In Symphony December 2019

DECEMBER 2 019

the magazine of the

Oregon Symphony

Cirque Nutcracker FE ATURED CONCER T S The Tenors Christmas | Dec. 2 Kenny G – Celebrating 25 Years of Miracles: The Holiday Album | Dec. 3 Mannheim Steamroller Christmas by Chip Davis | Dec. 6 Prokofiev’s Fifth | Dec. 7–9 Gospel Christmas | Dec. 13–15 The Storm Large Holiday Ordeal | Dec. 16 Comfort & Joy: A Classical Christmas | Dec. 18 Cirque Nutcracker | Dec. 21 A Viennese New Year | Dec. 30

Portland State University Announces the Opening of the Jordan Schnitzer museum of art at PSU November 2019

Art for All! Directly serving over 28,000 students, Portland State University’s first-ever art museum is free and open to the public, providing a cultural and intellectual hub that explores ideas relevant to our time through the lens of art.

The Jordan Schnitzer Museum of Art at PSU joins the Jordan Schnitzer Museum of Art at the University of Oregon and the Jordan Schnitzer Museum of Art at Washington State University.

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HORIZON S EEKER

A M I E L E L F E RT “Philip Glass said that music is not a metaphor for the world ‘out there.’ The ‘out there’ is the metaphor, and what’s real is music. Music is an extension of who I am. Glass and I are both living in the real world.”

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CONTENTS DECEMBER 2019 16

Feature

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about us LETTER FROM THE PRESIDENT 11 CONDUCTORS 13 ORCHESTRA, STAFF & BOARD 14 RECOMMENDED RECORDINGS 31 OUR SUPPORTERS 48

Leila Josefowicz

featured

The Tenors Christmas

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LEILA JOSEFOWICZ 16 THE ART OF COCKTAILS: GIN-GLE BELL ROCK 55 IN THE SPOTLIGHT: DAN RASAY 56 ON A HIGH NOTE: BRAIZAHN JONES 58 ASK URSULA THE USHER 61

performances Kenny G – Celebrating 25 Years of Miracles: The Holiday Album

Mannheim Steamroller Christmas

by Chip Davis

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THE TENORS CHRISTMAS 18 MONDAY, DECEMBER 2, 7:30 PM

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KENNY G – CELEBRATING 25 YEARS OF MIRACLES: THE HOLIDAY ALBUM 20 TUESDAY, DECEMBER 3, 7:30 PM MANNHEIM STEAMROLLER CHRISTMAS BY CHIP DAVIS 22 FRIDAY, DECEMBER 6, 7:30 PM

Prokofiev’s Fifth

PROKOFIEV’S FIFTH 24 SATURDAY, DECEMBER 7, 7:30 PM SUNDAY, DECEMBER 8, 2 PM MONDAY, DECEMBER 9, 7:30 PM

Gospel Christmas

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GOSPEL CHRISTMAS 36 FRIDAY, DECEMBER 13, 7:30 PM SATURDAY, DECEMBER 14, 7:30 PM SUNDAY, DECEMBER 15, 4 PM THE STORM LARGE HOLIDAY ORDEAL 40 MONDAY, DECEMBER 16, 7:30 PM

The Storm Large Holiday Ordeal

Comfort & Joy: A Classical Christmas

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COMFORT & JOY: A CLASSICAL CHRISTMAS 42 WEDNESDAY, DECEMBER 18, 7:30 PM CIRQUE NUTCRACKER 44 SATURDAY, DECEMBER 21, 2 PM & 7:30 PM A VIENNESE NEW YEAR WITH GUESTS FROM OREGON BALLET THEATRE 46 MONDAY, DECEMBER 30, 7:30 PM

A Viennese New Year with Zach Galatis Guests from Oregon Ballet On a High Note: Emily ColeTheatre

Boyz IINutcracker Men Cirque

Oregon Symphony programs are supported in part by the Oregon Arts Commission, the National Endowment for the Arts – a federal agency – and by the Regional Arts & Culture Council, which includes support from the Arts Education and Access Fund; Arts Investment Fund; the City of Portland; Multnomah, Clackamas, and Washington Counties; and Metro.

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LETTER FROM THE PRESIDENT Dear Friends, The 2019/20 Season is one of innovation and growth for the Oregon Symphony. This holiday season, we offer eight festive concerts in a range of styles, including classical, contemporary jazz, opera, and gospel.

We are thrilled to welcome American composer and singer-songwriter Gabriel Kahane to his newly established role of Creative Chair at the Oregon Symphony. As Creative Chair, Gabriel, whom The New Yorker calls “one of the finest, most searching songwriters of the day,” will write and perform three substantial works over the next three years, beginning this month with the World premieres of the orchestral arrangements of Patterns of the Rail: Six Orchestral Songs from Book of Travelers, and Empire Liquor Mart from The Ambassador (on a program with Prokofiev’s Fifth, December 7–9). Gabriel will also produce two new concert series: Open Music, a composer-driven chamber series to be held in smaller Portland venues, and an indie concert series pairing marquee pop artists with dynamic composers and orchestrators.

Aligning with the Oregon Symphony’s mission to move music forward, Gabriel has spoken about his commitment to new music at Oregon Symphony, in particular, music written by those who have been historically shut out of the concert hall.

We are thrilled to deepen our relationship with Gabriel, to strengthen our community through music, and to expand the notion of what a great symphony can be.”

The Creative Chair is made possible by generous support from Michael, Kristen, and Andrew Kern, and Anna Sanford. Likewise, your gifts help fund community-wide access to innovative and inspiring musical experiences throughout the year. Thank you for your support.

Enjoy the music,

Scott Showalter president & ceo orsymphony.org | 503-228-1353 11

JANUARY CONCERTS Fiesta! With Edna Vazquez

Itzhak Perlman Plays Beethoven

Chopin’s Piano Concerto No. 2

JANUARY 4–5 Jeff Tyzik, conductor Edna Vazquez, guitar and vocals Mariachi Una Voz, special guest

JANUARY 16 Norman Huynh, conductor • Itzhak Perlman, violin

JANUARY 25–27 Eun Sun Kim, conductor • Benjamin Grosvenor, piano

Enjoy an evening of Latin American music, featuring Portland’s own singer/ songwriter Edna Vazquez, who brings together folk, rock, pop, and R&B influences, and Hillsboro’s award-winning Mariachi Una Voz.

Barber: Symphony No. 1 Tchaikovsky: Capriccio Italien • Beethoven: Violin Concerto

The reigning virtuoso of the violin returns to share Beethoven’s exquisite Violin Concerto. A night to remember!

Texu Kim: Spin-Flip • Chopin: Piano Concerto No. 2 Rachmaninoff: Symphony No. 3

Also sprach Zarathustra JANUARY 11–13 Alexander Liebreich, conductor • Leila Josefowicz, violin • John Adams: Scheherazade.2 Ives: The Unanswered Question R. Strauss: Also sprach Zarathustra

Ghostbusters in Concert JANUARY 18–19 Peter Bernstein, conductor

Buckle up for this comedy classic! The Ghostbusting team must take up their proton packs and save the world from a paranormal crisis. Elmer Bernstein’s Grammy-nominated score is one of the most recognizable of the 80s. Kick back and enjoy the fun.

Quickly carving out a space for himself among today’s leading interpreters of French music, Benjamin Grosvenor returns for Chopin’s astonishing Piano Concerto No. 2. Its combination of lyrical grace and rhapsodic brilliance contrasts perfectly with the restless yearning of Rachmaninoff’s Third Symphony.

Fans of Stanley Kubrick’s 1971 film 2001: A Space Odyssey will instantly recognize the monumental opening fanfare of Richard Strauss’ Also sprach Zarathustra. Violinist Leila Josefowicz returns to perform John Adams’ Scheherazade.2, a dramatic “violin symphony” written especially for her.

Buy tickets to any of these concerts in the lobby of the Schnitz during intermission!

Ghostbusters in Concert January 18–19

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

CONDUCTORS Carlos Kalmar Jean Vollum music director chair

Carlos Kalmar is in his 17th 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, The 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; Haydn Symphonies; and Aspects of America.

The 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 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 has established himself as a conductor with an ability to captivate an audience through a multitude of musical genres. This season, Huynh continues to showcase his versatility in concerts featuring Itzhak Perlman, hip hop artists Nas and Wyclef Jean, and vocal superstar Storm Large.

Born in 1988, Huynh is a first generation Asian American and the first in his family to pursue classical music as a career.

Upcoming and recent engagements include the St. Louis Symphony, Detroit Symphony, and Grant Park Music Festival.

He has served as a cover conductor for the New York Philharmonic and Los Angeles Philharmonic with John Williams.

Huynh has been at the forefront of moving orchestral music out of the traditional concert hall. In 2011, he co-founded the Occasional Symphony in Baltimore to celebrate holidays by performing innovative concerts in distinct venues throughout the inner-city. The orchestra performed on Dr. Seuss’ birthday at Port Discovery Children’s Museum, Halloween in a burnt church turned concert venue, and Cinco de Mayo in the basement bar of a Mexican restaurant.

Huynh currently resides in Portland and enjoys skiing, board games, and riding his motorcycle. You can follow him 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 26th season as principal pops conductor of the Rochester Philharmonic, Tyzik is also in his 13th 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 13

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 Matthew Berliner* 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 Jason Sudduth* Jonathan Dubay Gregory Ewer ENGLI S H H O RN Daniel Ge Feng Kyle Mustain** Lynne Finch Jason Sudduth* Shin-young Kwon Ryan Lee CL AR INE T Yuqi Li James Shields, principal Samuel Park Todd Kuhns, assistant principal Searmi Park Mark Dubac Vali Phillips Shanshan Zeng B A S S CL AR INE T VIOLA Todd Kuhns Joël Belgique, Maybelle Clark Macdonald Fund principal viola chair Charles Noble, assistant principal Jennifer Arnold** Kenji Bunch* Silu Fei Leah Ilem Ningning Jin Brian Quincey Viorel Russo Martha Warrington

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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 AR TI S T- IN - R E S ID EN CE

B A S S O ON

Johannes Moser

Carin Miller Packwood, principal Evan Kuhlmann, assistant principal** Nicole Haywood, assistant principal* Adam Trussell ** Steve Vacchi*

Artist-in-Residence program is sponsored

by Drs. Cliff and Karen Deveney

CR E ATIVE CHAIR Gabriel Kahane

CONTR AB A S S O ON

Creative Chair is sponsored by Michael, Kristen, and Andrew Kern, and Anna Sanford

Evan Kuhlmann** Steve Vacchi*

* Acting position ** Leave of absence

Administration Scott Showalter, president and ceo Alison Elliott, patron MAR KE TING , COMMUNI C ATI ONS & S ALE S services representative Diane M. Bush, executive assistant Ethan Allred, marketing and Ethan J H Evans, patron Susan Franklin, assistant to the web content manager services representative music director Rebecca Van Halder, Ellen Bussing, vice president Liz Brown, marketing partnership and group sales manager

lead patron service, teleservices for development Katherine Eulensen, audience Danielle Jagelski, patron Charles Calmer, vice president

development manager

services representative for artistic planning

John Kroninger, front of house manager Emily Johnstone, lead patron Janet Plummer, chief financial Lisa McGowen, marketing services, ticket office and operations officer operations manager Chris Kim, patron services Steve Wenig, vice president John Zinn, director of marketing

representative and general manager and sales Nils Knudsen, ticket office manager Christy McGrew, director of B U S INE S S O PE R ATI ONS O PE R ATI ONS patron services Allison Bagnell, art director Jacob Blaser, director of operations Jen McIntosh, patron Ryan Brothers, assistant stage manager David Fuller, tessitura applications services representative Monica Hayes, Hank Swigert director, administrator Elliot Menard, patron learning and community

Tom Fuller, database administrator services representative engagement programs Julie Haberman, finance and Carol Minchin, patron Susan Nielsen, project manager,

administration associate services representative Gospel Christmas Randy Maurer, creative services

Darcie Kozlowski, director of Amanda Preston, patron and publications manager services representative popular programming Peter Rockwell, graphic designer Tyler Trepanier, patron Steve Stratman, orchestra manager services representative Lori Trephibio, stage manager D E VE LO PMENT Jacob Wade, manager, operations and Robert Trujillo, patron services Meagan Bataran, annual fund director representative artistic administration Hilary Blakemore, senior director

of development S ALEM TI CKE T O FFI CE Kerry Kavalo, annual giving manager Laura AgĂźero, director of

Adam Cifarelli, teleservices manager Ella Rathman, development associate Oregon Symphony Christina Cook, patron services

Leslie Simmons, director of events in Salem programs representative Courtney Trezise, foundation Karin Cravotta, patron services L. Beth Yockey Jones, operations representative manager and corporate giving officer

Board of Directors O FFI CE R S

D IR E C TO R S

Robert Harrison, chair Dan Drinkward, vice chair Tige Harris, vice chair & treasurer Rick Hinkes, vice chair Nancy Hales, secretary

Courtney Angeli Rich Baek Janet Blount Christopher M. Brooks Eve Callahan Cliff Deveney

Lauren D. Fox Robyn Gastineau Jeff Heatherington J. Clayton Hering Sue Horn-Caskey Judy Hummelt Braizahn Jones

LIFE TIME D IR E C TO R S William B. Early RenĂŠe Holzman Gerald R. Hulsman Walter E. Weyler Jack Wilborn

Grady Jurrens Gerri Karetsky Kristen Kern Thomas M. Lauderdale Martha Long Priscilla Wold Longfield Peggy Miller Roscoe C. Nelson III Dan Rasay Lane Shetterly, ex-officio Scott Showalter James Shields Amanda Tucker Chabre Vickers Derald Walker

orsymphony.org | 503-228-1353 15

F E AT U R E D A R T I C L E If your professional career began at age eight, and by 15 you were an established concert violinist who had appeared with major orchestras around the world, you might start asking yourself a question most people don’t contemplate until they are past the age of 40: What now?

As a child prodigy, Leila Josefowicz mastered many of the great violin concertos in the standard repertoire and performed them with such renowned ensembles as the Philadelphia Orchestra, the Los Angeles Philharmonic, the National Symphony, and the Academy of St. Martin-in-the-Fields.

As Josefowicz entered her late teens and considered her post-prodigy career, she had an epiphany.

“When I was 18, I was on the road touring, and I was thinking, ‘I’m playing Mendelssohn with [Valery] Gergiev and the Russian National Orchestra, and I’m not as happy as I should be.

What’s wrong? I’m only at the start of my career. Maybe I have to think about what the hell I’m doing.’”

“I’ve known John over 20 years,” says Josefowicz. “I met him when I was 20, and almost every year since then, we’ve worked together. He knows me very well; he knows how I think about music and what I enjoy, and what gets me going in performance and rehearsal.

He knows the way I study: I need a lot of time before I perform [a new work], so I can get to know all the different shapes, from the biggest to the smallest details.

He knows what makes me laugh – like a true friend knows you. It’s a deep friendship.” Having this kind of long-term

notes for Scheherazade.2’s 2015 premiere.

