today, particularly in European

estimated duration: 25 minutes

composed: c. 1783–84 first oregon symphony performance instrumentation: Solo harpsichord or piano, 2 oboes, 2 horns, and strings

The keyboard concerto (more particularly the piano concerto) evolved and matured in the hands of composers who were often virtuoso pianists themselves. Wolfgang Amadeus Mozart, for example, wrote his later concertos for subscription concerts he performed in Vienna in the 1780s. These concertos were created as

EMANUEL A X vehicles to display Mozart’s prodigious skills as a performer, although, being Mozart, many of them exceeded their practical genesis and were also great works of music in their own right. Joseph Haydn’s prolific output includes concertos, but they were not the focus of his compositional interest. Unlike Mozart, Haydn was, by his own admission, “not a wizard on any instrument.” He wrote concertos for violin, cello, flute, trumpet, horn, and oboe, as well as a number for baryton, a now-obscure stringed instrument roughly the size of a cello, featuring bowed and plucked strings, favored by Haydn’s patron Nikolaus Esterházy. Haydn also composed concertos for keyboard (first harpsichord, later fortepiano), but as a “non-wizard,” Haydn had no interest in writing keyboard concertos for his own use. Haydn had produced a number of keyboard concertos in the 1760s and then turned his attention to symphonies. During Haydn’s self-imposed concerto hiatus, the genre had evolved, particularly with regard to the inclusion of rondo (theme and variations) movements. Accordingly, Haydn concluded his new keyboard concerto with a Rondo all’Ungarese (Hungarian Rondo), whose sparkling main theme comes from Bosnia and the Dalmatian coast (in Haydn’s time, these regions were part of the vast Austro-Hungarian Empire). Pianist Emanuel Ax thinks pairing Haydn and Stravinsky makes musical sense. “Many conductors pair those two composers,” he said in a recent interview. “I think one reason is that they both have an extremely high iq. They were both brilliant people, and both had unusual, scintillating ideas. The Haydn is a showpiece for its time, [while] the Stravinsky is more of an ensemble piece. “I think the slow movement is incredibly romantic and beautiful,” Ax continues. “The last movement is a lot of fun.” For both performer and audience, Haydn’s D major keyboard concerto embodies the sheer delight music can create.

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orsymphony.org | 503-228-1353 27

Photo by Patrick Weishampel/blankeye.tv

EMANUEL A X

The Color Purple

Stravinsky’s Capriccio and Haydn’s Piano Concerto in D Major have much in common. Stravinsky wrote Capriccio during his Neoclassical period. Music from this time (c. 1919–mid-1930s) features clean melodic lines, a spare ensemble, emphasis on horizontal melodic progression rather than dense vertical harmonies, and what Stravinsky described as the “Apollonian principles” of symmetry and moderation. When we compare this to the prevailing aesthetics of Haydn’s time – a clear distinction between melody and harmony, balanced musical phrases, and clean architectural forms, in the manner of Greek Classicism – Stravinsky’s Capriccio can be heard as a direct musical descendant of Haydn’s most popular keyboard concerto.

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IGOR STRAVINSKY 1882–1971

Capriccio composed: 1928–29, rev. 1949 most recent oregon symphony performance: November 19, 1968; Jacques Singer, conductor; Rudolf Firkusny, piano instrumentation: Solo piano, piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, solo string quartet (violin, viola, cello, and bass), and strings estimated duration: 17 minutes “I wish I could write such happy music.” –Alban Berg to Igor Stravinsky, referring to Stravinsky’s Capriccio The high spirits and cheeky gaiety of Igor Stravinsky’s Capriccio embody the prevailing mood of its time. In the months between Stravinsky’s first sketches for Capriccio, dated December 24, 1928, and its completion on November 9, 1929, the Roaring Twenties flamed out in the devastating crash of the American stock market, which triggered the Great Depression. Capriccio offers a glimpse into that moment just before the world was plunged into economic chaos.

