Portland Monthly Magazine September 1997

Advest, Inc., Serving Investors Since 1898

THE DOWS

Serving Investors for Three Generations, Since 1957

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“One Crowded Hour”-Thc Short, BrightCareerofYarmouthSculptor EdwardRussellThaxter,1857-1881

Thaxter.whodiedofbrainfeveratage25,heldaninternationalreputation andwascelebratedinFlorenceandNaples,Italy(wherethereisamonument tohisachievements),hutwasallbutunknowntoMaineuntilthePoston MuseumofFineArtpaidastunningsumtoacquireoneofhissculptures.

ByWilliamDavidBarry

A Maine You Can Hear

NeverhastherebeenanauthoritativelistofthefinestMaine-createdand Maine-inspiredclassicalmusicavailabletomusicloversonsheetmusic,LP, orcompactdiscuntilnow,wherewe'vecreatedoneafterconsultingwith someofthestate’sleadingcomposersandscholars.

By Gwen Thompson

Maine!Sculptors!Live!

Acomprehensivestatewidereview.

ByCarlLittle

LookWho’sPaintingInWalter’sStudio

LandscapepainterJohnSwan,adirectdescendantofStroudwater’sTate family,ishavingthetimeofhislifeinhisnewhomeandstudio,onceowned bytheAmericanImpressionistWalterGriffin.Lettervet,Swanisopeningthe studiotothepublicthisSeptember20withastrikingexhibitionofnew Stroudwaterpaintings.

ByColinSargent

What’sNotOnDisplayAtThePMA

We’vebeendazzledbyAndrewWvethandAlexKatzshowsthisyear, hutthePortlandMuseumofArthasover13,000paintingsandartobjectsin itspermanentcollection,manyofthemunseenfordecadesandstoredina thermostaticallycontrolledvault.Didyouknow,forinstance,thatthe museumowns439MildredPurrageartworkshutonlytwoRockwellKents? 1151lelene\onStreckerNycesbutthreeAlanPrays?Ilere'salook atwhatyoudon'tsee-andwhy.

By Donna Gold

RestaurantReview:BayouKitchen jumpingwithspicvdelights,thisWoodford'sCornermainstay hasjuststartedservingbreakfastandlunchsevendaysaweek.

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“Thatsensation,”sayspartnerJim Flanagan,“waspureluck.Thebuilding goesallthewaybacktoFreeStreetfrom Congress,sowhenyoucomeinthatnar¬ rowfront,itkeepsonexpandingand givesafeelingofincreasingsizeasvongo back.”

Business,becauseofacannyselection ofartandindependentfilms;greatham¬ burgers,12kindsofpizza,boutique beers,veggieroll-ups,bloomingonions, andexcellentservice;unusual(oftena showat8p.m.)screeningtimes;and comfortablechairs;isbooming.

“InJanuary',whenwestarted,wehad 6,000customers.Nowit’s30,000(a month),”Flanagansays.

Askedhowhelandedthepremiereof

HeadAboveWater,starringHaneyKeit¬ elandCameronDiaz,hesays,“Head aboveWaterwasproducedbyluneLine, outofNewYork;itwasfortuitousthatit wasshotinMaine.Theproducerwas intentuponhavingthepremierein Maine,andonethingwedidthatno¬ bodyelsewaswillingtodowastoputon thepremiereparty.JimWilson,theloca¬ tionmanagerwhoactuallydecidedto filmitinMaine,flewherefromCalifor¬ nia.Nowwehaveagoodrelationship withFineLineandhavegivenourcus¬ tomersearlyshowingsof Love,Valor, Compassion,AllOverAIe,andTheQui¬ etRoom,allFineLineproductions.”

Buthowdocshehearabouttheseear¬ lyreleases?WTataboutBrassedOff “WeaskedforBrassedO/fbackinMay. Youhavetostaytunedtotheopeningsin NewYork.Icamefromtherein1986 (afterworkingonhismastersinhistory atCUNY),andIstillhavealotoffriends downthere.Youreadthefilmjournals. YoucheckSundance.We’replayingThe Hollow Reed now,whichwasatSun¬ danceinFebruary.Thereareonly12 copiesinthecountry.Oneofthemis playingThursdaynightinOhio,being flownovernitetoBoston,andbeingdri¬ venbyspecialtruckupherebyafilm transportcompany.Itsfunny-abig ThreeStoogesmoviecameinthismorn¬ ingbytrain.Ihadtodriveovertothesta¬ tionandpickitup.Hiemovieindustry stilloperateslikeit’s1930.”

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RadicalChic

'thanksforPortlandMagazine.Ipar¬ ticularlyenjoyedyourcoverageofthe offshoreislands(“DreamIslands,”by ColinSargent,Summerguide1997). Nosentencingdateyet.Probablyin August.

Bestregardsandpeace! Fraternally,

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Burning Pianos To KeepWarm

IlielivingrelativesoftheJacobsfam¬ ilyofwhomyouwroteaboutareof¬ fendedbytheinaccuracyofthede¬ gradingstory(“AChristmasIlousein Stroudwater,$118,000,”1louseofthe Month, December 1996) depicting the“Mr.Jacobs,circa1902,”asdesti¬ tute. U'ITER NONSENSE!