“The casual brutality toward women that lies at the base of many of these tales prodded me to think about the many images of women oppressed or abused or violated that we see today in the news on a daily basis. In the old tale, Scheherazade is the lucky one who, through her endless inventiveness, is able to save her life. But there is not much to celebrate here when one thinks that she is spared simply because of her cleverness and ability to keep on entertaining her warped, murderous husband.

LEILA Josefowicz

Today, Josefowicz is one of the world’s finest and most renowned interpreters of new repertoire for violin.

In recognition of her outstanding achievement and excellence in music, she won the 2018 Avery Fisher Prize and was awarded a prestigious MacArthur “Genius Grant” Fellowship in 2008, which put her in the same company as prominent scientists, writers, and musicians who have made unique contributions to contemporary life. Josefowicz has commissioned works from a number of leading contemporary composers, including Colin Matthews, Steven Mackey, Esa-Pekka Salonen, and John Adams.

She’ll perform Adams’ Scheherazade.2, a “violin symphony” he wrote for her, when she returns to Portland to play with the Oregon Symphony on January 11–13.

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collaborative relationship creates a kind of working shorthand for both composer and violinist. Each understands the other’s musical language and how each thinks about approaching a new work. “I got to know John, too,” Josefowicz continues.

“I can do some of the things he’s requesting in a more natural way now.

There’s a general love of the same kind of music – it’s an intimate friendship.

He knows my family, and we share a lot of musical friends in common.”

The warm feelings run both ways. In a 2018 New York Times interview, Adams described Josefowicz as “an incredible combination of emotional intensity… supreme technical virtuosity, and some extra level of charisma, a kind of electricity onstage.”

“The impetus for Scheherazade.2 was an exhibition at the Institute du Monde Arabe in Paris detailing the history of the ‘Arabian Nights’ and of Scheherazade, and how this story has evolved over the centuries,” Adams wrote in the program

“I composed the piece specifically for Leila Josefowicz, who is my friend and champion of my music (and that of many other composers)… This work is a true collaboration and reflects a creative dialogue that went back and forth for well over a year and that I expect will continue long after the first performance. I find Leila a perfect embodiment of that kind of empowered strength and energy that a modern Scheherazade would possess.”

Josefowicz agrees. “John knows that Scheherazade is a good emotional fit for me. She’s all in – it’s not in my personality to do anything less than 100 percent.” In Scheherazade.2, Josefowicz gets to explore the character’s compelling duality. “Scheherazade is coming up against great adversity; she feels her strength, but she’s also extremely vulnerable,” Josefowicz explains. “The juxtaposition of those two things: bravery/ strength versus vulnerability is all throughout the piece. I had to figure out what brave sounds like, and what does vulnerable sound like when I play. I did a lot of character analysis. It’s a role for the violinist. For this piece to be successful, it has to be acted [as well as played].”

As an advocate for new music, Josefowicz has an encouraging message for audiences who might be less than enthusiastic about hearing something

new. In an interview for cbc Radio last year, she asked, “Why is it that people feel they have to know what they’re going to hear before they hear it? They feel they have to understand what’s going to happen, and if they don’t, they feel bad.

I’m here to say to everyone: don’t feel bad. You don’t have to get it. There isn’t one way to hear it. And if [the music] reminds you of something else, if you see a color, if you feel a memory, if you have a past experience that comes back shooting into your head – any which way you respond to it is right, even if you don’t like it! You’re entitled not to like it.”

BY ELIZABETH SCHWARTZ

By the same token, Josefowicz also urges audiences to bring an open mind – and open ears – to new music and to think about hearing something new as an adventure rather than an eat-your-spinach moment. “Listeners know their favorite works and favorite recordings, but when you hear something new that no one’s ever heard before, this is a totally different way of listening, a much more open way of experiencing,” she explains. “You’re not looking forward to hearing something you’ve heard before, so it’s a challenge: are people open to listening? If you worry or fret that you won’t get it, you’re already shut down before you even hear it.”

“Even if you don’t understand everything, the hope is that something in this music speaks to you,” she continues.

Allow yourself to be open to experience.

If it’s a great piece by a great composer performed well, you’ll experience that.

You need to bring an open, curious mentality to have a great experience. And isn’t it kind of boring to always have the same experiences all the time? I’m doing what I can to shake things up.”

As she continues to explore and present new work, Josefowicz hopes some of the new music she performs will become part of the standard repertoire over time. “If I can help bring 10 to 15 violin masterworks to people in the course of my career, I’ll be happy.”

Leila Josefowicz performs with the Oregon Symphony on January 11, 12 & 13, on a program that also includes Richard Strauss’ Also sprach Zarathustra. Find tickets and more at orsymphony.org. orsymphony.org | 503-228-1353 17

THE TENORS CHRISTMAS WONDER OF CHRISTMAS TOUR MONDAY, DECEMBER 2, 2019, 7:30 PM Raúl Gómez-Rojas, conductor The Tenors, vocals

Portland Boychoir John Baker, artistic director

Portland Community College Rock Creek Chamber Choir

Samuel Barbara, director of choral and vocal studies Program will be announced from the stage.

ARLENE SCHNITZER CONCERT HALL

Biographies

Raúl Gómez-Rojas Raúl Gómez-Rojas is in his fifth season as music director of the Metropolitan Youth Symphony (mys), where he enjoys working with a vibrant community of conductors, coaches, staff, families, and over 500 students in 14 orchestra, band, and jazz ensembles. Gómez was recently selected as one of six conductors to be featured in the League of American Orchestra’s 2018 Bruno Walter National Conductor Preview, after competing for the honor with nearly 150 applicants from around the world. Conductors were selected for their “experience, talent, leadership, and commitment to a career in service to American orchestras.”

A sought-after guest conductor for professional ensembles, Gómez’ recent 18 artslandia.com

and upcoming engagements include multiple appearances with the Louisiana Philharmonic Orchestra, the Oregon Symphony, the Chamber Orchestra of San Antonio, Acadiana Symphony Orchestra, Asia/America New Music Institute, and Sinfonietta Belo Horizonte, as well as engagements in Mexico, Brazil, and Costa Rica.

Gómez has previously served in artistic and musical leadership positions with the Orchestra of the Americas, Mississippi Youth Symphony Orchestra, Premier Orchestral Institute, and Louisiana Sinfonietta and Kids’ Orchestra (Baton Rouge, Louisiana).

A native of Costa Rica, Gómez holds masters and doctoral degrees from Louisiana State University, where he studied with Carlos Riazuelo (conducting), Kevork Mardirossian, and Espen Lilleslåtten (violin/viola).

Additional conducting training includes a fellowship at the Aspen Music Festival and numerous masterclasses with leading conductors.

A passionate advocate for equity and access, Gómez has led the recent expansion of several mys programs, including the creation of new beginning strings classes and ensembles in Hillsboro, or, responding to fast-paced

demographic changes in the area.

He enjoys speaking publicly about the transformative power of music education. His ted talk “El Concierto Inolvidable” was an audience favorite in tedxPuraVida 2014.

Gómez lives in Portland with his wife, theater and screen actor Sarah Ellis Smith. They enjoy giving back to the community by supporting local performing arts organizations and advocacy groups.

The Tenors Multi-platinum, juno Award-winning vocal supergroup The Tenors, comprising Clifton Murray, Fraser Walters, and Victor Micallef, blend classical music and contemporary pop to deliver powerful performances and outstanding harmonies for audiences around the world.

Since 2008, The Tenors have sold over one million albums worldwide, performed nearly 1,000 shows on five continents, and made over 150 television appearances. Their four studio albums have achieved multi-platinum certification, and their first Christmas album, The Perfect Gift, has been certified triple-platinum.

No strangers to the world stage, The Tenors have showcased their undeniable charm and diverse vocal styles at Queen Elizabeth II’s Diamond Jubilee and 90th birthday celebrations at Windsor Castle; for the last four Presidents of the United States, including at the White House Christmas Tree Lighting for the Obama family; at the opening ceremonies of the 2010 Winter Olympics; on The Oprah Winfrey Show; and at The Primetime Emmy Awards to name a few. They have also shared the stage with some of the biggest names in music, including Sir Paul McCartney, Céline Dion, Sarah McLachlan, Sting, Justin Bieber, Andrea Bocelli, Sir Elton John, Smokey Robinson, Stevie Wonder, Lionel Richie, and David Foster.

Portland Boychoir

The Tenors also lend their voices to raise awareness of important charitable causes. In the last year, they have performed at the Music for Mercy concert at the Vatican in Rome, the David Foster Foundation Miracle Gala and Concert in Winnipeg, Elton John’s World Team Tennis Smash Hits fundraising event in Las Vegas, and a show-stopping tribute to Smokey Robinson from the Gershwin Centre in Washington, D.C.

Professional-quality performances and guest appearances develop skill and selfconfidence. Tours and camps offer an active environment where the members can deepen relationships and practice cooperation with one another.

In July 2017, after returning from the island of Malta, where they performed to mark the end of the Maltese Presidency of the eu Council, The Tenors celebrated Canada’s 150th birthday in Ottawa with three sold-out dates at the National Arts Centre in addition to a special performance at we Day. On October 13, 2017, the band released their fifth studio album and sophomore Christmas record, Christmas Together, before embarking on a 20-stop North American holiday tour. The album features holiday classics, contemporary favorites, and original songs.

Portland Boychoir is a 501(c)(3) nonprofit arts organization whose mission is to provide music education and professional-quality performance opportunities for boys ages 6–18. Its focus is to develop self-esteem, depth of character, and advanced music skills.

Portland Boychoir provides a choral setting where members’ identity, personality, and self-esteem are fostered by musical excellence. On a social level, they learn how to interact with each other in an empowering way.

The choir’s musical training provides them with knowledge that will enrich their lives, both as performers and audience members.

Please join the choir for holiday concerts on Friday, December 6, 7 pm, at Central Lutheran Church and Sunday, December 8, 4 pm, at Milwaukie Lutheran Church.

PORTLAND BOYCHOIR ROSTER Boys Girls Carver Snodgrass Adelaide Nelson Nelson Feidelson Elise Hubbard Tyler Harmon Sofie Kinkley Charlie Lewy Bella Schroeder Jude Lockwood Pennie Lockwood Emerson Mishkin Sienna Casebeer Sebastian Kolwitz Lucita Ocana Clayton Reid Dessen Max Roholt Zoe Shanahan Andrew Fletcher Evan Hubbard Miles Nelson Henry Stauffer

Portland Community College Rock Creek Chamber Choir In just over two years, the pcc Rock Creek Chamber Choir has grown into an elite ensemble of 40 skilled singers from around the Portland Metro Area, two-thirds of whom are pursuing degrees in music. Recent performances include John Corigliano’s Fern Hill, Pulitzer Prize-winning composer Caroline Shaw’s To the Hands (presented to benefit the Portland nonprofit irco), and a recent collaboration with the Pacific University choir in performances of Misa Criolla by Ariel Ramirez. This February, the choir will again join forces with the Pacific University choirs to present Brahms’ Requiem with full orchestra.

This past May, the choir toured to Seattle and Vancouver, bc, participating in numerous clinics, exchanges, and concerts. In August 2020, the Rock Creek Chamber Choir will perform at the 9th Bali International Choir Festival in Indonesia, and the choir is preparing for its first recording in the coming year.

PORTLAND COMMUNITY COLLEGE ROCK CREEK CHAMBER CHOIR Tenor Soprano Ahmed Alghazali Clara Callison Markus Cadiz Bex Goshorn Raymond Camacho Shania Kester Sammy Duffin Jo Prevatte David Meeuwsen Yanna Shekhtman Lee Alan Nolan Lexi Stevahn Glen Phillips Brooke Wachter Trevor Winder Kara Willison Weiran Wu Bass Paul Delaurenti Alto Kaleb Hall Carley Baer Andrew Hoff Hannah Chambers Alexander Hernandez Colin Mejdrich Dezmon Moon Emma Jones Andrew Paz Bronte Lawson Mitchell Robinson Sydney Phillips Logan Wesel Jack Wattier Margeaux Wickham

orsymphony.org | 503-228-1353 19

KENNY G – CELEBRATING 25 YEARS OF MIRACLES: THE HOLIDAY ALBUM TUESDAY, DECEMBER 3, 2019, 7:30 PM Kenny G, saxophones Robert Damper, piano and keyboard John Raymond, guitar Vail Johnson, bass Daniel Bejarano, drums Ron Powell, percussion

Program will be announced from the stage.

The Oregon Symphony does not perform.

ARLENE SCHNITZER CONCERT HALL

Biography

Kenny G In a recording career that spans almost three decades and 24 albums, Grammy Award-winning saxophonist Kenny G has grafted elements of r&b, pop, and Latin music to a jazz foundation, solidifying his reputation as the premier artist in contemporary jazz.

Since the early ’80s, his combination of unparalleled instrumental chops and indelible melodies has resulted in sales of more than 75 million records worldwide (45 million in the U.S. alone) and more than a dozen climbs to the top of Billboard’s Contemporary Jazz chart.

20 artslandia.com

Inspired by the likes of Earth, Wind & Fire and Grover Washington Jr., Kenny was only 17 when he landed a gig with Barry White and his Love Unlimited Orchestra in 1973. After high school, gigs with r&b and contemporary jazz artists kept coming. In 1982, he landed a record deal with Arista and launched a solo career with three critically acclaimed jazz albums – Kenny G (1982), G-Force (1983), and Gravity (1985).

By the ’90s, Kenny was a multi-platinum seller and a frequent collaborator with some of the most iconic figures in American popular music, including Aretha Franklin, Whitney Houston, Natalie Cole, and Frank Sinatra. His subsequent studio albums Silhouette (1988) and Breathless (1992) were hugely successful, the latter selling more than 12 million records in the U.S. alone and spawning the Grammy-winning single “Forever in Love.”

Another major career highlight for Kenny was Miracles, a 1994 holiday album that took the saxophonist to the top of the Billboard chart for the first

time and has since become the bestselling holiday album of all time. His two holiday albums since then – Faith (1999) and Wishes (2002) – have been similarly successful. At Last... The Duets Album, released in 2004, features performances by Barbra Streisand, Burt Bacharach, and LeAnn Rimes, along with a remake of Outkast’s “The Way You Move” with Earth, Wind & Fire.

After the success of Rhythm and Romance (2008) and Heart and Soul (2010), the second of which was a return to the classic R&B sounds of his Seattle childhood, Kenny has taken a step in a new direction with his release, Namaste India (2012). A collaboration with Indian santoor player and vocalist Rahul Sharma, the album captures both the natural meditative sound of Indian classical music and the flamboyant jazz melodies of the saxophone.

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MANNHEIM STEAMROLLER CHRISTMAS BY CHIP DAVIS FRIDAY, DECEMBER 6, 2019, 7:30 PM Mannheim Steamroller Chip Davis, founder

Program will be announced from the stage.

With musicians from the Oregon Symphony.

ARLENE SCHNITZER CONCERT HALL

Biography

Chip Davis A visionary musician and businessman, Chip Davis is behind a remarkable body of work now spanning five decades.