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German critic Adolf Aber’s characterization of Stravinsky as merely “a witty conversationalist,” as illustrated through Capriccio, was meant derisively, but we can accept it at face value. Capriccio does sound like a series of juicy chats full of the latest gossip. The music’s glittery façade brims with style and wit. In the second section, Stravinsky’s writing for the piano suggests the sound of the cimbalom – an eastern European hammered dulcimer. Stravinsky described this section, with its hammer-like repeated notes and rippling arpeggios, as “a kind of Romanian restaurant music.” As Stravinsky composed – he wrote the piece backwards, beginning with the final section and ending with the opening music – he incorporated the inspiration of Carl Maria von Weber, “a prince of music,” in Stravinsky’s estimation. Ernest Ansermet conducted the Orchestre Symphonique de Paris with Stravinsky at the piano on December 26, 1929, in Paris’ Salle Pleyel. Several choreographers, most notably George Balanchine, made ballets with Capriccio. Balanchine’s 1967 triptych, Jewels, features Capriccio in the Rubies movement, which illuminates the playful, fiery qualities of both music and gemstone. “The role of the solo piano [in Stravinsky’s Capriccio and Haydn’s Piano Concerto in D Major] is quite marked,” says pianist Emanuel Ax. “In the Haydn, you are both soloist and chamber musician, and the piano part sounds more integrated in the overall sound... The Stravinsky is just the opposite – the piano is the undisputed star.” Poet Ezra Pound heard the Stravinsky differently, describing the piano and orchestra in Capriccio as “two shells of a walnut.” Ax, who says Pound’s description is “very well put,” describes Capriccio as “a mosaic; it’s very tightly connected. The piece altogether is a kind of circus, like the Ringling Bros. You have a clown, a lion tamer, you have somebody on stilts, people doing somersaults, and it’s all done for fun. When the clown has a sad face, it’s sort of happy-sad at the same time.”

EMANUEL A X JOHN CORIGLIANO b. 1938

Symphony No. 1, “Of Rage and Remembrance” composed: 1988 most recent oregon symphony performance: November 15, 1994; Kenneth Jean, conductor instrumentation: 4 flutes (3 doubling piccolo), 3 oboes, English horn, 4 clarinets (one doubling E-flat clarinet, one doubling bass clarinet, one doubling contrabass clarinet), 3 bassoons, contrabassoon, 6 horns, 5 trumpets, 4 trombones, 2 tubas, timpani, anvil, 2 bass drums, brake drum, chimes (2 sets), crotales, cymbals, field drum, finger cymbals, flexatone, glockenspiel, marimba, metal plate with hammer, police whistle, ratchet, 3 roto-toms, snare drum, tambourine, tam-tam, 3 temple blocks, tenor drum, 3 tom-toms, triangle, vibraphone, whip, xylophone, harp, piano (offstage), and strings estimated duration: 40 minutes “During the past decade, I have lost many friends and colleagues to the aids epidemic, and the cumulative effect of those losses has, naturally, deeply affected me,” John Corigliano wrote in his 1988 program notes. “My Symphony No. 1 was generated by feelings of loss, anger, and frustration. “A few years ago, I was extremely moved when I first saw ‘The Quilt,’ an ambitious interweaving of several thousand fabric panels, each memorializing a person who had died of aids, and most importantly, each designed and constructed by his or her loved ones. This made me want to memorialize in music those I have lost and reflect on those I am losing… “Apologue: Of Rage and Remembrance is highly charged and alternates between the tension of anger and the bittersweet nostalgia of remembering. It reflects my distress over a concert-pianist friend contracting the disease. The opening (Ferocious) begins with the nasal open

A of the violins and violas. This A is gradually taken up by the other stringed instruments but now played on stopped, rather than open strings, giving it an increasingly hard and intense quality, until it at last resolves to G-sharp. This motive will prove critical to the rest of the score… As the violins make a gradual diminuendo, a distant (offstage) piano is heard, as if in a memory, playing the Leopold Godowsky transcription of Isaac Albéniz’ Tango, a favorite piece of my pianist-friend. This is the start of an extended lyrical section in which nostalgic themes are mixed with fragmented suggestions of the Tango … “The Tarantella was written in memory of a friend who was an executive in the music industry. He was also an amateur pianist, and in 1970, I wrote a set of dances (Gazebo Dances for piano, four hands) for various friends to play and dedicated the final Tarantella movement to him… the tarantella, as described in Grove’s Dictionary of Music, is a ‘South Italian dance played at continually increasing speed [and] by means of dancing it a strange kind of insanity [attributed to tarantula bite] could be cured.’ The association of madness and my piano piece proved both prophetic and bitterly ironic when my friend, whose wit and intelligence were legendary in the music field, became insane as a result of aids dementia… I tried to picture some of the schizophrenic and hallucinatory images that would have accompanied that madness, as well as the moments of lucidity… “The Chaconne: Giulio’s Song recalls a friendship that dated back to my college days. Giulio was an amateur cellist, full of that enthusiasm for music that amateurs tend to have and professionals try to keep. After he died several years ago, I found an old tape recording of the two of us improvising on cello and piano, as we often did. That tape, dated 1962, provided material for the extended cello solo in this movement. Notating Giulio’s improvisation, I found a pungent and beautiful motto which, when developed, formed the melody played by the solo cello at this point in the symphony. That theme is preceded by a chaconne, based