Anumberofusenjoyedmanyhappy timeswithourgrandparentsintheear¬ ly1920satthisplace.Ourparentswere bornandbroughtupthereinthelate 1800sinafamilyofelevenchildren. Theywerepoorbyourstandardsto¬ day.But“circa1902”theywerehard¬ working,thriftypeoplewhomain¬ tainedalargegardeninthesummers toprovideforthemselvesandtosellin thePorlandmarket.GrandfatherJac¬ obsworkedlongdaysmostofhislifeat HawesGeneralStorebythebridgein Stroudwater.Heservedatonetimeon theschoolboardforDeering.Several ofhischildrenwentontograduate fromcollege.

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Portland MagazineispublishedbvSargentPublishing,Inc.. 578 Congress Street, Portland, ME 041(11. /Ml corre¬ spondence should be addressed to 578 Congress Street, Portland.ME1)4101

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Newsstand Cover Date: September 1997, published August 1997,Vol.12,No.6.copyright1997. Portland Magazineis mailedatthird-classmailratesinPortland.ME(HH)I(ISSN: 1073-1857).Opinionsexpressedinarticlesarethoseofauthors aixldonotrepresenteditorialpositionsoffbrtlandMagazine. lettersIotheeditorarcwelcomeandwilllietreatedasun¬ conditionallyassignedforpublicationandcopyrightpurposes andassubjectIoPortlandMagazine'sunrestrictedrighttoedit andcommentedilorialh.Responsibleonlyforthatportionof anyadvertisementwhichisprintedincorrectly.Advertisersarc responsibleforcopyrightsofmaterialsthevsubmit.Nothingin thisissuemaybereprintedmwholeorinpartwithoutwnltcn pennissionfromthepublislicrs.Submissionsarewelcome,but welakenoresponsibilityforunsolicitedmaterials.

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.How

TheShort,BrightCareerofYarmouthSculptor

EdwardRussellThaxter,1857-1881

StoryByWilliamDavidBarry

IN1880,the23-year-oldsculptor

EdwardRussellThaxter,ofYar¬ mouth,Maine,wasatworkinItaly, wherehisartwaslavishly'praised byJamesJacksonJarvesandother leadingcritics.Inthesummerofthefol¬ lowingyear,theartistwasdeadof‘brain fever,’withnomorethanahalf-dozen matureworkscompleted.Afterabrief

trans-Atlanticflurryofpraise,Thaxterand hisworkswerequicklyforgottenbytheart world.Obscurityremainedhislotuntil lateinthe20thcentury,whenhisquirky, marblemasterpiece,MegMerrilles,as¬ sumedaprominentplaceinBoston’sMu¬ seumofEineArts.Subsequentresearch suggeststhatthesculptor’sepitaph,“One CrowdedHourofGloriousLife-Worth

AnAgeWithoutAName,”wasnosenti¬ mentalboast.

Asingleworkmaynotseemlikemuch tohangacareeron,butMegMerri/ies (seephotoleft),Thaxter’svisionaryinter¬ pretationofthegypsycharacterinSir WalterScott’snovel Guy Mcmnering (1815),isatourdeforce. Thetormented faceandclutchinghandseemoutof placeamidthesoft,noblevisagesand formsthatdominateAmericanNco-Classicsculpture.Onefindsnothinglikeit amongtheworksofhisfellowMaine sculptorsBenjaminPaulAkersandEranklinSimmons,norinThaxter’sotherkown works.Whateveritsessence, Megstill speakstomodernaudiences.

Todecidewhetherthesculpture’ssuc¬ cessisamatteroftechnique,attitude,sub¬ ject,maturity,orsimplyafluke,onemust lookcloserattheartistandhistimes.Tire effortishelpedbythecurrentresearches ofCarolineCampbellKnottandthefact thatfamilyandfriendsthoughthighly enoughofThaxter’sworktosaveexam¬ ples,glassplateimages,anddocuments

andplacetheminYarmouthHistorical Society’scollection.

EdwardwasbominYarmouthonEel>ruary15,1987,thesonofRufusW.and M(ary)E.SwanTTiaxtcr.'flicfatherwasa businessmanandthemotheralife-long artenthusiast.Obituariesspeakofthe usualaccumulationofchildhoodprowess andwereneatlysummarizedbyhistorian WilliamIlutchinsonRowein1916:“(lliaxtcr’s)geniusforsculptureearlymanifested itselfevenonsuchunpromisingmateri¬ alsaspotatoes,doughnuts,commonclay, andwood.”Similarstoriesattachtoother Mainesculptorsoftheera.