Since founding Mannheim Steamroller and American Gramaphone Records in 1974, Davis has written, arranged, and recorded over 35 albums, highlighted by the riaa multi-platinum-certified Mannheim Steamroller catalog.

The best-selling Christmas music artist in history with 29 million albums sold, the group is celebrating the 35th anniversary of its annual holiday tour in 2019, making it the longest-running consecutive tour in the entertainment industry.

Davis has achieved worldwide sales of all album titles in excess of 40 million, with four multi-platinum, eight platinum, and 19 gold certifications in the us alone.

Furthermore, Davis is the entrepreneur behind the hugely successful Mannheim Steamroller product line, author of nine children’s books, an amateur astronomer, and dedicated philanthropist.

22 artslandia.com

The man behind Mannheim was born Louis F. Davis, Jr. in the archetypal small town of Hamler, Ohio (Pop. 500), the son of a family to whom music and “a sensitivity to nature” were integral.

He graduated from the University of Michigan in 1969 with mastery in bassoon and percussion, before taking on a job at the Omaha, ne, ad agency Bozell & Jacobs. In 1974, Davis and fellow ad exec Bill Fries teamed up to create a fictional truck driver named C.W. McCall for a series of Clio Award-winning commercials. A string of hit albums and top 40 singles followed, including the gold-certified #1 classic, “Convoy.”

The success of C.W. McCall allowed Davis to focus on his own original music. He dubbed his new band Mannheim Steamroller – a play on the 18th-century musical technique known as the “Mannheim crescendo” – and in 1975 recorded Fresh Aire, a landmark work melding elements of classical, rock, and pop into something altogether unique. Foiled by the industry’s inability to classify a genre for the album, Davis decided to distribute and sell Fresh Aire on his own and American Gramaphone Records was born.

Davis employed innovative marketing techniques to spread his “18th-Century Classical Rock” and Fresh Aire eventually found its way onto record store shelves everywhere, fitted with the newly created classification “New Age.” Each consecutive album in the Fresh Aire series earned

multi-million album sales, countless fans, and, with Fresh Aire 7, the 1991 Grammy Award for Best New Age Album.

In 1984, Davis had the idea to reinvigorate traditional carols and Yuletide staples via Mannheim Steamroller’s always eclectic sonic approach. Mannheim Steamroller Christmas proved a phenomenon, the band’s first to reach the Billboard 200 album chart on its way to six-timesplatinum certification. A Fresh Aire Christmas followed in 1988, ultimately surpassing its monumentally successful predecessor to be declared the sixth best-selling holiday album of the SoundScan era.

Further Christmas collections resulted in cumulative Christmas album sales in excess of 29 million. The Mannheim Steamroller Christmas Tour quickly became as much a Yuletide tradition; today two separate troupes perform across the country. Still another incarnation headlines the holiday festivities at Universal Orlando® Resort.

The indefatigable Davis still travels the country on behalf of American Gramaphone but prefers to spend his time on his 150-acre farm outside Omaha, joined by his children Kelly, Elyse, and Evan, as well as his “farm family” – a full menagerie of critters, including four horses and two timber wolves.

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PROKOFIEV’S FIFTH SATURDAY, DECEMBER 7, 2019, 7:30 PM SUNDAY, DECEMBER 8, 2019, 2 PM MONDAY, DECEMBER 9, 2019, 7:30 PM Christian Kluxen, conductor Gabriel Kahane, vocals

Ludwig van Beethoven Gabriel Kahane

Gabriel Kahane

Overture to The Creatures of Prometheus

Pattern of the Rail: Six Orchestral Songs from Book of Travelers (World premiere of orchestral version) Baedeker Model Trains Baltimore Friends of Friends of Bill What If I Told You October 1, 1939/Port of Hamburg Gabriel Kahane Empire Liquor Mart (9127 S. Figueroa St.) (World premiere of orchestral version) Gabriel Kahane

INTERMISSION Sergei Prokofiev

Symphony No. 5 in B-flat Major Andante Allegro marcato Adagio Allegro giocoso

Gabriel Kahane’s Creative Chair is sponsored by Michael, Kristen, and Andrew Kern, and Anna Sanford

ARLENE SCHNITZER CONCERT HALL

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

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

24 artslandia.com

SHINE ON. Eli’s body was full of cancer.

Now he’s full of life.

At age 2, Eli faced a rare cancer almost never seen in kids that age. Fortunately, OHSU Doernbecher Children’s Hospital was ready to meet the challenge.

At Doernbecher, Eli’s team turned the world’s latest research into an innovative treatment plan and helped Eli beat cancer. Today he’s a happy, healthy 5-year-old who loves baseball, family and building things.

Your support powers this lifesaving care for families across the Northwest. Please make a gift to Doernbecher today.

PROKOFIEV ’S FIF TH Biographies

Christian Kluxen With this concert, Christian Kluxen makes his debut with the Oregon Symphony.

Kluxen is music director of the Victoria Symphony in Canada and chief conductor of the Arctic Philharmonic in Norway.

Born in Copenhagen in 1981 to DanishGerman parents, he has a natural affinity towards the Germanic and Scandinavian repertoire, particularly the works of Beethoven, Brahms, Richard Strauss, Nielsen, and Sibelius, and he has been lauded for his bold, imaginative, and energetic interpretations of this repertoire.

During the 2014/15 Season, Kluxen held the Dudamel Fellowship with the Los Angeles Philharmonic, acting as assistant conductor to Gustavo Dudamel and Esa-Pekka

Salonen. Prior to this appointment, he was assistant conductor at the Royal Scottish National Orchestra from 2010 to 2013.

He has worked with orchestras such as the Philharmonia Orchestra, London Philharmonic, Royal Philharmonic, Manchester Camerata, Royal Northern Sinfonia, rté National Symphony, Ulster Orchestra, Gothenburg Symphony, Malmö Symphony, Iceland Symphony, Trondheim Symphony, and Netherlands Philharmonic.

In his home country, Kluxen enjoys close relationships with several orchestras, including the Copenhagen Philharmonic and Odense Symphony. In May 2019, he stepped in at short notice for concerts with the Danish National Symphony Orchestra, replacing Yuri Temirkanov in concerts broadcast live on Danish National Radio.

On the operatic stage, Kluxen has conducted extensive tours of Don Giovanni and Madama Butterfly with the Danish National Opera and has made his Berlin debut conducting Die Zauberflöte at Komische Oper Berlin. He led highly

successful performances of Die Fledermaus with Aarhus Symphony Orchestra and Ariadne auf Naxos with Arctic Opera and Philharmonic in 2017. Following celebrated performances of Carmen at Opera Hedeland in summer 2019, he reprises Bizet’s masterpiece in Norway with Arctic Opera and Philharmonic.

Kluxen’s concerts have been broadcast live in Denmark, the uk, Sweden, Norway, and Canada. He has received several prestigious awards and prizes, and in 2016 he was nominated by the International Opera Awards as “Young Conductor of the Year.”

Gabriel Kahane Gabriel Kahane last appeared with the Oregon Symphony on August 31, 2018, when he performed his own emergency shelter intake form with conductor Carlos Kalmar.

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26 artslandia.com

O R E G O N C F.O R G / YO U

PROKOFIEV ’S FIF TH This season marks the beginning of Kahane’s three-year term as the Oregon Symphony’s first Creative Chair. As a singer-songwriter, pianist, and composer, Kahane works at the blurred edges of journalism, ethnography, storytelling, and music. His multifaceted relationship with the orchestra will include the creation of three substantial works, as well as curating two new concert series: Open Music, a composer-driven chamber series to be held in smaller Portland venues, and an indie concert series pairing marquee pop artists with dynamic composers and orchestrators.

He will also advise on new music as he expands the notion of what a great symphony can be in the 21st century.

In 2018, the Oregon Symphony commissioned his 2018 oratorio, emergency shelter intake form. A sprawling exploration of inequality through the lens of housing and homelessness, emergency shelter was performed last summer at the Grant Park Music Festival in Chicago, and will be heard this season in performances by the Orlando

Philharmonic, as well as by the Detroit and Milwaukee Symphonies. A commercial recording, featuring the Oregon Symphony, will be released in early 2020.

The morning after the 2016 presidential election, Kahane boarded a train at New York’s Penn Station and traveled just under 9,000 miles around the continental United States, talking to dozens of strangers while drinking in the rich landscape of the country. The resulting album, Book of Travelers (Nonesuch), is an intimate musical travelogue, hailed by Rolling Stone as “a stunning portrait of a singular moment in America.”

Other highlights of the 2019/20 Season include the premiere of Pattern of the Rail: Six Orchestral Songs from Book of Travelers with the Oregon Symphony and Louisville Orchestra, as well as solo concerts at the Luxembourg Philharmonie and Konservatoriets Koncertsal in Copenhagen.

In March he welcomes Pulitzer Prize-winner Caroline Shaw as the first guest on his new Oregon Symphony concert series, Open Music, and he reunites with her in May for

a concert with the Attacca Quartet at the Phillips Collection in Washington, D.C. A song cycle, with a text by poet and frequent collaborator Matthew Zapruder, was written to commemorate the 40th anniversary season of San Francisco Performances and will receive its premiere in April. A new choral work, co-commissioned by the Los Angeles Master Chorale and The Crossing, receives its world premiere at Disney Hall in May to close out the season.

Active in theater since childhood, Kahane made his off-Broadway debut in 2012 with music and lyrics for February House at the Public Theater in New York. In 2014, he wrote and starred in the BAM Next Wave Festival production of The Ambassador – a study of Los Angeles seen through the lens of ten of its street addresses – directed

by Tony and Olivier Award-winner John Tiffany. The Ambassador was also released as an album by Sony Masterworks. Last season, he made his Broadway debut with a score for Kenneth Lonergan’s The Waverly Gallery, starring Elaine May, Michael Cera, and Lucas Hedges.

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orsymphony.org | 503-228-1353 27

2020 SEASON OF BOUNDLESS VISION JAN. 23 - FEB. 23

MAR. 26 - APR. 26

It’s a musical! It’s a Comedy! It’s...

The Fats Waller Musical Show

the gershwin musical

JUL. 2- 26

AUG. 6 - 23

OCT. 1 - 25

NOV. 25 - DEC. 20

A NEW MUSICAL

The Musical

503.620.5262 • www.broadwayrose.org Bonnie Conger

TICKETS ON SALE NOW!

P R O KO FI E V ’ S FI F T H Over the last decade, Kahane has worked in an array of diverse musical spaces.

Memorable projects have included tours with Andrew Bird and Punch Brothers; recordings with Sufjan Stevens, Phoebe Bridgers, and Blake Mills; and an arrangement of “Bridge Over Troubled Water” written for Paul Simon’s Farewell Tour in 2018. As a composer, he has been commissioned by the Los Angeles Philharmonic, the Saint Paul Chamber Orchestra, Orpheus Chamber Orchestra, and Carnegie Hall. Kahane is also a regular guest on American Public Media’s Live From Here with Chris Thile.

A graduate of Brown University, Kahane is married to a wonderful woman named Emma. They live in Brooklyn with their daughter, Vera Rose, whose age is still being counted in months, and a self-possessed tabby cat named Roscoe Greebletron Jones III. In his first of three years as Oregon Symphony’s Creative Chair, Gabriel Kahane will write, perform, and produce music in the hall and in smaller Portland venues, featuring emerging composers and indie musicians in two innovative series. The Chair is made possible by generous support from Michael, Kristen, and Andrew Kern, and Anna Sanford.

Program Notes LUDWIG VAN BEETHOVEN 1770–1827

Overture to The Creatures of Prometheus, Op. 43 composed: 1801 most recent oregon symphony performance: January 31, 2005; Yakov Kreizberg, conductor instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings estimated duration: 5 minutes Aside from his opera Fidelio and incidental music for a few plays, Ludwig van Beethoven wrote virtually nothing

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P R O KO FI E V ’ S FI F T H for the stage. The Creatures of Prometheus is Beethoven’s only ballet; his fights with its egotistical choreographer Salvatore Viganò effectively squelched any future interest he might have had in the genre.

Today, the ballet is rarely performed, while its overture survives as an orchestral work.

Beethoven was drawn to the ballet’s central figure, the Titan Prometheus.

According to Greek mythology, Prometheus defied the gods by bringing literacy and the arts to humanity, as well as the element of fire. Such a heroic symbol appealed to Beethoven, who saw in Prometheus qualities of his own personality: native rebelliousness, idealism, and an inclination to heroic sacrifice. (Zeus punished Prometheus for his arrogance by chaining him to Mt. Olympus and causing a vulture to tear out his liver; each day the liver was magically renewed so the voracious raptor could continue feasting.

Prometheus endured this punishment until Hercules scaled the mountain and killed the vulture.)

TICKETS: $5 - $38

LIGHTS, CAMERA, MUSIC!

in collaboration with International Youth Silent Film Festival

JANUARY 12 | 7:30 PM NEWMARK THEATRE

PLAYMYS.ORG OR 503-239-4566

Symphony Orchestra performs LIVE with silent films screening

Nicole Buetti Odyssey Overture for Orchestra Jean Gennin Fluttering Birds, Duet for two piccolos

Molly Duggan & Ben Hosking, Concerto Competition Winners

Nathan Avakian Silent Film Soundtracks* ‘Hooray for Hollywood’ Overture *arranged by Young Composers Project students

Viganò wanted to showcase his own skills and those of his ballerina wife.

Accordingly, Viganò outlined a plot in which Prometheus becomes a peripheral generic “creator.” Two of his “creatures” (statues portrayed by Viganò and his wife) come to life and are given consciousness and enlightenment by the god Apollo. The two statues become the focus, while Prometheus himself is largely ignored.

For Beethoven, whose only interest in the ballet lay in Prometheus’ story, creating a musical vehicle for Viganò and his wife to parade their talents was a musical slap in the face. Beethoven and Viganò could not reconcile their artistic differences, which may explain the ballet’s lack of success.

The overture opens with several chords full of anticipatory tension, followed by a slow introduction. The music shifts without pause to a lively Allegro, which some suggest represents Prometheus’ flight from Mt. Olympus after stealing fire from the gods.

orsymphony.org | 503-228-1353 29

PROKOFIEV ’S FIF TH GABRIEL KAHANE b. 1981

Pattern of the Rail: Six Orchestral Songs from Book of Travelers Empire Liquor Mart (9127 S. Figueroa St.) World premiere arrangements

composed: 2016–19 (Book of Travelers); 2014 (Empire Liquor Mart) first oregon symphony performance instrumentation: Pattern of the Rail: solo tenor, solo piano, piccolo (doubling alto flute), 2 flutes (both doubling alto flute), 2 oboes (1 doubling English horn), 2 clarinets, 2 bassoons (1 doubling contrabassoon), 4 horns, 3 trumpets, 2 trombones, bass trombone, tuba, timpani, almglocken, bass drum, crash cymbal, crotales, 2 cymbals, glockenspiel, gong, guiro, kick drum, knives, marimba, piccolo snare, slapstick, snare drum, splash cymbal,

temple blocks, tom toms, tubular bells, vibraphone, wood blocks, xylophone, celesta, harp, and strings Empire Liquor Mart: solo tenor, solo piano, solo guitar, piccolo, 2 flutes, 2 oboes (2nd doubling English horn), 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 2 trombones, bass trombone, tuba, timpani, crotales, hi hat, high shaker, kick drum, knives, low shaker, maracas, marimba, slapstick, snare drum, temple blocks, triangle, wood block, xylophone, celesta, and strings estimated duration: 25 minutes (Pattern of the Rail); 10 minutes (Empire Liquor Mart) Gabriel Kahane combines incisive lyrics, versatile musical language, and an unflinching willingness to explore uncomfortable societal realities. Oregon Symphony audiences first experienced Kahane’s distinctive blend of classical, pop,

and social justice in the spring of 2018 with the World premiere of emergency shelter intake form. This contemporary oratorio about systemic inequality traces the dual crises of homelessness and a nation-wide lack of affordable housing.