on twelve pitches (and the chords they produce), which runs through the entire movement… Halfway through this melody a second cello joins the soloist. This is the first of a series of musical remembrances of other friends (the first friend having been a professional cellist who was Giulio’s teacher and who also died of aids)… “The Epilogue is played against a repeated pattern consisting of ‘waves’ of brass chords. To me, the sound of ocean waves conveys an image of timelessness… The waves begin with a high note in the solo trumpet; then they move outward and around the orchestra, so that the descending brass notes form chords… Against these waves, the piano solo from the first movement (the AlbénizGodowsky Tango) returns, as does the tarantella melody (this time sounding distant and peaceful), and the two solo cellos, interwoven between, recapitulate their dialogues. A slow diminuendo leaves the solo cello holding the same perpetual A, finally fading away.” © 2019 Elizabeth Schwartz

RECOMMENDED RECORDINGS Auber: Fra Diavolo Overture Paul Strauss – Berlin Radio Symphony Orchestra Deutsche Grammophon Originals 000403502 Haydn: Piano Concerto in D Major Emanuel Ax, piano and conductor Franz Liszt Academy Chamber Orchestra 4-Sony Classical 440182 Stravinsky: Capriccio Steven Osborne, piano Ivan Volkov – bbc Scottish Symphony Orchestra Hyperion 67870 Corigliano: Symphony No. 1, “Of Rage and Remembrance” Leonard Slatkin – National Symphony, Washington dc rca Victor Red Seal 68450 Recordings selected by Michael Parsons, who studied music at Lewis & Clark College and has worked professionally with classical recordings for several decades. Select recordings will also be available for purchase in the Grand Lobby.

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ON A HIGH NOTE K aren Wagner, assistant principal oboe for the Oregon Symphony since 1999, could teach a masterclass on making reeds if she weren’t so busy making music and training young musicians at her private studio. She’s performed with 45th Parallel, Helios Camerata, Arcturus Quintet, Chamber Music Northwest, the Oregon Bach Festival, and the Oregon Ballet Theatre Orchestra. For the past 17 seasons, she has also served as principal oboe with the Cabrillo Festival of Contemporary Music. Her education includes a bachelor’s from the State University of New York at Buffalo and the better part of a master’s at the University of Southern California. Before joining the Oregon Symphony, she was with the Louisville Orchestra and the New World Symphony in Miami Beach. What’s your first memory of a live music performance? I’m not 100% sure when, but I am certain that it was the Buffalo Philharmonic. I was on a school field trip. I cheered like I was at a rock concert and got in trouble. How did you come to play the oboe? Can you describe your first experience of being drawn to it? We had a family friend whose daughter played the oboe. She was older and someone I looked up to. My mom brought me to hear her play, and I fell in love with the sound. That was it. What draws you to working with young musicians? Everything. I love young people and the energy they bring to everything they do. My students have brought more joy than any other part of my career. I learn more from them than they will ever know. Teaching reminds me that there is still hope for us all.

Oregon Symphony assistant principal oboe

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Photo: Christine Dong, Artslandia.