ItappearsthatEdwardhadatypical middleclassupbringing.At16hestudied brieflywithBostonsculptorJohnD.Per-

S750throughourOwnerLoyalty Program.SeeForestCitySaab todayforaspine-tinglingtest dove.Bonappetit.

ry,butinthewellestablishedtraditionof Akers,Simmons,JohnAdamsJackson, andEdwardAugustusBrackett,waslarge¬ lyselftaught.In1878,theyoungThaxter openedastudioinPortlandandconfi¬ dentlydisplayedanimpressiveclayfigure of a young women. Entitled Maude Muller,itrepresentedtheMainecountry girlinthepoembyJohnC.Whittier. Indeed,mostAmericansculptorsusedlit¬ eratureasapointofinspiration,andlike therest,Thaxterdreamedoflivingand workinginItaly.

PortlandhadprovidedAkersandSim¬ monswiththemeanstoItaly.Thecritic JohnNealhadhelpedthemtoEairope throughreviewsandauctions,buthehad diedin1876.Thaxterwasassistedbythe journalistEdwardII.Elwell,whopur¬ chasedaportraitofhisdaughter,andthe PortlandStonewareCompany',whichcom¬ missioneda10-or11-foot-highvase.By theautumnof1878,’(Laxterhadaccum¬ ulatedenoughmoneytosailtoItaly.

ItwasnotlongbeforetheAmericanArt Reviewreportedtheartisthousedinthe Florentinestudiopreviouslyoccupiedby JohnAdamsJacksonofBath.Thelatter hadgivenearlyinstructiontoFranklin Simmons,themostprolificofthedown¬ eastsculptors,whoremainedinItalytill hisdeathin1913.'Iliaxtcrlovedtheexpa¬ triatescene,andtheAmericancolony tooktohim.Jarvis,thegreatAmerican arbiteroftaste,statedin1880:

“SuchisthecapriceofDameNaturein thosesubtlematters,arawladrearedon thewildcoastofEMaine,outofsightand hearingofallart,bysheerforceofintu¬ itiveinspirationandwill,inabriefmo¬ ment,places,asitwere,inperfectedac¬ complishment,centuriesofdistancebe¬ tweenhimselfandIloratioGreenough.”

SuchfavorablecomparisontoAmerica’s pre-CivilWarmaster-sculptorwasstrong stuff.Ilowcvcr,itdoesnotholdupwell. Mainewasanythingbutanartisticwaste¬ landinThaxter’syouth;indeeditpro¬ ducedasmallarmyofartistsbeginingin the1820s.Further,Jarvesbasedhisknow¬ ledgeonjustahandfulofworksby’Phaxtcr,includingLore’s FirstDream,Re¬ proof.Sunrise,Thoughts, andMeg Merriles.Asidefromthelast,allseemtohave beenwellmodeledbut,fromourvantage, aresentimentalintheextreme.

ThroughouthissojurninFlorence, EdwardThaxtercorrespondedwithfellow artistandlove-of-his-lifeLilaL.Small.A nativeofLisbon,Maine,shehadstudied

paintinginBoston.Someofthisinsightful correspondonceisnowatreasuredpartof theYarmouthHistoricalSocietycollec¬ tionanddeservesseriousstudy.

Inthespringof1881,Thaxtcrsuf¬ feredanattackoftyphoidfeverand nearlydied.'Hien,accordingtothe PortkindPressofAugust11,1881, “hisphysiciansrecommendedhim tomakeavoyagetohisnativeclimateto completehiscureandavoidthehotsum¬ merinFlorence.”Reluctantly,“(Thaxtcr) actedontheadviceandembarkedat LeghornontheAnchorLinesteamerCastciliciforNewYork,incompanywiththe Hon. John Bigelow and family. The steamerwastotouchatseveralMediter¬ raneanportsonitsway.Threeweeksago, havingstoppedseveraldaysinPalermo,it wenttoNaplestocompleteitscargo. Here,Mr.Thaxtcrhavinggoneashore andexposedhimselfinsight-seeing,was seizedwithbrainfever,andintwodays [June28,1881]died.”

Aftermuchlamentationinthenews¬ papers,withsuggestionsthatthecityof Portlandbuildamonumenttotheartist, Thaxter’smothertraveledtoFlorence. Thereshecommissionedanimpressive monumentwithaportraitmedallionand abustofaweepingyoungwomanatthe top.Itsurvives,notintheProtestant Cemetary,asmostsourcesstate,butinthe CimitcroDcguDuoriontheviaScnsscsherit,whereitwasrecentlyphotographed byCarolineKnott.

Familyresearchandluke-warminterest inacolorfulnativesonkeptThaxterfrom totaloblivion,butitwasthepurchaseof MegMerri/ies bytheMuseumofFine Artsin1963thatrevivedscholarlyinterest. Sincethattime,thecompellingmarble hasbeenlenteighttimesandappearedin theMuseum’scelebrated“AmericanFig¬ urativeSculpture”exhibition.Inthe1985 catalogueofthatshow,JanSeidlerRa¬ mireztookstockof’ILaxterandthesculp¬ ture,laudingthemanforhis“originality andpoeticsensibility”andMcgas“amas¬ ted}'incarnationofthe‘terribilata.’” EdwardR.Thaxtcr,longremembered forwhathemighthaveaccomplished,is nowfixedbytheweightofhisonegreat work.Thisisnotbad,consideringthat mostartistsneverevenmanageAnd}’ Warhol's15minutesofallotcdfame.A lookathisotherproductions,evenifthey donotapproachthestrengthofMeg,sug¬ gestalivelyimaginationandacomplex individual.