In August 2018, Kahane released the album Book of Travelers. “The morning after the 2016 presidential election, I packed a suitcase and boarded Amtrak’s Lake Shore Limited bound for Chicago,” Kahane writes.

“Over the next 13 days, I talked to dozens of strangers whom I met, primarily, in dining cars aboard the six trains that would carry me some 8,980 miles around the country.

The songs on this album are intended as a kind of loose diary of that journey and as a portrait of America at a time of profound national turbulence.”

For these concerts, Kahane orchestrated six of Book’s songs into a suite, Pattern of the Rail. Book of Travelers won praise for its spare sound, created by Kahane singing and accompanying himself on piano. In these new orchestral versions,

AND A HAPPY NEW YEAR! Tuesday, Dec 31 | 7:30 PM The Old Church

Tickets only

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Featuring the FLORESTAN TRIO with special guests baritone Kevin Walsh and pianist John Strege.

After the festive hourlong concert, join us for a grand dessert and champagne reception.

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PROKOFIEV ’S FIF TH Kahane had to preserve the lyrics’ centrality, while the accompaniments could make use of the orchestra’s full palette of colors and textures.

Baedeker, named for the once-ubiquitous guidebooks for wealthy tourists visiting abroad, contemplates the beneficial and also limiting nature of traveling with a guide. Baltimore, one of the most stark and elegant songs, combines the optimism of fdr’s New Deal Civilian Conservation Corps with bleak present-day realities of urban life. A devout Christian mother mourns the death of her opioid-addicted son in Friends of Friends of Bill; a well-to-do AfricanAmerican woman explains her reason for taking the train South: “My two grown sons were afraid/me driving through the night on a stretch of farm-stand highway in Mississippi/’Cause they don’t need a hood or a cross or a tree.” Kahane tells part of his own family’s journey in October 1, 1939/ Port of Hamburg. Kahane’s grandmother kept a diary as she fled Nazi Germany and traveled to the United States as a refugee.

“They weren’t allowed to dock/All because the country didn’t want/to let these people through./Ain’t that a familiar tune?/I have to sing it back to you.”

Empire Liquor Mart (9127 S. Figueroa St.) comes from Kahane’s 2012 album, The Ambassador, which takes its name and concept from 10 buildings in Los Angeles. In the liner notes, Kahane writes, “On March 16, 1991 – 13 days after the videotaped beating of Rodney King – a 15-year-old African American girl named Latasha Harlins walked into the Empire Liquor Market at 9127 South Figueroa St. in South Central Los Angeles. This is what I know of her story.” Kahane’s lyrics are written from Latasha’s point of view, which gives lasting immediacy to events that happened almost 30 years ago.

As a storyteller whose medium is song, Kahane’s first and most essential tool is compassion for his protagonists. In an npr interview, Kahane described Book of Travelers as “a plea for empathy.” “I think songwriting is a way to deliver that message,” he adds. “Empathy is one of the primary currencies of any type of storytelling, and songwriting is no exception to that.”

SERGEI PROKOFIEV 1891–1953

Symphony No. 5 in B-flat Major, Op. 100 composed: 1944 most recent oregon symphony performance: October 4, 2010; Carlos Kalmar, conductor instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 2 B-flat clarinets, 1 E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, bass tuba, timpani, bass drum, cymbals, snare drum, tambourine, tam-tam, triangle, wood block, piano, harp, and strings estimated duration: 46 minutes Sergei Prokofiev described his Fifth Symphony as “glorifying the human spirit… praising the free and happy man – his strength, his generosity, and the purity of his soul. I cannot say I chose this theme; it was born in me and had to express itself.”

In a postwar interview, Prokofiev added, “The Fifth Symphony was a very important composition to me, as it marked my return to the symphonic form after a long interval.

I regard it as the culmination of a large period in my creative life. I conceived of it as a symphony on the greatness of the human soul.” Indeed, Prokofiev’s career reached its zenith with his Fifth Symphony.

Soon after its premiere his health began to fail. Although Prokofiev lived another eight years and continued composing, no other work brought him such unqualified praise, both at home and abroad. Prokofiev’s fellow countryman, composer Dmitri Kabalevsky, described the Fifth Symphony as “the embodiment of man’s courage, energy, and spiritual grandeur.”

Prokofiev’s orchestral mastery permeates all four movements of the Fifth Symphony, which adheres to the structure of a Baroque sonata: slow first and third movements alternating with fast second and fourth movements. As the longest and the most epic in its conception among Prokofiev’s symphonies, the Fifth’s emotional content runs the gamut from majestic to

whimsical, from graceful to turbulent, and from humorous to self-mocking.

Pianist Sviatoslav Richter, who attended the premiere on January 13, 1945, recalled the powerful events of the day. In a rare conducting appearance, Prokofiev led the State Symphonic Orchestra of the U.S.S.R. at the Moscow Conservatory. “[Prokofiev] stood like a monument on a pedestal,” Richter said. “And then, when Prokofiev had taken his place on the podium and silenced reigned in the hall, artillery salvos suddenly thundered forth. His baton was raised. He waited and began only after the cannons had stopped. There was something very significant in this, something symbolic. It was as if all of us – including Prokofiev – had reached some kind of shared turning point.” The cannon fire to which Richter refers was a victory salute to the Red Army, which had won a decisive battle on the Vistula River, which allowed the army to enter Nazi Germany; World War Two was near its end.

According to Prokofiev’s biographer, Israel Nestyev, “Prokofiev’s compelling music perfectly suited the mood of the audience.” © 2019 Elizabeth Schwartz

RECOMMENDED RECORDINGS Beethoven: Overture to

The Creatures of Prometheus Kurt Masur – Leipzig Gewandhaus Orchestra 2-Philips Duo 438706 Gabriel Kahane: Book of Travelers Gabriel Kahane, piano and vocals Nonesuch 571525 Gabriel Kahane: Empire Liquor Mart from The Ambassador Gabriel Kahane, piano and vocals StorySound Records 161-016 Prokofiev: Symphony No. 5 Herbert von Karajan – Berlin Philharmonic Orchestra Deutsche Grammophon 437253 Recordings selected by Michael Parsons, who studied music at Lewis & Clark College and has worked professionally with classical recordings for several decades. Select recordings will also be available for purchase in the Grand Lobby.

orsymphony.org | 503-228-1353 31

PROKOFIEV ’S FIF TH Texts by Gabriel Kahane Baedeker raise a black-heeled sky put it up to the moon shaking the sand from your mind

delay, dead of night when you reach for the baedeker leather bound book from another time red line for railroad black line for river carving the country sweetbread and liver maps that tell secrets maps that run backward learn to be lost now learn to be shattered a dream where you don’t feel right on your knees in an open field startled by silence you don’t recognize white light on a thousand lakes like paths of glass that someone breaks before the barefoot contortionist makes her grand debut blood leaks from the frozen moon you think about the wound and wonder who will die? amber nebraska pink minnesota mint green for kansas blue north dakota red line for railroad black line for river carving the country sweetbread and liver raise a black-heeled sky put it up to the moon shaking the sand from your mind

Model Trains The man who played with model trains In the furnished basement painted black— How it pleased him every day, The pattern of the rail, The pattern of the tiny track.

One night he slips and hits his head As he reaches for a sleeper car, 32 artslandia.com

And the lights kept blinking red, Now level with his eye, His miniature Place de la Gare.

The kids knew something wasn’t right In the morning when he kissed them all, He didn’t say a word.

And the model trains keep going round.

Showered, shaved, but sullied still, With a fist of pink and blue and red.

And he will swallow every pill To help him with his fear Of getting from the bath to bed.

And the model trains keep going round.

Eyes cased in rime.

A face that’s chapped with tiger’s tears.

How his wife will mark the time By learning how to love; He’s been like this for seven years.

And now as a last resort, She takes him to the ward in Redding Thirty miles away.

And through, through the spidered glass, The headstraps and the gas, She watches as they put him under.

And the model trains keep going round.

She drives him home in the family car Stealing glances at this body strange: The vacant smile, the clean white scar On the man who disappeared, The man who played with model trains.

The man who made her laugh, The man who played with model trains.

Baltimore I got the news on the satellite phone: Jason, come home, Jason, dear, I heard it on the forest floor.

Six years of back country trails to the lake, Machete and snake, machete I learned To cradle in the Old State Park.

Roosevelt, ’33, he had a plan For every young man: Give him an ax and a seed; Give him a pack and a tree; Teach him to care for himself; Give him fresh air for his health;

The indifferent, the endless war.

And I know what that is, And I know what that is, And I don’t need it anymore, But I have to go home.

Luke was the son of some well-to-do folk; My family was broke, but we became friends, The parking lot, the chewed up field.

I started in the park just as he was going in, A hard eight to ten for selling to kids; My momma worked the county jail.

Roosevelt’s Tree Army, under the sun, The work would be done while America Bled by the greed of the rich, The boys planted trees and found God in the pitch, They stared at the sod in each fist— Why am I telling you this?

Is it that I’m nervous to be going back?

Back to Baltimore, The tallboy convenience store, The indifferent, the endless war.

And I know what that is, And I know what that is, And I don’t need it anymore, But I have to go home.

Luke, I guess, got himself into a fight, Took him to the infirmary later that night, Nothing serious, sure, but next morning he died, Then the satellite phone with the crew, Which meant I didn’t cry.

I’m taking the train to take time for my thoughts, Pregnant with loss, preparing for all The things that maybe make you feel.

I’ll pay my respects and then I’ll take a walk, The neighborhood block, And then I will leave.

Friends of Friends of Bill Those neighbor kids, they meant no harm.

Came home from church to find a

three-alarm.

To my sister’s, she gave us a key.

Three years, one room, two kids and me.

Send money back to family.

But he would lift my burden— All the power, the comfort In his name.

Back to Baltimore, The tallboy convenience store,

Is that so much to ask— To believe and be unashamed?

PROKOFIEV ’S FIF TH Stay after church, for friends of friends of Bill.

I tell the story of my son, his need, the pain to kill.

How I saved all the money, a box in a drawer.

How I’d give it to him; knew what it was for.

But he would lift my burden— All the power, the comfort In his name.

Is that so much to ask To believe and be unashamed?

The visits get harder.

He lowers his eyes, and every time They get darker.

I show him the pictures drawn by his kid.

How do you learn you can smother someone with your love?

Isn’t loving at all in this world hard enough?

Those neighbor kids, they meant no harm.

What If I Told You “What if I told you That I’m on this train Because my two grown sons were

frightened— Me driving through the night On a stretch of farm-stand highway In Mississippi— ’Cause they don’t need a hood or a cross or a tree.

What if I told you That I’m headed to a funeral in Tupelo On the hundred acre farm Purchased by my great-grandfather Who learned to read ’Cause his master’s daughter, Taught him secretly, And not knowing What kind of schooling His own children would receive, He taught them never to sign Their names on anything— ’Cause they don’t need a hood or a cross or a tree.

And would he have believed That his great-granddaughter— All the way to the Ivy League?

And would he have believed The millions of dollars— And yet still unsafe On that stretch of farm-stand highway?

What if I told you That my eldest son Loves a white girl Whom I adore, But who lives in a part of town where A black man might be mistaken for— ’Cause they don’t need a hood or a cross or a tree.

No, they don’t need a hood or a cross or a tree.

And if I told you all of that, Maybe you would understand Why I have limited sympathy For your desire to know the suffering Of the working white man.”

Monica explained In the dining car As we hurtled South In the growing dark.

Oct 1, 1939/Port of Hamburg We are travelling, through a flat,

beautiful landscape writes my grandmother Ancient forests; trees like bewitched figures, thickets of shrubs in 1939, Farmlands, small wooden houses, blue lakes, green village ponds. her father arrested, then released.

Now and then, cattle.

Earth covered with high grasses. fake passports Enchanting places, where one would like to stop. a steamship from Hamburg to Havana Now, a small wooden church, Now, a village train depot. six months on an island I wish then New Orleans I wish I could then a train to Los Angeles I wish I could describe where she keeps a diary I wish which I read on a different train I wish I could describe each place to you almost eighty years to the day...

But caught because her father Couldn’t quite believe What ought to’ve been plain to see, ‘Til broken glass was at their feet, And now they could not wait, Some clothes and letters in a crate; Left the cat and drove away.

Steamship.

Wool sky.

All seasick, The tide.

She held her breath until At last they’d got across, But they weren’t allowed to dock, All because the country didn’t want To let those people through.

Ain’t that a familiar tune?

I have to sing it back to you.

History don’t have a chance.

Drowning in the false, fat present tense.

And why would you need To know anything That happened any earlier Than late last week?

Lucky one, She got in— Some papers signed By distant kin, And every night she wrote Six postcards sent back home, And when she read the brief replies, My grandmother would start to cry, The careful script it could not hide The fear in every one She read beneath the L.A. sun Until the letters did not come.

History don’t have a chance.

Drowning in the force-fed present tense.

Why would you need To know anything That happened any earlier Than late last week?

Than late last week?

Than late last week? *** After school They chant her name.

She runs home She prays. orsymphony.org | 503-228-1353 33

PROKOFIEV ’S FIF TH Empire Liquor Mart (9127 S. Figueroa St.) When the black and whites arrive I am lifeless on the floor, Crumpled dollars in my hand In my hand, in my hand.

The lady in the fishing vest Has dropped the gun.

Who wears a fishing vest When they’re working at a liquor store?

I float up to the corner, Just above the ice cream and the frozen food.

I perch beside the surveillance Camera...

Only days after the trial You could feel the tension rise In the street and in the rhythm Of despair, of despair.

It was war after a while In each neighbor’s tired eyes.

There was nothing to persuade them To stand down, to stand down.

I float higher and higher, Friendly with the clouds That cover Southland...

Lord have mercy, Lord have mercy On the ones who’ve done the crimes.

Now two kinds of light From fires and fixtures They fill the sky— It was never so bright When I was young, I was Too young to die.

If I float even even higher, Pattern and procession are uncovered: Flood and fire, Flood and earthquake Keep folks unmoored.

And the occasional celebrity car chase Woo woo woo woo!

Just to keep God From getting bored.