Karen Wagner

What role do you think music education plays for young people? I have been thinking about this a lot lately. If you asked me this question a year ago, I would have touted all of the scientific research about the known and proven benefits of arts in education. I still firmly believe all of that, and the science is there. However, at this moment, I feel that it has never been more crucial for kids to have an outlet to express themselves. In the arts, individuality and difference are applauded and celebrated.

easily connect with the audience… or see when they’re on their phones! Describe your ideal experience of seeing a live music performance. Where are you? Who is onstage? My ideal live performance is seeing any musician(s) I love performing in a small venue. As far as orchestras go, I saw the Berlin Phil live in their hall in the early ’90s, and nothing has ever come close. Their Digital Concert Hall is a revelation.

What advice do you give to aspiring professional musicians?

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

A career in music is not for everyone. It takes an incredible amount of desire, dedication, and hard work. If you don’t want it more than anything and aren’t willing to put in the time, it might not be the career for you (and that’s ok). It is also imperative to have a balanced life. There is time to practice, make reeds, and have a life, too. It’s all about balance. It’s much easier said than done and something I strive for in my life.

I had the chance to play in the Concertgebouw [in Amsterdam] with the New World Symphony, and I will never forget that hall. But my favorite memory of hall and audience combined is when the Oregon Symphony played in Carnegie Hall. Not only did many of our patrons and fans from Portland join us in New York City, but many of my family and friends who are all on the East Coast got to hear us play there. It was magical.

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

The path to becoming a professional musician is not for the faint of heart. What’s the most rewarding part of your job?

It is important to remember that oboists and bassoonists spend much of their practice time outside of rehearsal making reeds. I would say, between the two, I spend anywhere from 1–3 hours a day. I have a dedicated studio in the house where I work and teach.

It has never been more satisfying to provide a form of escape for people in an uncertain world. Providing a place for people – my colleagues and myself included – a place to literally unplug from it all.

Do you notice a difference in the feeling of the room, or the way the audience engages, when playing a less traditional show? It’s is nearly impossible to see the faces of the audience from my position on the stage at the Schnitz. Even so, I can sense when they like something or when they don’t. Our audience is pretty open to new music and less traditional experiences, and for that, I am so appreciative. I am also a member of 45th Parallel, a Portland-based collective of musicians from the oso that generally plays in smaller venues. I always enjoy playing in a setting where I can more

What do you find most challenging about being a professional musician? Performing for a living can be psychologically difficult, always waiting for the next performance. People inevitably remark to those of us in this field, “Oh, that must be so much fun.” I usually (upside-down) smile and say, “It is. It is also very hard work, and sometimes, it’s a job like any other.”

CITY-WIDE YOUTH

POETRY SLAM April 25

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What do you do for fun and relaxation outside of music? In my spare time, I love to take walks with my husband Dave, bake, workout, stream good tv and movies, and enjoy Portland.

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THEN AND NOW

Lloyd Center Mall Past & Present 1960

Lloyd Center spiral staircase into the open air plaza, 1960. Oregonian Photographs Collection, Org. Lot 1359 box 63, folder 7.

2019

Photo by Kristen Seidman.

Yes, it’s where tonya harding, our famed hometown Olympic ice skater, learned to skate. Now, on to the fascinating history of the mall’s namesake, Ralph B. Lloyd – a pioneer among California business tycoons who invest in Portland real estate. After living in our fair city for several years, Lloyd returned home to the family ranch in California and struck oil. He invested his riches in commercial real estate in promising West Coast cities and bought parcels of Eastside Portland along with Willamette during the first couple decades of the 1900s. His dream of transforming his land holdings into a mix of residential and commercial buildings – much like the ubiquitous condo buildings and newly imagined neighborhoods of today – was unrealized before his death. His daughters took up his torch, and the Lloyd Center opened its doors in 1960: 100 stores. Open-air. Ice skating. It was the largest shopping center in the west, or the nation, or the world, and drew comparison to New York’s Rockefeller Center. The Lloyd Center’s heyday started to wane in the ’80s, and renovations have been ongoing ever since, including the addition of a roof. The latest plans include a cinema and a live-music venue with highdensity residential development planned nearby – the full realization of Lloyd’s dream after all.

Historic photographs for this series are provided by the Oregon Historical Society, a museum, research library, archive, and scholarly asset located in the heart of Portland’s Cultural District. View more photos of historic Portland on the new ohs Digital Collections website at digitalcollections.ohs.org/ portland-cityscapes.