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WHO CAN BEGIN to count theMainepainterswhofor generationshaveimmortal¬ izedtheirfavoritenooksand cranniesstatewide-Win¬ slowHomerwithhisweatherbeaten Prout’sNeckandRockwellKentwithhis MonheganIsland,forexample?Whocan forgetKennethRoberts’ssenseofplacein ArundelorEdnaSt.VincentMillay’s “threeislandsinabay?”inCamdenRockport?

Whenitcomestothelesssite-specific realmofclassicalmusic,however,not nearlysomanycomposersleapinstantly tomindinconnectionwiththePine TreeState.Still,hereareafew,pastand present,whoserecordedworks1)are evocativeofMaine;and2)areavailable tomusicloserstoday,admittedlyanice¬ bergtipofalisteningguidethatwemight onedas’callTheMaineCollection:

SupplyBelcher(1752-1836)

Yes.tluitrcalhishisname,|xx)rguv!Althoughhewas borninStoughton.Massachusetts.andspentthefirstthirtythree years of his life there anil in Boston working as a merchant,fanning,andoperatingatavern.itwasinMaine that Belcher's musical career really look off He moved to Hallowellinl"85.andin1791settleddowninFarmington, wherehekepthimselfbusyservingastownclerk,magistrate, representative to the state government, selectman, and schoolmaster,whilealsogainingacclaimasaviolinistand singer and conducting an ensemble know n as “Squire Belcher'sSingers."In1794BelcherpublishedThe Hannon) ofMaine, acollectionofsixty-oddoriginalpsalmandhymn Innes, fuguing pieces, and anthems; and bv 1796 the Hallowell newspaper had christened him "the I landel of Manic.’’

Belcher’schccrv,acapjxdlafuguingtune"Winthrop”has been recorded bv the Bowdoin College ChamlxT Choir as partofthesoundtrackforthe*videoToSene the Common (•ood A Hixton of the College bvBarbaraKastcr(available from the Bowdoin College Bookstore) Selected Belcher choral works have also been recorded by Paul I lillicr’s Iheatre of Voices on Carols horn the Old and New W orlds illamionia Mundi 9071)79); bv the Columbus Consort on ChristmasinKadvAmerica(ChannelClassic's5693);andbv RonJeffersandtheOregonStateUniversityChoironMakea jmfulXoisc(XcwWorldSt)255).

FranzLiszt(1811-1886)

Xo.heneversetfoolinMaine,buthedidsettomusic hongfcllow \ dramatic poem “The Bells of Strasbourg Cathedral ” How on earth did l.iszt wind up setting Cmgfellow?It’snotasfar-fetchedasitseemsEventoday, "hen pietrv of the traditional rhymed and metered variety has fallen out of fashion. Ixmgfellow’s name remains more familiar to Euro|X'ans than the names of other poets who have su|xrscded him in the American pantheon, 'this httlcknown work was briefly resurrected from oblivion by the Bowdoin Summer Music Festival several vears ago and given a full performance complete with orchestra, chorus, and orgm—inshort,alltheIx-ll-raisingclangoryou’dexpectfrom hvtUnfortunately,therearcnorecordingsofitinprint— butitdmakeforanear-poppingfuturecolkilxirationbetween thePSOandtheChoralArt.Society,wouldn’tit?

HermannKotzschmar(1829-1909)

Besides being the only famous Portlander with six Consonants in a row in the middle of Iris name—and he W;mit even W clsli!— I lenuanu Kotzschmar $ chief claim to

fame todav is as the namesake of the world-famous Kotzschmar Memorial Organ in City I lull Auditorium. Hie massive6.637-pi|iinstrumentwasgiventothecitvin19I0 bv Portland native and Philadelphia publishing magnate Cyrus11K.Curtis(asinCurtisInstituteofMusic)asaliving monument to Kotzschmar’s innumerable contributions to Portland’sfledglingmusicallife.

KotzschmarwasIxinionthe4thofJulyinFinsterwalde, Germany— where his father was the Stadtmusiker. or town musician —and had already studied piano, organ, violin, counteqxnnt, and composition bv the time he immigrated to theUnitedStatesatagenineteen.IIeeventuallywoundhis way to Portland, where he became equally revered and beloved as the organist of First Parish Church (185M898) and State Street Church (1898-1903); the conductor of the IlaydnAssociation(1869-1898),thePhilharmonicOrchestra, andchoralsocietiesinGardiner,Iewiston,andBrunswick,a composer whose works were regularly performed by his

Portlandcomposer1IamidStover

AMadame .am

ByGwenThompson

church choirs, the Rossini Club, and at the Maine Music Festival,andateacherwho“produced,notslavishimitatorsof himself, but self-reliant musicians, masters of method and interpretation [vvliol have graced the high places of the land” (I lennann Kotzschmar. Kotzschmar Club of Portland. Maine,I9()9.p.4I)