Now two kinds of light From fires and fixtures They fill the sky— It was never so bright When I was young, I was Too young to die.

*** When my Grandma was a young woman, East St. Louis, *** She thought the town was I watch the tender skyline No good to us.

Dancing, oh the terror— On the long night, On the long fight, Blood, glass, burnt hair.

These angry armies quick ad- vancing, in position: On the rooftops, In the culverts, Stores are sacked while no one’s there.

Now two kinds of light From fires and fixtures They fill the sky— It was never so bright When I was young, I was Too young to die.

On TV sets, in houses Effortlessly done in fancy colors, All the righteous, All the newsmen Speak of end times.

Why should they give a fuck some Angry little black girl took a bullet?

34 artslandia.com

She took a Greyhound Just as far as it could take her, Felt her maker in the waves— You know, how God moves through us.

I was six years old when we followed, My mother was twenty-two.

The light was magic, The light was true.

Momma found herself staring At the barrel of a gun.

That weren’t enough, My uncle died too— Shot through the chest Back in East St. Louis, So one fine day, My grandma lost two, Took me in her arms, said, it’s just me and you.

Nobody reads from the Book of Job At the church where me and my grandma go.

Nobody sees the trouble I know, But I know that trouble’s gonna find me. *** So when I say that my un- timely death was Something certain, What I mean is that these tragedies are a kind of a family tradition.

So when I walk into the Liquor store that morning, bright

and angry, In a daydream Of a boyfriend I was fifteen, Pick up a bottle of orange juice And put it in to my backpack, Head toward the counter with dollar bills And she accuse me of stealing that— She pull my sweater And so I hit her, Put down the bottle Don’t want no trouble—

She thought we’d moved moved beyond a sharecropper’s debt, But we were just a pawn In the accuser’s bet.

Now two kinds of light From fires and fixtures They fill the sky— It was never so bright When I was young, I was Too young to die.

Nobody reads from the Book of Job At the church where me and my grandma go.

Nobody sees the trouble I know, But I know that trouble’s gonna find me.

I suppose it’s no surprise To find myself about to die.

But how long that silver moment from the bullet to the floor.

Three years later on a Thanksgiving, The light turned bitter; My grandmother didn’t know what hit her.

That right there was a lifetime...

We got a chill From the cold white sun,

– Gabriel Kahane

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orsymphony.org | 503-228-1353 35

GOSPEL CHRISTMAS

FRIDAY, DECEMBER 13, 2019, 7:30 PM SATURDAY, DECEMBER 14, 2019, 7:30 PM SUNDAY, DECEMBER 15, 2019, 4 PM Charles Floyd, conductor Northwest Community Gospel Chorus G. Louis Hemenway, choral director Jeigh Hopkins, chorus manager

Soloists: Danielle Barker MaryEtta Callier Quiana Crittenden Wendy Daniels-Jackson Tracey Harris Marilyn Keller Lisa Kent Marvin Lynn Richard Probasco Clairece Rosati-Hemenway Antoinette Saunders Eric Teat Elaine Warpole Ronnie Wright Saeeda Wright Jerry Harris, bass Rod Nightingale, drums Chris Turner, piano All orchestrations by Charles Floyd Gary Battestella, sound designer/engineer Justin Dunlap, lighting designer George Frideric Handel/ Arr. Joubert, McElroy, Red John F. Wade/ Arr. Israel Houghton

Joy to The World O Come All Ye Faithful Danielle Barker

Johann Sebastian Bach/ Arr. Robinson

Jesu, Joy of Man’s Desiring Elaine Warpole

George Frideric Handel/ Arr. Caldwell

“For Unto Us a Child Is Born” from Messiah Lisa Kent, Ronnie Wright

Arr. Gary Hemenway

Gospel Blues Medley “When Was Jesus Born?”

“O Little Town of Bethlehem” “Christ was Born on Christmas Morn” Antoinette Saunders, Pastor Richard Probasco

36 artslandia.com

Rudolph Stanfield/ Thomas Whitfield John Baptiste Calkin/ Johnny Manks/ Henry Wadsworth Longfellow John Work/Margaret Allison

Perfect Peace Marvin Lynn

I Heard the Bells on Christmas Day

Go Tell It/Wonderful Child

Wendy Daniels-Jackson

INTERMISSION Lisa Knowles-Smith John P. Kee George Frideric Handel/ Arr. Warren, Jackson, Kibble

Great Big God Quiana Crittenden He’ll Welcome Me Eric Teat Selections from Handel’s Messiah: A Soulful Celebration

“Comfort Ye My People”/”Every Valley Shall Be Exalted” Clairece Rosati-Hemenway, Saeeda Wright

“And He Shall Purify” MaryEtta Callier

“Hallelujah” Marilyn Keller, Tracey Harris

ARLENE SCHNITZER CONCERT HALL

Biographies

Charles Floyd Conductor, pianist, and composer Charles Floyd has been heard in concert with more than 500 orchestras since 1991 in performances including classical music and pops. His 11-year partnership with singer Natalie Cole included such projects as the multiple Grammy Award-

winning tribute to Nat King Cole entitled “Unforgettable, With Love,” the Emmy Award-winning pbs Great Performances concert video of the same title, and the Grammy-winning releases Take a Look and Stardust.

As an annual guest conductor of the Boston Pops Orchestra since 1994, his performances have included Gospel Night at Pops at Boston’s Symphony Hall, a program that features orchestral classics as well as a 120-voice gospel chorus. He has done similar concerts since 1995 with the Atlanta Symphony, the Akron Symphony, the Baltimore Symphony, the Cincinnati Symphony, the Houston Symphony, and the Saint Louis Symphony with such artists as Micah Stampley, Marvin Winans, CeCe Winans, Edwin Hawkins, Daryl Coley, Oleta Adams,

Yolanda Adams, and Patti LaBelle. Floyd now celebrates 21 years with the Oregon Symphony and Gospel Christmas.

His compositions range from chamber music to large orchestral and vocal works. A tribute to the Rev. Dr. Martin Luther King Jr., One Man’s Dream for narrator and orchestra, was commissioned and premiered by the Charlotte Symphony Orchestra in 2001. His Four Spirituals for soprano and orchestra was premiered at Boston’s Symphony Hall with the Boston Pops in 1995, and his oratorio Hosanna for gospel chorus and orchestra premiered there in 2000. Other compositions include a Cello Concerto (2014), a Piano Concerto (2014), a song cycle entitled Song of Solomon (2014), and numerous orchestral adaptations and arrangements. orsymphony.org | 503-228-1353 37

GOSPEL CHRISTMAS NORTHWEST COMMUNITY GOSPEL CHORUS ROSTER

Northwest Community Gospel Chorus December 2019 will mark the 21st year of Gospel Christmas, a collaboration of the Northwest Community Gospel Chorus and the Oregon Symphony. The first concert was performed in 1999 to high acclaim, and it has evolved over the years as one of the most important holiday traditions in Portland. The multi-cultural chorus consists of approximately 92 members from 33 houses of faith and organizations in the Portland area and beyond. There are approximately 20 singers who have been chorus members from the project’s inception.

Bach Cantata Choir Ralph Nelson, Artistic Director

Baroque Holiday Concert J.S. Bach Christmas Oratorio, Parts 4-6 J.D. Zelenka Magnificat

December 20th, 7:30 PM

Rose City Park Presbyterian Church NE 44th and Sandy

Tickets - $35/$30 bachcantatachoir.org 38 artslandia.com

The rhythm section comprises of professional, highly talented, and committed musicians. The members of the trio have played for Gospel Christmas for most of the 21 years.

The chorus’ mission and commitment are to bring a message of faith, hope, love, and joy through the perpetuation of gospel music as an original American art form. It is a true blessing to have been able to share the Good News with our audiences for these many years and to have produced our first recording on our 20th anniversary in 2018.

The founding members of the choir are Charles Floyd, conductor and orchestrator; Dorothy Davis, a highly respected leader in the Portland/Vancouver Gospel Music Workshop of America; Terry Davis, music minister at New Hope Missionary Baptist Church; and Susan Nielsen, former director of operations for the Oregon Symphony. Terry Davis relocated to Columbus, oh, following the first two years, and the choir was fortunate to have engaged G. Louis Hemenway to serve as music director, for which he has been dedicated and committed for 19 years.

Soprano Kelli Bledsoe Malinda Buckles Zetta Burton Heather Bynum MaryEtta Callier Quiana Crittenden Natasha Dawson Sarah Douglas Sydney Eastwood-Carter Madoria Gloud Lissa Guyton Gwen Hamilton Mary Harper LaShell Holton Chelsea Hostetler Teriyaki Jefferson Estella Johnson Ruby Jones Ericka Marin Rochelle McElroy Latitia McFarland Clairece Rosati-Hemenway Shirrell Shephard Gail Thomas Pearl Thomas Denise Townley Helen Warren Jeannie Wiggins Saeeda Wright

Patricia Howard Bri’ana Jordan Marilyn Keller Lisa Kent Lisa Knox Crystal Lockhart-Phillips Rosie Lovings Lynn Mangum Mary Marshall Shaina Pasi Jeanne Rennie Michelle Robinson Antoinette Saunders Dianne Smith Karen Stenzel Elaine Walpole Teyona Watkins Wanda West

Tenor Danielle Barker Annette Brown Reshawn Brown Amber Cobb Jr. Mario DePriest Gladys Foster Jelani Greenidge Harry Hopkins Annette Hunt Cinda Jackson Dora Johnson Eugene Leverett Marvin Lynn Alto Nate Orr Camille Bass Vivian Parker Adrian Bates Diona Patterson Diana Bustos John Peterson Coleen Carey Richard Probasco Sarah Carpenter Steven Robinson Darcell Dance Blenda Ryles Wendy Jerel Scott Daniels-Jackson Ron Silver Elizabeth Farver Charnell Simpson Seritha Ford Ryan Smith Lynn Green Greg Supriano Evelyn Gunels-Lewis Eric Teat Tracey Harris Sybrough Williams Cleo Hehn Patrice Woods Katrina Holland Ronnie Wright Janice Hopkins

GOSPEL CHRISTMAS

G. Louis Hemenway As a four-year-old, G. Louis Hemenway’s first musical question to his mother was, “When do I get to play piano in church?” Raised in the small Eastern Oregon town of Pilot Rock, Hemenway’s early interest (largely due to his parents influence and am radio) grew to encompass a wide variety of musical styles. As a pre-teen he was captured by the sounds of Andraé Crouch and the Disciples, Stevie Wonder, Elton John, Chicago, and The Temptations. But it was while under the tutelage of Dr. Dennis Plies, Dr. Thomas A. Miller, and the late Dr. Dennis Esselstrom at Warner Pacific College in arts-rich Portland that Hemenway saw his abilities expand. With a passion for excellence and a newfound love for many styles of music, countless doors have been opened to him.

Hemenway’s diverse abilities have afforded him plentiful opportunities working in the fields of soundtrack, production, direction, composing/ arranging, teaching, workshops, and live performance work. His work has appeared throughout the world in Nike and Avia videos and events and at the Olympics. His live performance work has taken him throughout the U.S., South Pacific, Europe, and Asia.

Amongst his many musical abilities choral work has become one of his greatest musical strengths. The 2019/2020 Season marks his third year as artistic director for the Walla Walla Choral Society. He has also been the Choral Director for the Oregon Symphony’s Northwest Community Gospel Chorus for 19 years.

His other credits include Walla Walla Symphony, McCall Summerfest, Weiden & Kennedy, Newton & Bard Studios, Will Vinton Studios, Scream Music, Kung Fu Bakery Studios, The Portland Rose Festival, the Oregon Symphony (David Byrne, Gospel Christmas, Rufus Wainwright, Byron Stripling, Carmen Bradford, Ted Louis Levy, Roberta Flack), and The Heritage Singers. His greatest joy has been found in the people that he has worked with. They include Dr. Charles Floyd, Don Lewis, Scott Steed, Mick Gillette and Lenny Pickett of Tower of Power, Clipper Anderson, Mac Arnold, Graham Lear (Santana), Mark Schulman (Cher, Foreigner), Daniel Cox, Gary Hobbs (Stan Kenton), Anthony Jones (Pink Martini), Clark Bondy, Renato Curanto (Bernard Purdie and Esperanza Spalding), Tim Ellis, Saeeda Wright (Prince and Liv Warfield), Patrick Lamb, Gavin Bondy (Pink Martini), the late Chris Kent, Phil Baker (Pink Martini), Chris Lizotte, Steve Camp, Randy Stonehill, Mark and Sarah McMillan, the late Bruce Carter, and many others. Hemenway has composed and arranged numerous vocal, choral, and instrumental pieces in every style from classical and film score to gospel, jazz, pop, and rock.

He frequently enjoys working with schools, colleges, choirs, and churches as a guest musician, clinician, director, and highly sought after accompanist.

He is also the studio music instructor of jazz piano at Whitman College in Walla Walla and the director of worship for the Walla Walla Presbyterian Church.

The joys of his life – his wife, Clairece, and three daughters (Sarah, Olivia, and Amelia) – are all accomplished artists in their own right.

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orsymphony.org | 503-228-1353 39

THE STORM LARGE HOLIDAY ORDEAL MONDAY, DECEMBER 16, 2019, 7:30 PM Norman Huynh, conductor Storm Large, vocals Special guests and program to be announced from the stage.

ARLENE SCHNITZER CONCERT HALL

Biography

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

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

In the 2018/19 Season, Large performed her one-woman autobiographical 40 artslandia.com

musical memoir Crazy Enough at La Jolla Music Society and Portland Center Stage, celebrating the show’s ten-year anniversary. Recent engagements include debuts with the Philly Pops, members of the Chicago Symphony Orchestra, and the Seattle Symphony, as well as return engagements with the Houston, Detroit, Toronto, and bbc symphonies; the New York Pops; and the Louisville Orchestra, with whom she recorded the 2017 album All In. Large continues to tour concert halls across the country with her band Le Bonheur and as a special guest on Michael Feinstein’s Shaken & Stirred tour. Alongside Liza Minnelli and Joel Grey, Large joined Michael Feinstein as special guest with the Pasadena Pops.

Large made her debut as guest vocalist with the band Pink Martini in April 2011, singing four sold-out concerts with the National Symphony Orchestra at the Kennedy Center in Washington, D.C. She continues to perform with the band, touring nationally and internationally, and she is featured on their album Get Happy. Large has also sung with Grammy winner k.d. lang, pianist Kirill Gerstein, punk rocker John Doe, singer/songwriter Rufus Wainwright, and Rock and Roll Hall of Famer George Clinton.

She debuted with the Oregon Symphony in 2010 and has returned for sold-out performances each year thereafter. Large made her Carnegie Hall debut in 2013,

singing Weill’s Seven Deadly Sins with the Detroit Symphony as part of the Spring for Music Festival. The New York Times called her “sensational,” and the classical music world instantly had a new star.