Have an anecdote or old school photograph of you posing at the Lloyd Center Mall? Post it! Don’t forget to tag #Artslandia and #ThenAndNow.

orsymphony.org | 503-228-1353 43

#AR T SL ANDIAWA SHERE @portland_5

@bodyvox

bodyvox Great interview with author Daniel H. Wilson: we’re talking robots, writing & DANCE! How does it all fit together? Via the Pearl Dive Project! In this unique performance experience, BodyVox asks the question: “What will happen when artists and innovators working at the peak of their profession immerse themselves in a craft they’ve never considered?” The Project melds creative worlds in a collaboration of movement and ideas. #portlanddance #pdxartscene #ArtslandiaWasHere #collab

portland_5 @literaryarts presents: 2019 Verselandia! The seventh annual city-wide youth poetry slam • Thursday, April 25, 2019 • 7:00 pm • #ArleneSchnitzerConcertHall • Details & tickets via portland5.com, the @Portland_5 box office at 1111 sw Broadway Ave, 800-273-1530, & all @TicketsWest outlets. #pdx #verselandia #literaryarts #portland5 #pdxevents #ArtslandiaWasHere #downtownpdx #poetryslam #travelportland #do503 #portland #oregon

@artslandia

artslandia Artslandia Managing Editor @seidwoman recently attended a preview of ENOUGH SAID, a collection of Mel Bochner’s work on loan at @_ojmche_ from the Collections of Jordan Schnitzer and @jschnitzerff. #artslandia #gallery #exhibit #curator #exhibition #arts #art #artistsoninstagram #artslandiawashere Use hashtag #ArtslandiaWasHere on your social media posts, and they could end up here!

THE PORTLAND STATE CHAMBER CHOIR PRESENTS

A concert of American premieres, new works and old favorites, celebrating guest tenor

85th birthday.

ST. PHILIP NERI CATHOLIC CHURCH

Tickets: $25 psuchoir.com or 503.725.3307

44 artslandia.com

O N A N U N R E L AT E D N O T E JAME Y HAMP TON

Jamey Hampton.

Artistic Directors Jamey Hampton and Ashley Roland of BodyVox have invited a group of highly creative individuals who have never worked in dance before to take the choreographic reins in the return of the Pearl Dive Project. See the work of their collaborators, including Matt Mahurin, Ryan Noon, Susan Seubert, Daniel Wilson, and Sherrie Wolf at the BodyVox Dance Center, April 4–13. Susannah: What has inspired you this last month? Jamey: Yesterday it snowed up at our house. It made me think about being in college in New Hampshire and being in the snow all winter. I thought about this bar where I used to play music. I’d play for three hours, and they’d pay me 15 bucks. If it was a slow night, they’d let me have any beer I wanted, instead. Anyway, I was very inspired by the snow and the thought of music, so I went out yesterday and set up two cameras on my lawn in the snow. I sat on a piece of sculpture by my Michi, and I played to Stephen Still’s songs on my acoustic guitar because I remembered Stephen still sitting out in a snowy garden and playing on one of his album covers.

This podcast transcript has been edited and condensed for print.

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

UPCOMING GUESTS: Portland Opera Shaking The Tree Theatre Portland Center Stage BodyVox’s Ashley Roland

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

PORTLAND’5 PRESENTS

MAY 7 & 8 KELLER AUDITORIUM

TICKETS & INFO: PORTLAND5.COM | PH: 800-273-1530

orsymphony.org | 503-228-1353 45

SEEN ON THE SCENE

Brian Lindstrom and Cheryl Strayed.

Chris Murray and Kelly Godell.

Ericka Tyche Heidrick and Nicole Lane.

Jeff Hawthorne and his posse.

Scenic Designer Megan Wilkerson (right).

Ellyn Bye.

Opening night attendees.

PORTLAND CENTER STAGE’S TINY BEAUTIFUL THINGS Artslandia rolled out the red carpet for the opening night of Tiny Beautiful Things at The Armory. A celebration of the pure beauty of being human, this funny and profoundly touching exploration of resilience is based on Cheryl Strayed’s (Wild) journey as the beloved anonymous advice columnist for “Dear Sugar.” The packed house treated the cast to a standing ovation, and the entire run was met with wide acclaim.

PHOTO CREDIT: Max McDermott, Artslandia.

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

46 artslandia.com

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