•\lx)veallelse,Kotzschmarwasknownforhisthrilling organimprovisations"Peoplecamefromfarandneartohear him,andreturnedagainandagainashehadnoequal,sohe leftnosuccessorIIesermonizedfromtheorganloftnoless directlythandidthelineofscholarlymenwhospokefrom the pulpit as organist, as priest of the divine art of spontaneous soul-outburst through the keys of his instrument...” (ibid . pp 36-38). Kind of makes you wish they’dinventedbootlegrecordingsbackthen,doesn'tit’

JohnKnowlesPaine(1839-1906)

InmiisKxdngicalcircle'sJohnKnowlesPainetendstobe inextricablyidentifiedwithHarvardUnivcrsitvbyvirtueof

having persuaded President Eliot— over the vociferous objections of much of the faculty, whose rallying cry at Corporation meetings was “musica dclcnda csl” (music must lx- abolished) —to organize a music department and give creditforcoursesinmusichistory(1870-71);actuallypay Paineforteachingsaidcourses(1873);andeventuallyendow thefirstchairinmusicatanAmericanuniversity(1875).Iess generally known is that America’s most famous comjxiscr of theRomanticcmwasIxirnrighthereinPortlandtoafamily of instrument makers, organ-builders, piano manufacturers, musicteachers,organists,andbandleadersfromwavback

Inevitably,Paine’smusicaltraininglicganwithnoneother than —you guessed it 1 —the ubiquitous Hermann Kotzschmar,andcontinuedattheIhxhschulcfiirMusikin Berlin \Miile in Europe. Paine met and played for Clara Schumann,andreceivedmuchacclaimforhisperformances ofBach’sorganworks,whichhadonlyrecentlyreenteredthe rc|X‘rtoire,thankstoMendelssohn’senthusiasticpromotionof them In 1867 Paine’s monumental Mass in I) became the firstlargeworkbvanAmericanconqxiscrtolx?performedin Europe when it was premiered at Berlin’s Singakademie IxTorc an audience that included Crown Princess Victoria, motherofthefutureKaiserWilhelmII

Back in the States, Paine introduced American audiences to Bach’s organ works, played an instrumental role in founding the American Guild of Organists, and com|xiscd settings of texts bv his friends Celia Thaxter, Henry Wadsworth Lingfcllow, and John Greenleaf Whittier. 'Ilie premieresofPaine’slargerworks,mostoftenbvtheBoston Symphony Orchestra, were reviewed as c ultural eventsof greatmomentbvthemajorliteraryjournalsofthedav;andal the Boston premiere of Paine’s Sy mphony X'o.2.“ladies waved handkerchiefs, men shouted in approbation, and the highly respected John S Dwight, arbiter in Boston of criticism,ifnotofmanners,stoodinhisscatfrantically opening and shutting his umbrella as an expression of uncontrollable enthusiasm" (quoted in Peter Eliot Stone’s linernotestoXcwWorld80262).hi1883(x-orgcIlenschcl. conductor of the Boston SO. received a Valentine that pleaded:“Oh.Ilenschcl.ceasethyhigherHightf/Andgivethe public-somethinglight,/letnomoreWagnerthemesthybill enhanceZAndgivethenativeworkerspistonechance/Don’t givetheDvoraksymphonyagain;/lfvoliwouldgiveusjoy,oh give us Paine!” (New Grove's Dictionary of American Music, cd II Wilcv Hitchcock and Stanley Sadie, Xcw York Macmillan. 1986, p 461).

Asifinanswertothisferventplea,agcxxldealofPaine’s music- has been recorded on CD bv ensembles as august as the Xcw York Philharmonic under ’Zubin Melita{Symphony X'o. Ion Xcw World 80374 and Symphony X'o 2 on Xcw World 80350) and the St. louis Symphony Orchestra and ('horns under Gunther Schuller (Mavsin D on Xevv World 80262). Schuller has also recorded Paine's mammoth oratorio St Peter —which received its second premiere in Portland in 1873 under the direction of Paine and Kotzschmar —w ith the Pro Arte Chamber Orchestra of Boston and the Back Bav Chorale- (GM 2027) You can also check out Paine's chamber music on GM 2021 (Violin Sonatainb). Ins organ music on Xcw World 80280{Tantaw iiber“Kin'festeBurg"), and selected piano works on Xcw World 80424 And what will \uu lx- letting yourself in for?

Sufficeittosavthatthreeoutofthreeunwittinglistenersof indeterminatemusicalknowledgewholiap|x-ncdtostrollbv while CDs of Paine’s music were Ixing plawd mistook saux for Schumami with no prompting whatsoever from this author.