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

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

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orsymphony.org | 503-228-1353 41

COMFORT & JOY: A CLASSICAL CHRISTMAS WEDNESDAY, DECEMBER 18, 2019, 7:30 PM Norman Huynh, conductor Oregon Chorale Jason Sabino, artistic director Nancy Ives, cello Erin Furbee, violin Traditional/Arr. Sebesky

A Christmas Scherzo

Samuel Colridge-Taylor/ Arr. Baynes

Christmas Overture

Pietro Yon/Arr. Tyzik

Johann Sebastian Bach Johann Sebastian Bach/ Arr. Grainger

Gesu Bambino Nancy Ives Erin Furbee “Magnificat anima mea Dominum” from Magnificat Oregon Chorale Blithe Bells

Adolphe Adam/Arr. Fry

O Holy Night Oregon Chorale

Pyotr Ilyich Tchaikovsky

Overture to The Nutcracker

John Williams

Rey’s Theme from Star Wars: The Force Awakens

John Williams

Holiday Songs from Home Alone Somewhere in My Memory Merry Christmas Oregon Chorale

INTERMISSION

Johnny Marks/Arr. Hayman Paul O’Neill/Arr. Phillips Donald Fraser Traditional/Arr. Powell Vince Guaraldi/Arr. Pugh Leroy Anderson Various/Arr. Finnegan

Rudolph the Red-Nosed Reindeer Christmas Eve/Sarajevo 12/24 This Christmastide Oregon Chorale Ogo ni fun Oluwa Oregon Chorale (without orchestra) A Charlie Brown Christmas Sleigh Ride Christmas Carol Singalong Oregon Chorale ARLENE SCHNITZER CONCERT HALL

42 artslandia.com

Biography

Ancient history

FOR THE MODERN WORLD

Oregon Chorale The Oregon Chorale is a 70-voice symphonic choir directed by Jason Sabino.

Founded by Bernie Kuehn and based in Hillsboro, or, the Oregon Chorale has been delighting audiences since 1985, performing choral music from around the world and combining= it with provocative, emotional, and community basedprogramming. The auditioned choir is made up of community members from all walks of life, from doctors to engineers to teachers. The Chorale has collaborated with the Oregon Symphony, Oregon Ballet Theatre, and the Beaverton Symphony.

Through its Emerging Voices program, the Chorale provides educational outreach and supports local young musicians, offering high school internships that include singing in the Chorale, free voice lessons, and mentorship.

DIAMONDS SET IN 24K GOLD AND OXIDIZED STERLING SILVER

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orsymphony.org | 503-228-1353 43

CIRQUE NUTCRACKER SATURDAY, DECEMBER 21, 2019, 2 PM SATURDAY, DECEMBER 21, 2019, 7:30 PM

Norman Huynh, conductor Troupe Vertigo

Aloysia Gavre, founding artistic director Rex Camphuis, founding executive director

Pyotr Ilyich Tchaikovsky

The Nutcracker

ARLENE SCHNITZER CONCERT HALL

Biography

Troupe Vertigo Fusing together elements of cirque acrobatics, classical dance, and contemporary theater, Troupe Vertigo brings audiences on a spellbinding journey through the world of artistic movement. Consisting of worldclass aerial artists, contortionists, and ballet dancers, the Los Angelesbased company was founded in 2009 by Artistic Director Aloysia Gavre, formerly of the internationally renowned Cirque du Soleil, and Technical Director Rex Camphuis, whose background is with the fabled 44 artslandia.com

Pickle Family Circus. Troupe Vertigo, whose “dizzying acts defy gravity and leave its lucky audiences in awe” (Los Angeles Times) has performed with major orchestras across North America.

Troupe Vertigo’s 2019/20 Season includes performances with the Evansville Philharmonic, the Rochester Philharmonic, the Naples Philharmonic, the Baltimore Symphony, the Oregon Symphony, the Des Moines Symphony, the Phoenix Symphony, the Winnipeg Symphony, and the Minnesota Orchestra.

Previous engagements include performances with the Indianapolis Symphony, Vancouver Symphony, Phoenix Symphony, Baltimore Symphony, Tucson Symphony, Utah Symphony, Seattle Symphony, and the National Arts Centre Orchestra in Ottawa. The company is known for their collaborative custom thematic programs with symphony orchestras from Cirque Goes to Broadway, Cirque Goes to Hollywood, and Cirque Dances featuring The Firebird, to complete

cirque-ballet presentations of The Nutcracker, Swan Lake, and Cinderella.

Husband and wife team Aloysia and Rex frequently bring their gifts and knowledge to the film and television industry, most notably with Rebel Wilson’s aerial performance in Pitch Perfect 2 and with Reese Witherspoon and Christoph Waltz in the film Water for Elephants.

Troupe Vertigo’s facility is also home to Cirque School Los Angeles, which inspires an appreciation for the circus arts for “Anybody with Any Body.” Cirque School uses training, performance, and community outreach to foster passion for the circus arts in a supportive, non-competitive environment. Encompassing over 50 weekly classes for the public, student performances, team building workshops, pre-professional intensives, and television and film projects, Cirque School thrives as the premiere cirque training program in Los Angeles.

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orsymphony.org | 503-228-1353 45

A VIENNESE NEW YEAR WITH GUESTS FROM OREGON BALLET THEATRE MONDAY, DECEMBER 30, 2019, 7:30 PM Carlos Kalmar, conductor Searmi Park, violin Thomas Baker, Eva Burton, Christopher Kaiser, and Jessica Lind, dancers courtesy of Oregon Ballet Theatre Matthew Pawlicki-Sinclair, choreographer Mark Zapone, costumes Adam Arnold, costumes for The Blue Danube

Johann Strauss, Jr. Josef Strauss

Overture to The Gypsy Baron Fireproof!

Johann Strauss, Jr.

Tritsch-Tratsch-Polka (Chit Chat Polka)

Josef Strauss

My Life is Love and Laughter Dancers from Oregon Ballet Theatre

Johann Strauss, Jr.

Egyptian March

Johann Strauss, Jr.

Long Live the Magyar!

Dmitri Shostakovich

Tahiti Trot

INTERMISSION Johann Strauss, Jr. Josef Strauss

Overture to Indigo and the Forty Thieves Teasing Dancers from Oregon Ballet Theatre

Johann Strauss, Jr.

Emperor Waltz

Johann Strauss, Jr.

Explosions Polka

Johann Strauss, Jr.

Praise of Women

Fritz Kreisler Johann Strauss, Jr.

Chinese Drum Searmi Park The Blue Danube Dancers from Oregon Ballet Theatre ARLENE SCHNITZER CONCERT HALL

46 artslandia.com

Biographies

Thomas Baker Thomas Baker began dancing at the age of 15 in St. George, Utah. Prior to joining Oregon Ballet Theatre in 2010, he studied with the San Francisco Ballet School on full scholarship. He then danced with Ballet San Jose from 2012 to 2014, rejoining Oregon Ballet Theatre for the 2014/15 Season. He has performed featured roles in works by Balanchine, Ashton, Rhoden, Naharin, and Cunningham. In 2019, he was promoted to soloist.

Christopher Kaiser

Matthew Pawlicki-Sinclair

Christopher Kaiser is from Los Angeles, California, where he trained at Los Angeles High School for the Arts. He spent his summers training at The Joffrey Ballet, Boston Ballet, and Milwaukee Ballet. Afterward, he was accepted to The Juilliard School, where he graduated with a Bachelor of Fine Arts, and danced in the Edinburgh International Festival. He joined Alberta Ballet for three seasons before joining Oregon Ballet Theatre.

This will be his fourth season with obt. He has enjoyed performing roles in Nacho Duato’s Gnawa, William Forsythe’s Herman Schmerman, and Paul Taylor’s Sunset.

Matthew Pawlicki-Sinclair was born and raised in Tucson, Arizona. He joined Kansas City Ballet as an apprentice in 2005 and spent an additional two years as a dancer with the company under the direction of William Whitener. In 2008, he joined the corps de ballet of Dutch National Ballet under Ted Brandsen and was promoted twice: first to coryphée in 2014 and later to grand sujet in 2016. Some of his favorite roles performed with Dutch National Ballet include Romeo in Sasha Waltz’s Roméo et Juliette, Hilarion in Marius Petipa’s Giselle, Prince Gremin in John Cranko’s Onegin, and Morold in David Dawson’s Tristan + Isolde.

Pawlicki-Sinclair is also a choreographer. In 2014, he co-founded the creative company House of Makers together with Dutch writer Sterre van Rossem and British choreographer Peter Leung. House of Makers has created original site specific work for a number of museums, theaters, events, and brands, including the Van Gogh Museum, Boijmans Van Beuningen Museum, OstadeTheater, Nikon, Tommy Hilfiger, and others.

Eva Burton Eva Burton was born in Los Angeles, California. She received her training in Los Angeles from Patrick Frantz and at San Francisco Ballet School before joining Oregon Ballet Theatre for the 2009/10 Season. She has been featured in works by George Balanchine, Nacho Duato, Nicolo Fonte, and Ben Stevenson. In the 2014/15 Season, she debuted as the Sugarplum Fairy in George Balanchine’s The Nutcracker®, as Cinderella in Ben Stevenson’s production, and in Nicolo Fonte’s Presto. She is currently a soloist.

Jessica Lind Jessica Lind was born and raised in San Jose, California, where she began her ballet training at age four. She trained for a year with San Francisco Ballet School before joining the Professional Division at Oregon Ballet Theatre and becoming an apprentice in 2013. Her favorite role performing with Oregon Ballet Theatre was the Summer Fairy in Ben Stevenson’s Cinderella. In 2019, she was promoted to soloist.

This is Pawlicki-Sinclair’s second season as soloist with Oregon Ballet Theatre.

orsymphony.org | 503-228-1353 47

OUR SUPPORTERS The Oregon Symphony thanks these individuals for their generous contributions received in the 2018/19 Season (July 1, 2018–June 30, 2019).

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

TRANSFORMATIONAL: $100,000–ABOVE

Anonymous (3) Rich* & Rachel Baek Karen & Bill* Early Robert* & Janis Harrison Michael & Kristen* Kern Lynn & Jack Loacker Stephanie McDougal+ Harold & Jane Pollin Arlene Schnitzer & Jordan Schnitzer

VIRTUOSO SOCIETY: $50,000–$99,999

Duncan & Cindy Campbell of The Campbell Foundation Drs. Cliff* & Karen Deveney Judith Mary Erickson+ Elizabeth N. Gray Fund of ocf Wendy & Paul Greeney Tige* & Peggy Harris Rick* & Veronica Hinkes The Mary Dooly & Thomas W. Holman Fund of ocf Holzman Foundation/ Renée* & Irwin Holzman Beth & Jerry* Hulsman Priscilla Wold Longfield* Nancie S. McGraw Laura S. Meier Eleanor & Georges St. Laurent Hank Swigert Nancy & Walter* Weyler Jack* & Ginny Wilborn The Jay & Diane Zidell Charitable Foundation Pat Zimmerman & Paul Dinu

OPUS SOCIETY: $25,000–$49,999

Anonymous (3) Ken Austin+ Rick Caskey & Sue Horn-Caskey* Cecil & Sally Drinkward Fund of ocf Richard & Janet Geary Foundation Suzanne Geary Dr. Thomas & Alix Goodman Ned & Sis Hayes Family Fund of ocf Keller Foundation Gerri Karetsky & Larry Naughton Richard Rauch Dan G. Wieden & Priscilla Bernard Wieden

MOZART SOCIETY: $10,000–$24,999

Anonymous (7) David & Courtney* Angeli Mrs. Lloyd Babler Alan & Sherry Bennett Robert & Jean Bennett

48 artslandia.com

Susan & Larry Black Mr.+ & Mrs. Thomas Boklund Evona Brim William M. Brod Fund of the ocf Richard Louis Brown & Thomas Mark Cascadia Foundation Chocosphere Truman Collins, Jr. Mark & Georgette Copeland Michael Davidson Daniel* & Kathleen Drinkward John S. Ettelson Fund of the ocf Lauren Fox* & John Williamson Robyn* & John Gastineau Frank & Mary Gill Jonathan‡ & Yoko Greeney Charles & Nancy* Hales Jim & Karen Halliday Mr. & Mrs. Stephen J. Harder Bonnie Haslett & Terry Strom Jeff Heatherington* Mr. & Mrs. J. Clayton* Hering Robert & Marilyn Hodson Hank & Judy Hummelt Kathy & Steve Johnson Lamb Family Foundation (wa) Richard+ & Delight Leonard Gil & Peggy Miller Michael & Susan Mueller Roscoe* & Debra Nelson Ann Olsen The Outlander Private Foundation Janice Phillips Travers & Vasek Polak Charles & Jennifer Putney Dan Rasay* & Katherine FitzGibbon Rod & Cheryl Rogers Alise Rubin+ & Wolfgang Dempke Rutherford Investment Management & William D. Rutherford The Leonard & Lois Schnitzer Fund of ocf In Memory of Mayer D. Schwartz Scott Showalter§ The Nancy & Richard Silverman Charitable Foundation Victoria Taylor Estate of David Wedge+ Dean E. & Patricia A. Werth Gary Whitted Ken & Karen Wright Dr. & Mrs. Michael Wrinn

SILVER BATON: $6,000–$9,999

Anonymous (5) Anonymous Fund #16 of ocf The Breunsbach Family

Joe Cantrell Deanna Cochener Jane & Evan Dudik Stephen & Nancy Dudley Family Fund of ocf Bruce & Terri Fuller Andrew Kern Michele Mass & Jim Edwards Ronald & Phyllis Maynard Jill McDonald Millicent Naito Janice Phillips Bonnie & Peter Reagan John+ & Charlene Rogers Carol+ & Frank Sampson R. Kent Squires George & Sue Stonecliffe Jean Vollum Fund Nancy & Herb Zachow Jason Zidell

Fedor G. Pikus Reynolds Potter & Sharon Mueller Pat Reser Rosemarie Rosenfeld Fredrick & Joanne L. Ross Holly & Don Schoenbeck John & June Schumann Diana & Hal Scoggins Bill Scott & Kate Thompson Jo Shapland & Douglas Browning Mr. & Mrs. W.T.C. Stevens N. Robert & Barre Stoll Dr. Derald Walker* & Charles Weisser Richard H. & Linda F. Ward Homer & Carol Williams

BRONZE BATON: $4,000–$5,999

Anonymous (6) An Advised Fund of ocf Ajitahrydaya Gift Fund Carole Alexander Kirby & Amy Allen Trudy Allen & Bob Varitz Meredith & Robert Amon David & Jacqueline Backman Bob Ball & Grant Jones Ed & Becky Bard Wayne Bartolet & Susan Remick Michael & Barbara Besand in Memory of Lillian (Lee) Besand Craig Billings David Blumhagen Josh & Wendie Bratt Gregory & Susan Buhr Tom Burke & Axel Brunger Ellen E. Bussing§ Eve Callahan* & Scott Taylor Mrs. Robert G. Cameron Cynthia & Stanley Cohan Mike & Becky DeCesaro Nicholas & Jamie Denler Ginette DePreist Richard B. Dobrow, M.D. Donald & Katharine Epstein Kenneth & Carol Fransen Y. Fukuta Liz Fuller & Brent Barton Richard Gallagher Robert & Carolyn Gelpke Daniel Gibbs & Lois Seed Jamieson & Tiffanie Grabenhorst Don Hagge & Vicki Lewis Paul Hamilton Jamey Hampton & Ashley Roland Kirk & Erin Hanawalt Sonja L. Haugen Dennis & Judy Hedberg Diane M. Herrmann Dan & Pat Holmquist Brad & Bente Houle