EdwinLemare(1865-1934)

OK. so how many world-famous concert orijmists can \t»u name* off the top of your head 7 Uh. um In an age when many people associate the King of Instruments almost exclusively with weddings and funerals, it is difficult to imagine one* of Portland's many illustrious Municipal Organists regularly drawing crowds of over 10,000 to his recitals,butthat'sexactlywhatEdwinKi.urc-did—andnot justinPortland,cither.'IlieIsleofWightnative,whowas trainedattheRoyalAcademyofMusic-andtickledthekevsof the Kotzschmar from 1921 to 1923, toured Europe, America. Canada.Australia,andX'cwZealanddozensoftimes;sencd asorganistoftheCarnegieInstituteinPittsburgharidas

Inthislife,you’vegolalollodo.RileAidcanhelp.Withmorelocations thananyolherdrugstore,we’realwayscloseby.Wefillyourprescriptions fastandourpharmacistsalwayslakethelimetoansweryourquestions.Al RileAidyougelbigsavingsonallthethingsyouuseeveryday,like:

municipal organist of San Francisco, Portland, and Chattanooga; and dedicated the gargantuan organ in the Ocean Grove, New Jcncy, Auditorium — which Ixiasts a rodwhitc-and-blue.wavingAmcrican-flaglightdisplaybuiltright intotheconsole.

Althoughhispvrotechnicaljx/rfonnanceswerelegendary. 1etnarewasalsowell-knownasacomjxiserofdramaticworks forsoloorganwithastrongpopularappealsimilartotliat foundintheworksofIrisfriendsFritzKreislerandVictor Herbert. In fact, his celebrated Anduntino in l)b way eventuallyrecastasawaltz,givenlyrics,andtransformedinto the pop standard “Moonlight and Roses.” Moreover, as an inventivearrangeroforchestralliteraturefortheorgan—with some 600 to 800 transcriptions to his credit! —Innarc’s reputation was such that he received persmission from Cosima W agner to present the first act ofParsifalalIns church in I nndon, accompanying the production himself on theorgan.

Three CDs of Lemare’s original compositions and transcriptions have been recorded right here on the Kotzschmar by Hiomas Murray (An Kwning with I'dwin II Ienuirv, AFKA 515) and Fred I lohman(IwareAffairI,Pro Organo 7007 and Iwarc Affair II, Pro Organo 7018).In addition, the Friends of the Kotzschmar Organ (P.O Box 7455,Portland.MF.04112)selltapesoftheirsummerrecital scries,someofwhichincludeworksbvIcmarc.Allarcwell worthinvestigatingifnnienjoyRomanticorganmusicinthe grandFrenchtoccatatradition.

WillC.Macfarlane(1870-1945)

If only they’d invented camcorders seventy years or so earlier,wecouldallgeloutthepopcorn,sitbackandwatch thesplendorof“HieHistoricalPageantofPortland.Maine Produced on the Eastern Promenade as a Free CTixic Celebration of the Fourth of July 1913” unfold IkTotc our eyes and cars. Sponsored bv such venerable Portland businesses as Portland Packing Co.; Porteous. Mitchell & Braun;Inring.Short&Ilarmon,ParisFlouringCo.andII. 11Ilay’sSons,andwithnameslikeJamesPBaxter,Cvnis11 K. Curtis, Henry Deering. Alice Longfellow, and Kate DouglassWiggingracingtherollsoftheAdvisoryCommittee, thisfreepublics|xclaclewasorganizedsothatthecitizensof Portlandmightenjoya“safeandsane”FourthofJulv(Do1 detect the unsuspected ancestor of“Ncw Year’s Portland”and “Project Graduation”?)

The pageant was written and directed bv Constance D’Arcy Mackav of the Society of American Dramatists and Composers in New York Citv, Portland Municipal Organist Will C. Macfarlane composed the music and directed its performance; Gertrude K Colby of Columbia Umsersity Teachers’ College was Director of Dances, and the responsibility for art fell to none other than John Cabin Stevens.StagedirectionsfortheojX’ningsceneranasfollows: “The setting .is a level greensward on the Eastern Promenade...For background, the stage has the Atlantic Ocean glimpsed through pine trees, with the islands in the distance...Beyond the pageant grounds on one side IhcPolb liesatanchor,theoldestprivateernowafloat,andonethatdnl valiantserviceintheWarof1812;whileontheothersideis the United States warship Idaho." Pageant-goers witnessed fourteenhistorical,allegorical,andpoeticalskitsandkillets tracingPortland’shistoryfrom“’Hie(aimingofChristopher Irvett”in1623to‘MtxlcmPortland"in1913,withrealILS Marines placing the part of Marines and genuine U.S Regularsplacingsoldiers“forthefirsttimeinpageantryin America.”

Anyone care to guess what brand-new tune was placed for thegrandfinale,accompaniedbyasaluteofgunsfiredoffbv thebattleshipconvenientlyfloatingintheharlxir?Turnsout it was the unofficial national anthem “America the Beautiful"—hotoffthepressofourownWillMacfarlane.

WalterPiston(1894-1976)

Another Maine composer who became a virtual institution at Harvard is Walter Piston, who was born m Rockland in 1894 and taught at Harvard from 1926 to I960 Among music students he is as well known for his music theorytcxtlxxiks(1lannonv.PrinciplesofIlarmonicAnalysis. Counterpoint,andOrchestration)asheisforhisorchestral compositions, which were premiered nation-wide and in

Europe.AlthoughPistononlyresidedinMaineuntilhewas eleven,nilticstothestatewerenotseveredwhenhisfamily moved to Boston in 1905. Appropriately, it was a John Knowles Paine Traveling fellowship that enabled Piston to shidvwithBoulangerandDukasinParisafterhegraduated from Harvard, and his Pine Tree l'antasy premiered in Portlandin1965.

Moreover, when the Portland Symphony Orchestra commissioned him to write a piece in celebration of their 50thanniveniary.PistonwassoenrapturedwiththePortland StringQuartet’sperformanceofhisString Quartet No. J on publicradioth.ithededicatedtheresultant String Quartet Concerto to the mcmlxTs of the PSQ—who then premiered it with the Portland Symphony under the direction of Bruce Haugenin OcIoIxt 1976.DuringrehearsalsatPiston’shome inBelmont,thecom|X)scr.intypicalDownciststyle,kepthis commentary to a minimum. "He didn’t want to control everything, like so many contemporary composers,” recalls PSQviolistJuliaAdams."11cwantedmusicianstofindtheir ownmeaninginhismusic,andhadagreatdealofrespectfor their interpretations of his score.” PSQ second violinist Ronald Lmtz agrees, adding that Piston’s most frequent contributionwas.“'Ihat’snotexactlywhatIhadinmind,but Ilikewliatyou’redoing.”

After Piston’s death in November 1976 (he willed his standard|xxxllcGinatoPSQcellistPaulRoss),theQuartet wentontorecordallfiveofhisstringquartets(Nos.13arcon Northeastern90(H),aswellashisQuintetforPiute andString Quartet (onNortheastern9002vvithStringQuartets■#and5). "People who haven’t heard his music assume that it will soundacademicanddry.justIx-causchewrotetcxllxxiks," complains Adams, "but really it has a very clear and wellorganizedneo-classicalstructurecombinedwiththemtxlern rhythmic vitality of mixed meters, lots of dissonant counterpointthatalwaysresolvestotonalcenters,agreatdeal ofhumorinthefinales,andhauntinglyl>eautifulmelodic linesintheslowmovements.”

"Yes,we’rekindofMessianicalxmtPiston,”saysLmtz. “Ilis w orks arc a staple of our repertoire, and the last movementofhisfirststringquartetisourencore.”

OttoLuening(1900-1996)

No,heneverlivedinMaine,either,buthedidwritean opera based on I xmgfellow’s epic jxxm Evangeline, which chronicle*,theexpulsionoftheAcadiansfromNovaScotia andtheirsulwcqucntre-settlementinIxmisiana,wherethey eventually became known as Cajuns. While he was researchingandwritingEvangeline. I Atoning made use of a Guggenheim Fellowship to visit Ixrth Acadian and Cajun communities, and was delighted to find that the people he livedwithstillrememberedmanyofthetraditionalsongsand dancetuneshehadincorporatedintohisscore,andfoundhis contcm|x)ninmusicalaccountoftheirancestors’adventures to Ik* authenticallycomincuig.

Hie opera premiered in New York in 194S with Luening conducting,andwasrevivedthirty-eightyearslaterbythe Oratorio Chorale and the Bowdoin College Chorale at Pickard'HiealrcinBrunswick,withBowdoinmusicprofessor Robert Greenlee conducting and Luening himself in attendance for the last few days of rehearsal and both performances.'Iliecastconsistedentirelyoflocalsingers. Bowdoin students, and branco-American folk dancers from lewiston.andthehousewaspartiallyfilialwithtwobusloads of Acadians come down from the Countv in honor of the occasion. It just doesn’t get much Mainicr than this—and sincetherearcnorecordingsofEvangeline availabletothe general public, perhaps Portland’s new opera company ought toconsiderstagingitinsomefutureseason?

GeorgeAndoniadis(b.1951)

Portland composcr-at-largc Ceorge Andoniadis w ins the prize for the oddest assortment of day jobs undertaken in supportofhismusichabit:taxidriver,bicyclemessenger, medical record-keeper, and Bkximingdale’s pajama salesman, to name but a few. “I compose after work and on weekends,” he says. “Kven on gorgeous days. I don’t step out of the house"I1i.itkindofpersistencehasinmanywavsbeenthe keytohiscareerasacomposer.Whenhegotturneddownas a prospective composition student at Manhattan School of Music because liis music "had no events—whatever that

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means!” he simply studied music theory there instead. In ordertogethispiecesperformed,Andumadiswilloftengoup andintroducehimselftotheconductorofa[XTfonmincuhe's enjoyed,andhasfoundthat"lagging.scraping,andcrawling through letters and phone calls" can produce results like having(ZhiefSeattle— thefirstchoralpieceheeverwroteselectedbyGreggSmithtolx:pcrformalatafestivalinNc% York

Andomadis mimlxrs ('hopin. Bach. Shostakovich, and Mik's Davis among his most formative influences, ami hopes thatlistenersofhisworkswillhearnotjust“newmusic”but also“thekindofpassionandform"thevasvxiatcwiththese composers.Andoniadis’ravishingacapjxllachoralsettingof Fdna St. Vincent Millavs heart-breaking poem “Wild Swans* was recorded bv the Bowdoin College Chamber Choir in 1991duringtheirFourthBiennialFestivalofContem|X)r.in Choral Music in America and is featured on their Bowdoin Chamber Choir in Concert CD (available at Macbean's Music in Bnmswick and at the Bowdoin College Bookstore).