Anonymous (1) Anne M. Barbey David E. & Mary C. Becker Fund of ocf John & Yvonne Branchflower Kay Bristow Margery Cohn & Marvin Richmond Terry & Peggy Crawford Dr. & Mrs. David Cutler J. M. Deeney, M.D. Allen L. Dobbins Wayne & Julie Drinkward Mr. & Mrs. Dale Dvorak Mark & Ann Edlen Susan & Andrew Franklin Barbara Giesy Dr. Steve Grover Robert & Dorothy Haley Hibler Franke Foundation Marsh Hieronimus Carrie Hooten & David Giramma William H. Hunt Oregon Symphony Association Fund Jeff & Krissy Johnson Mark & Katherine Kralj Paul Labby Dorothy Lemelson Fernando Leon, M.D. & Dolores Leon, M.D. Mr. & Mrs. Robert McCall June McLean Hannelore Mitchell-Schict+ Hester H. Nau Susan Olson & Bill Nelson Michael & Janice Opton Barbara Page Mark Palmen Parsons Family Fund of the ocf Jane Partridge Franklin & Dorothy Piacentini Charitable Trust

CONDUCTOR’S CIRCLE: $2,500–$3,999

Dennis Johnson & Steven Smith Penelope Johnstone Barbara Kahl & Roger Johnston Susan D. Keil David & Virginia Kingsbury Drs. Arnold & Elizabeth Klein Lakshman Krishnamurthy & Rasha Esmat Mary Lago Paul W. Leavens Cary & Dorothy Lewis Eric & Hollie Lindauer Peter & Allison Lyneham Dana & Susan Marble M. & L. Marks Family Fund of ocf Sir James & Lady McDonald Designated Fund of ocf Duane & Barbara McDougall Bonnie McLellan Violet & Robert+ Metzler Anne K Millis Fund of ocf Dolores & Michael Moore Lindley Morton & Corrine Oishi John & Nancy Murakami Jon Naviaux & Anne Kilkenny Ward & Pamela Nelson John & Ginger Niemeyer Larry & Caron Ogg George & Deborah Olsen Barbara & Art Palmer Charles & Ruth Poindexter Janet C. Plummer§ & Donald S. Rushmer Katie Poppe & Sam House Lawrence Powlesland & James Russel Vicki Reitenauer & Carol Gabrielli Jeff & Kathleen Rubin Brooks & Wendi Schaener Susan Schnitzer Mrs. & Mr.* Francine Shetterly Peter Shinbach Jaymi & F. Sladen Sue & Drew Snyder George & Molly Spencer Annetta & Ed St. Clair David Staehely Jack & Crystal Steffen Garry & Ardith Stensland Straub Collaborative, Inc. Eustacia Su Drs. John & Betty+ Thompson Robert Trotman & William Hetzelson Charles & Alice Valentino Ravi Vedanayagam & Ursula Lukert David & Christine Vernier Drs. Bastian & Barbara Wagner Wells Family Foundation Elaine M. Whiteley+

Robert & Margaret Wiesenthal Davida & Slate Wilson Loring & Margaret Winthrop Jeffrey Yandle & Molly Moran-Yandle Zephyr Charitable Foundation Inc. Charlene Zidell

CONCERTO SOCIETY: $1,000–$2,499

Anonymous (10) Markus Albert Joseph Allan & Karen Saul Dr. Christopher Amling Jonathan & Deanne Ater Michael Axley & Kim Malek Stephen S. Babson+ Steve & Mary Baker James & Kathryn Bash John & Claudette Beahrs Eric Bell Broughton & Mary Bishop Family Advised Fund of cfsww Paul Black & Greg Eicher Priscilla Blumel Lynne & Frank Bocarde Henry Bodzin Benjamin & Sandra Bole Mrs. Fanny P. Bookout Fred & Diane Born Mr. & Mrs. Peter Brix Christopher Brooks* & Brittney Clark Craig & Karen Butler Martin & Truddy Cable Barbara & Robb Cason Carlos Castro-Pareja

Audrey & Stephen Cheng Charles Clarkson Classical Up Close‡ Holly Cohen Maurice Comeau, M.D. Jeffrey G. Condit Susan & Mark Cooksey James & E. Anne Crumpacker Abby & Marvin Dawson Enrique deCastro Edward & Karen Demko William Dolan & Suzanne Bromschwig Kay Doyle Tom & Roberta Drewes Gerard & Sandra Drummond Charlene Dunning & Donald Runnels Richard & Jill Schnitzer Edelson Douglas Egan & Susan Bach Ray & Nancy Friedman Paul Gehlar David & Kiki Gindler Michael & Gail Gombos Harriet & Mitch Greenlick David & Caroline Greger Dr. & Mrs. Price Gripekoven Jeffrey & Sandy Grubb Louis & Judy Halvorsen Drs. James & Linda Hamilton Howard & Molly Harris Pamela Henderson & Allen Wasserman Jane & Ken Hergenhan Frances F. Hicks Joseph & Bette Hirsch Margaret & Jerry Hoerber Eric & Ronna Hoffman Fund of ocf

Joseph Holloway, Sr. Lee & Penney Hoodenpyle Pamela Hooten & Karen Zumwalt Pam Horan Arthur Hung Doug Inglis Jon Jaqua & Kimberly Cooper David Jentz Harlan Jones Bob Kaake Peter & Patricia Kane Carol Brooks Keefer Alexis Kennedy Douglas & Selby Key Fred Kirchhoff & Ron Simonis Sheldon Klapper & Sue Hickey John Kochis Kevin Komos & Bruce Suttmeier Sarah Kwak‡ & Vali Phillips‡ Frank Langfitt & MJ Steen Thomas M. Lauderdale* Dr. & Mrs. Mark Leavitt Dr. John & Elaine Lemmer, Jr. Phyllis J. Leonard Carol Schnitzer Lewis Fund of ocf Joanne Lilley Patrice Louie & Jeffrey Courion Richard & Diane Lowensohn Jerome Magill Linda & Ken Mantel Gayle & Jerry Marger Bel-Ami & Mark Margoles Dante Marrocco & Julia Marrocco Bob Martindale & Gwyneth Paulson

Carolyn McMurchie Karen McNamee Anthony Merrill & Cheryl Thompson-Merrill Eric & Sarah Merten Sherrey & Robert Meyer Mia Hall Miller & Matthew Miller Greg & Sonya Morgansen Drs. Beth & Seth Morton Virginia S. Mullen+ Chris & Tom Neilsen Ralph & Susan Nelson Peter & Cassie Northrup Libby Noyes Marianne Ott Thomas Palmer & Ann Carter Yoona Park & Tom Johnson Duane & Corinne Paulson Richard & Helen Phillips Diane Plumridge Hugh Porter & Jill Soltero Wally & Bettsy Preble William Pressly & Carole Douglass Dr. & Mrs. Kevin Proctor Ronald & Lee Ragen Dr. Gerald & Alene B. Rich Jan Robertson Anna Roe & Ken Schriver Rebecca Rooks Debora Roy Joshua Sabraw Robert & Ann Sacks Michael Sands & Jane Robinson Steven & Karen Schoenbrun Dr. & Mrs. George Sebastian Chris Sherry Gregory Shields

The Shulevitz Family Dr. Rick Simpson Albert Solheim Ben & Jill Souede Jack & Charlene

Stephenson Anne Stevenson Rabbi Ariel Stone & Dr. Joe Thaler Barbara J. & Jon R. Stroud Sandra Suran Drs. Donald & Roslyn Elms Sutherland Matt & Bethany Thomas Richard & Larie Thomas Mike & Priscilla Thompson Laura Tomas & Jason Martin Ann Van Fleet Don & Marian Vollum Bill & Peggy Wagner Bill & Janet Wagner Kevin & Sharon Wei Joan & David Weil Weiss Fund of ocf Cameron J. Wiley & Carey Whitt Wiley Carol S. Witherell Bing Wong Jane Work Darrell & Geneva Wright Dr. Candace Young Lawrence & Jo Ann Young *current board ‡current musician §current staff

EXUBERaNCE IN LEARNING Inspired Global Learning Through An IB Education

orsymphony.org | 503-228-1353 49

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

Anonymous (13) Markus Albert Kirby & Amy Allen Margaret A. Apel Margaret & Scott Arighi Laurel Bardelson+ Lynda R. Bell Steve & Patt Bilow Leola J. Bowerman+ Dean Boyd & Susan Wickizer John & Yvonne Branchflower Steve & Kristine Brey Elizabeth Burke Ellen E. Bussing§ Craig & Karen Butler Elaine Calder & William J. Bennett Carl & Connie Clark Debi Coleman Terry & Peggy Crawford Dr. Jim Darke Niel B. DePonte‡ Ginette DePreist Jess Dishman Allen L. Dobbins William Dolan & Suzanne Bromschwig Clarke Donelson Kay Doyle Gerard & Sandra Drummond Denise Chantrelle DuBois Bill* & Karen Early George Fabel Louise P. Feldman Harry & Gladys Flesher Mark Gardiner & Mary Nolan Robyn Gastineau* Jim & Karen Halliday Susan Halton Betsy & Gregory Hatton Diane M. Herrmann Henry M. Hieronimus Rick* & Veronica Hinkes Renée* & Irwin Holzman Donna Howard Beth & Jerry* Hulsman Judy & Hank Hummelt Anne & Charles Jochim Dennis Johnson & Steven Smith Karen & Keith Johnson Richard Kaiser & Virginia Shipman Richard & Ruth Keller Georgia A. Koehler Sally & Tom Kuhns Kyle & Marcia Lambert Wayne & Carolyn Landsverk Barbara A. Lee Fernando Leon, M.D. & Dolores Leon, M.D. Cary & Dorothy Lewis Ardath E. Lilleland A. G. Lindstrand

Lynn & Jack Loacker Linda & Ken Mantel Michele Mass & Jim Edwards Dr. Louis & Judy McCraw Roger & Pearl McDonald Stephanie McDougal+ Duane & Barbara McDougall Edward+ & June McLean Sheila McMahon Karen McNamee Ruben J. & Elizabeth Menashe Robert+ & Violet Metzler Geri & Bruce F.+ Miller Mia Hall Miller Richard Patrick Mitchell Carol N. Morgan Christi R. Newton Ann H. Nicholas Ann Olsen Roger N.+ & Joyce M. Olson Marianne Ott Jane S. Partridge Janice E. Phillips Janet Plummer§ & Don Rushmer Arnold S. Polk Harold & Jane Pollin David Rabin Tom & Norma Rankin Richard & Mary Raub Barbara Perron Reader Ed Reeves & Bill Fish Mary & Mike Riley Sherry Robinson & Steve Shanklin Peter Rodda & Vincenza Scarpaci Betty Roren Walt Rose Betsy Russell William C. Scott Scott Showalter§ V. L. Smith & J. E. Harman George & Molly Spencer Anne Stevenson Hank Swigert Diane Syrcle & Susan Leo Herman Taylor & Leslye Epstein Bruce & Judy Thesenga Mike & Diana Thomas Leslie & Scott Tuomi Linda & Stephen

VanHaverbeke Randall Vemer John & Frances von Schlegell Les Vuylsteke Joella B. Werlin Jack* & Ginny Wilborn Gary Nelson Wilkins Roger & Kathleen Wolcott Nancy Wolff & E. David Booth

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

+ in memorium

TR IB U TE Tribute gifts October 15–November 14, 2019 In Honor of Robert Amour Jean A. Major In Honor of Susie Kasper Reneé Holzman In Honor of Linda Schultz Ted & Adele Pelletier

Learn more at artsimpactfund.racc.org Photo on card by Casey Campbell Photography for Peter/Wendy at Bag&Baggage Productions

orsymphony.org | 503-228-1353 51

OUR SUPPORTERS Corporate Partners The Oregon Symphony thanks these corporations for their generous contributions received in the 2018/19 Season (July 1, 2018–June 30, 2019).

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

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

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

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

HOFFMAN CORPORATION

MACY’S

SAMUEL I NEWHOUSE FOUNDATION

PAR K ING S P ONS O R

ME D IA S P ONS O R

OTHE R S P ONS O R S

52 artslandia.com

ALL CLASSICAL PORTLAND AMAZON.COM ANDANTE VINEYARD THE AV DEPARTMENT BLUE STAR BOEING D.A. DAVIDSON & CO. DOMAINE SERENE ESCO FOUNDATION FREELAND SPIRITS FURIOSO VINEYARDS GENIUS LOCI GERANIUM LAKE FLOWERS HEADWATERS AT THE HEATHMAN HENRY’S TAVERN

HORST & GRABEN WEALTH

MANAGEMENT INICI GROUP, INC. JACOBSEN SALT CO. JASON DESOMER PHOTOGRAPHY KEY BANK KLARQUIST SPARKMAN, LLP KROGER MAGAURN VIDEO MEDIA PAT MCGILLEN, LLC JONATHAN NAGAR NEL CENTRO NORDSTROM, INC. TIMOTHY O’MALLEY PDX ICE

PORTLAND ART MUSEUM POSTERGARDEN RACHEL HADISHAR PHOTOGRAPHY RAVEN & ROSE RINGSIDE STEAKHOUSE SINEANN WINERY THE STANDARD TONKIN TORP TIFFANY & CO. VIDON VINEYARDS

Foundation and Government Support The Oregon Symphony thanks these organizations for their generous contributions received in the 2018/19 Season (July 1, 2018–June 30, 2019).

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

HEATHERINGTON FOUNDATION FOR INNOVATION & EDUCATION IN HEALTHCARE

GLOBE FOUNDATION

JAMES AND SHIRLEY RIPPEY FAMILY FOUNDATION

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

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

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

WILLIAM AND FLORA HEWLETT FOUNDATION

THE WOLD FOUNDATION

THE CAMPBELL FOUNDATION

ANONYMOUS (1)

RESER FAMILY FOUNDATION

ROSE E. TUCKER CHARITABLE TRUST

ROBERT & MERCEDES EICHHOLZ FOUNDATION

HAMPTON FAMILY FOUNDATION OF OCF

JACKSON FOUNDATION

LAMB FAMILY FOUNDATION

HERBERT A. TEMPLETON FOUNDATION

WALTERS FAMILY FOUNDATION

WHEELER FOUNDATION (WA)

THE WOLLENBERG FOUNDATION

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

JUAN YOUNG TRUST

JW & HM GOODMAN FOUNDATION

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

FAYE & LUCILLE STEWART FOUNDATION

WINTZ FAMILY FOUNDATION

CON CE R TO $1, 0 0 0 – $ 2 , 49 9

H.W. & D.C. IRWIN FOUNDATION

MASON CHARITABLE TRUST

orsymphony.org | 503-228-1353 53

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T H E A R T O F C O C K TA I L S

GIN- GL E BEL L ROCK Inspired by The Storm Large Holiday Ordeal

featuring: Eastside Distilling Big Bottom Navy Strength Gin eastsidedistilling.com

Ingredients: 1 oz Eastside Distilling Big Bottom Navy Strength Gin 1 oz Cointreau 1 oz Lillet Blanc 1 oz fresh lemon juice 1 dash absinthe Lemon peel for garnish Instructions: Swirl 1 dash absinthe in chilled coupe glass to coat.

In a shaker with ice, combine remaining ingredients.

Shake vigorously for 30 seconds.

Strain into prepared glass. Garnish with lemon peel.

I

n case you haven’t heard, as with the local makers of coffee, beer, and wine who’ve come before, Oregon’s craft distillers are smashing records, winning awards, and grabbing the spirit industry by the big, square ice cubes. In celebration of their artistry, Artslandia asked our state’s most honored distilleries to create signature cocktail recipes inspired by Portland’s performing arts season. From Eastside Distilling, we bring you Gin-gle Bell Rock. Mix up this bespoke and incredibly tasty cocktail before you head out to Oregon Symphony’s production of The Storm Large Holiday Ordeal. And, if you have yet to behold this season’s Annual Issue from Portland’s most fervent arts elevators (yours truly, Artslandia), make haste to Powell’s City of Books to pick up your copy. Cheers! . orsymphony.org | 503-228-1353 55

IN THE SPOTLIGHT

DAN RASAY Dan R asay joined the Young Professionals chapter of the Friends of the Oregon Symphony and began volunteering for fundraising events in 2007. By 2012, he’d completed a board training program called “Art of Leadership” given by the Regional Arts and Culture Council. It wasn’t long before then-Executive Director, Elaine Calder, approached him about joining the Oregon Symphony board of directors, and he jumped at the opportunity. Rasay is currently serving his third term and is also a member of the organization’s Diversity, Equity & Inclusion Task Force.

Artslandia asked Rasay to share his thoughts on our themes for this performing art season – art as a vital component of the human experience, philanthropy, and (of course) a night out.

Jose Symphony) go bankrupt and, as a result, have felt a strong obligation to keep the Oregon Symphony healthy and thriving. The bravo Community Orchestra allows me to learn and connect with the next generation of arts patrons, and playing violin fills a creative void that can’t be fulfilled at my day job.

What are your thoughts about how families could cultivate legacies of giving?

Families can cultivate legacies of giving by finding a cause that most resonates with their past or present and resolving to further that cause. Depending on circumstances, it could be volunteering, making small monthly donations, or working a gift into their estate planning.

What was role did arts play in your life and community in the past that’s led to your current involvement?

After refusing to learn the piano at a young age, I started playing violin in third grade through a public school arts program. I studied violin privately through high school and was concertmaster with the Lewis & Clark orchestra during part of my undergraduate studies. In addition to serving on Oregon Symphony’s board, I serve on other arts boards and am still playing violin with the bravo Community Orchestra.

What does your involvement bring to your life presently?

I have a sense of pride and feel a sense of community when I see audiences at the Schnitz listening to our world-class Oregon Symphony. In 2001, I watched my childhood hometown orchestra (San 56 artslandia.com

Dr. Katherine FitzGibbon and Dan Rasay.

How should classic arts organizations make a case for relevance to those raised in the digital age?

I firmly believe there is no substitute for the experience of a live performance shared with others. The Symphony’s sold-out Popcorn Package shows, where popular movies are screened with a live orchestra playing the score, is evidence of this. The Symphony has premiered new works that prompt important conversations and amplify lesser heard voices in the community, like last season’s commission of Gabriel Kahane’s emergency shelter intake form and this season’s partnership with Resonance Ensemble to premiere Damien Geter’s An African American Requiem.

of the concert hall. For example, I ran the Shamrock Run, played bar trivia at The Cheerful Tortoise, and went to Blazers games with Symphony musicians. I learned more about the organization, developed friendships with musicians, and increased my giving over the course of several years.

How do you engage your friends and circle of friends to share with them your enthusiasm for the arts?

We have season tickets with a couple who are our “symphony buddies,” and we pass tickets on to other friends if there is a scheduling conflict or illness.

We’ve also leveraged the Symphony’s event calendar on Facebook to connect with friends who were interested in a particular performance.

Dan Rasay, Dr. Katherine FitzGibbon, Scott Showalter, and Mark Woodward.

In your opinion, should concert halls adapt to expand the visceral experience of a performance given the level of stimulation we’ve become accustomed to?

Organizations and concert halls should certainly experiment with new experiences. Over the last several years, the Symphony has offered a series (now called SoundSights) that mixes orchestral performances with visual elements like puppetry, animation, and dance, and these concerts are absolutely stunning. Implementation of future technology like the Meyer Sound Laboratories Constellation system will provide for a consistent aural experience no matter where one sits in the hall, much like wearing headphones.

What are your thoughts about how arts groups could cultivate donors outside their norm?

Arts groups need to acquire new patrons and donors by experimenting with new programming and community partners. Engaging both positive and critical voices in authentic conversations is vitally important in building long-term engagement.

How can we best use artists to make a case for donations instead of development staff?

Development staff connected me with artists who had similar interests outside

Artslandia’s theme for the 2019–20 season is A Night Out. Describe for our readers your perfect night out.

A perfect night out would start with dinner and drinks with friends before a Symphony concert, then walking over to the Schnitz for the pre-concert lecture and meeting up with Symphony regulars during intermission. (Pro tip: Place your drink order before the concert to avoid the lines at intermission.) Grabbing a postconcert nightcap at Barlow or Headwaters has the added benefit of chatting with musicians who often drop in. .

How do we get artists and audiences to interface and interact in locations away from the theater?

Having an out-of-town artistic director and non-soloist performers doesn’t help. An organization’s artists need to be embedded in the community to build lasting connections. The Oregon Symphony musicians have realized this and have self-organized outreach efforts as part of their free Classical Up Close series. Generous patrons have hosted Parties of Note, house concerts featuring Symphony musicians.

Dan Rasay, George Takei, and Dr. Katherine FitzGibbon.

orsymphony.org | 503-228-1353 57

ON A HIGH NOTE Oregon Symphony assistant principal bass

Braizahn Jones

Braizahn Jones at Moda Center, where he loves to spend a night out watching the Portland Trail Blazers rule the court. Photo by Christian Rudman.

58 artslandia.com

Following Braizahn Jones’ audition for the Oregon Symphony, a committee member took to the internet to sing his praises. “Braizahn’s playing really stuck out to us because of the incredible dynamic range, stylistic contrast, and flexibility he had when asked to adjust things. Flexibility is important,” wrote Colin Corner. “His Mozart was light and well-phrased, and his Mahler and Strauss were ripping.” Bravo, indeed. Jones, assistant principal bass, joined the Symphony in the fall of 2018 after graduating from The Curtis Institute of Music and studying previously at The Peabody Institute of Johns Hopkins University.

He’s performed with the Philadelphia Orchestra and Seattle Symphony and serves on several summer festival faculties, including the National Orchestral Institute.

just play bass and watch basketball unless I have more important things to do. It all depends on who’s around. Also, some days, I have more than one rehearsal, and other days I teach bass lessons. On extra special days, I get to do all of the above.

When and why did you start playing the bass?

As a bassist, many venues tend to be frustrating to play in. Typically, the acoustics either make the bass sound nonexistent or completely overwhelming.

There are some exceptions, though, such as the Musikverein of Vienna, Austria.

That hall sounds so pure and rich. I remember wishing I could record every second of sound I heard in that space even when we weren’t playing.

I started in high school after a friend of mine “convinced” me to join an orchestra so she could have a friend with her.

She had five very convincing dollars. I chose the bass because our orchestra teacher offered candy bars for picking an instrument varying from mini (violin) to king-size (bass). The rest is history!

Is your family musical?

No, not at all! My younger sister developed an interest for the violin and then viola after I started to play the bass, but she’s since found passion in other areas of her life.

What advice do you have for someone wanting to follow in your footsteps?

Listen to tons of music. It’s okay not to like everything, but you’ll never know what you do or don’t like about music unless you listen to everything. I’m constantly amazed by all the different interpretations that can exist for a single musical phrase.

What’s an average day like for you?

Typically, I have rehearsal in the morning with the Oregon Symphony. I’ll do my smoothie and coffee thing before (and maybe after, too), and then I’ll practice until that day’s nba games start. Then, I

Do you get nervous before a performance? Do you have any pre-show rituals?

I always get nervous before the show, but something about the first note melts away the nerves for me and turns all that energy into something else. Some call it passion, but I would describe it more as direction. If you don’t direct that energy and tell it where to go, it will tell you where to go. As for rituals, I have none that are conscious!

Tell us about your favorite performance venues.

If we agree to define “classical training” in music as an “extended study and mastery of a complete system of techniques, pedagogy, musical knowledge, and repertoire,” make a case for this approach in our multimedia, digitally driven world.

I wouldn’t even know how to do otherwise.

When you begin to understand the universal aspects of music in an orchestra or ensemble, there are suddenly obvious paths that a lot of abstract concepts follow.

Rhythm is a great example. Once you learn to follow the most significant musical lines of a piece you’re playing, what you need to do with your rhythm for hierarchy or balance becomes clear. Learning how to balance things on a sensory and artistic level has merit in every walk of life. To succeed at work, it helps to understand that the group objectives usually take priority over the individual.

In your opinion, are symphony orchestras still relevant or are they museums?

Symphony orchestras have changed in that almost all do bring the art of coordinated instrumental music to people wherever they may be. Even the most famous orchestras take their music out of the concert hall. My favorite take on this comes from an unfortunate necessity.

Music has come to be considered expendable in schools all across the nation, and orchestras are the Band-aid for this dilemma. Whether through run-out concerts at schools or hosting kid’s shows filled to the brim with students, orchestras have taken a proactive approach in providing exposure.

What are your fondest musical memories?

When I started diving deep into my favorite recordings of different symphonies, I quickly found my way to Tchaikovsky’s Sixth Symphony. I was driving a friend home in a slightly mountainous area of Las Vegas, and when I turned on my music in the car, she said, “What the heck? You actually listen to this outside of class?” I didn’t even know how to respond since my love for the music was exploding, so I simply turned up the volume. By the time we got to her neighborhood, she was singing the melodies of the second movement as if she was preparing to perform them that night onstage. I saw music work its magic that day. That movement will forever make me think of that sunset and those mountains.

Who are your favorite musicians?

That’s a hard question! I’ve met and heard so many mind-blowing musicians.

If I had to name one, it would have to be either Edgar Meyer or Jascha Heifetz. I don’t like using words like “divine” or “sublime,” but they are both well beyond those words in my eyes.

What’s the best advice you’ve ever been given?

Be thankful for the opportunity. Whatever that opportunity may be, try and find a genuine space in yourself that feels thankful for it. . orsymphony.org | 503-228-1353 59

TRENDS CHANGE. QUALITY DOESN’T. SERVICING HOMES IN THE PACIFIC NORTHWEST SINCE 1879

ASK URSULA THE USHER She’s not the sweetest usher in town (for which competition is fierce), but she knows her stuff.

Greetings, Artslandians.

I’m Portland’s foremost and award-winning expert in propriety, crowd management, security, and patron services administration.

I’m Ursula the Usher. Yes, that’s right. What’d you think? That ushers just stand around handing out the playbills and pointing to seats? You don’t even know the things we do to keep you safe and comfortable. Ushers are the unsung heroes of the performing arts. .

Email your questions to ursula@artslandia.com.

Q

DEAR URSULA,

Library of Congress, the 1850s marked

seats with ample time to savor every

Can you please head off an altercation

the earliest days of the print playbill. The

page can never predict what questions

first issue of the iconic yellow-bannered

or curiosities may arise once you’ve

of our holiday show outings? What

Broadway model came off the press in

seen a show. Your rousing post-show

began as a mere difference of opinion

1884, thanks to a man named Frank

conversation may be enhanced by a

has escalated into a full-blown quarrel

V. Strauss. By 1900, the playbill had

review of the glorious program notes or

that spoils an otherwise lovely time.

become firmly rooted as a universally

an actor’s bio! Perhaps someday you’ll

We love your column and have agreed

known and loved cultural phenomenon

want to share with your grandchildren

that your ruling stands.

nationwide. Recently, efforts by some

that you attended a performance by a

purveyors of performing art to hop

performing arts legend on their rise to

on the cursed digital bandwagon have

the top. Wouldn’t it make for a better

met with public outcry and piqued

story if you had physical proof?

between my spouse and me in advance

We two consider ourselves playbill enthusiasts and particularly enjoy reading the magazine as we wait for the show to begin. My spouse believes that the playbill is a gift to be kept as a souvenir for eternity. The “treasured collection” in our home spans decades.

My sensibilities tell me that if the playbill were truly performing art swag, there would be no usher collecting the

simultaneously wish to impound digital devices upon theater entrance and give vital contextual information about the performance at hand and art at large via those devices. It’s a preposterous proposition! You should count your

publications as patrons exit the theater.

lucky stars that you are among the

What say you?

audience of an organization that

– My Spouse Has Too Many Sparks of Joy for My Taste A

ushers. We of the flashlight cannot

appreciates the experience-enhancing, joy-sparking luxury of a print playbill!

As for the intended fate of your

DEAR WHOSEYWHATSIS,

playbill, you’ve both reached logical

What I do know is that you have

conclusions. Let the record and your

excellent taste in your appreciation of

future discussion of my column reflect

printed material and wisely digesting

that declaration. My ultimate ruling,

the provided information, especially the

though, is that the playbill is yours to

program notes, before the show. Before

keep, which I and my five children,

I wade into this kerfluffle in your union,

14 grandchildren, and seven great-

let me pump up my word count with the

grandchildren all do without fail. Even

gift of a little history. According to the

those with the good sense to take their

However, although you are not right, you are not wrong. Ushers stand by not to pressure patrons to relinquish the gorgeous and informative tome but to provide a receptacle other than the floor for those who wish to depart empty-handed. Some playbills are reused. Some are recycled now. Others are recycled years from now when a collector’s eternity comes to pass. And some, my friend, one day fetch big bucks on eBay. A parting thought, if you will. Several members of my matriarchy are in the habit of photographing their playbills held aloft before the show and then doing the social media. I’ll tell you just like I tell them… You get to your seat good and early, go nuts!

– Ursula the Usher orsymphony.org | 503-228-1353 61

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Retirement living with the city as your backyard

Whatever the indulgence, seeing is believing. Parkview at Terwilliger Plaza invites you to see floorplans, ponder interior treatments, and soak up the splendor of what makes Parkview so special. Why wait?

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Take a tour

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Choose the right floorplan for you

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Find out about Charter Member privileges

503-808-7870 or marketing@terwilligerplaza.com

Parkview at Terwilliger Plaza is a not-for-profit continuing care retirement community for residents age 62+.