KayGardner(b.1941)

This Stonington composer's work is rather difficult tu classify,drawingasitdocsonsource'sofinspirationasdiverse asIndianragas.thel-'rcnchImpressionists,andtheMedieval visionary and composer Hildegard of Bingen. Gardner savs that all of her music is written in Medieval mode's (her favoritesarctheI.ydian,Mixohdian.andDorian)ratherthan major or minor keys; and occasionally she will use Hindu scalesthat,liketheblues,require*sonicIx'nditigofthenotes in performance. In addition Io writing chamber and orchestralworkswithclassicalinstrumentation.Gardneroften crossesoverintotherealmsofNewAgeandworldmusic,and finds herself leaning increasingly towards what she calls “classicalfluteimprovisation”and"musicmedicine.”

After many years in New York, Ohio, and California, Gardner moved to Maine so that she could work full-time as anartistandstillenjoyagixnUjualitvlifestyle.Inconcrete terms,thismeansshecannowaffordapianotocom]X)scat insteadofmakingdowiththeguitarsheresortedtobackin theseventies.

Her conviction that nowadays composers can reach more people via recordings than through live performances seems to have Ixcn Ixime out bv the nuinlx*r of performances she has gotten as a result of having numerous recordings concurrently in circulation. Rainforest,herfirstorchestral piece, has been recorded on CD bv the Bournemouth Sinfonictta under Carolann Martin (leonarda 327) and will be performed bv the Portland Symphony Orchestra this November. Other classical recordings includeOuroboros (I.adyslippcrlIS),anoratorioalxmtwomen’slifecyclesfor soloists,chorus,andorchestra; Rainbow Rath(1-advslipper 103),whichcomprisesmusicalsettingsoftheeightchakras. Omni Moon (Iaidvslipper S>). chamlx-r music ranging in style from Renaissance to aleatoric; and Gardenofl'cstax\ (I.adyslipper 107). which contains "Viriditas,” a chamlx*: piece based on a term for “greening power” invented bv IhklcgardvonBingen.

Lawrence Golan

You all know him as the Concertmaster of the Portland Symphony Orchestra, but were you aware that he also composes? "Actually.” says Golan, “the FantasiaforSolo Violin istheonlypieceI’veeverwritten,andIhavenoplans towritemorealpresent”Sohowdidthepiececometopass'* "I was working on mv doctorate in performance at New FnglandConservatorsin1993.andwehadtodoaprojectof somesort—citheraresearchpajXTorwriteacomjxisitioiiI was working on the solo violin sonatas of the Flemish composer Ysavc al the time—which were inspired In Bach' sonatas and partitas for solo violin —and the Ysavc in Umi inspiredme.’Hieshape,form,anddirectionofthepieceall cametomewhileIwassiltinginclassnotpavingattentionIo thelecture,soIjotteddownsquigglylinesintheshapeofthe mckxliccontours.I.iterIpickedupmvviolinandtrialIoput theshapesintomusic,thentranwnlxditafterwards" Golart.whoacknowledgesthatheis“sortofaRomantic.it heart,"dcscnlx'shis Fantasia as"venvirtuosicandkxisely programmatic,startingwithadojxnrmotivethat’sfollowed bv a finality motive, and ending with a heroic fanfare svmlxilicofgixxltriumphingoverevil"IIeliasrecordedthe

five-minute piece—.along with Rach’s Partita No. 2 in d minor. B\W 1004 andYsaye'sSonata No. 4ineminor,Op. 77\0. 4—On a CD entitled Fantasia (Entrata1195)thatis available at Borders, Amadeus Music, Caller}' Music, and Starbird Music in Portland, and at Macbcan’s Music in Brunswick.

Nick Humez

Portlandsilversmith,Ixxikindexer,andmusiccolumnist fortheBrunswick Times-Record Nick llumez feels that his biggestcontributiontoMainemusichasIxenmadenotasa composer, but as one of the prime miners and shakers invoked in the creation of the Maine Composers Eorum. 'Ibisnon-profitumbrellaorganizationsponsorsabiennial new music festival — which showcases new Maine music of all kinds, not just classical — and puts out a quarterly newsletter listing concerts, resources and opportunities, newsbriefs.andcomposerprofiles.

As part of the Eonim’s “Eestival 1992.” Ilumcz’s String Quartet 5 wasrecorded!>ytheVanadiumStringQuartet, andisnowavailableonthecassetteFire in the Garden: Two Maine Quartets (Bonnie Banks 107) at Gallery Music and Starbird Music in Portland and at Macbcan’s Music in Brunswick.Ihimezcharacterizesthepieceas‘'unabashedly neo-classical and ven’ common practice, like Dvorak on a slow day, with a Baroque minuet and a dandy rondo at the end.IwroteitonabusdowntoIlartford.It’salbtractmusic, notatallprogrammatic,exceptforwhenababyonthebuslet out a remarkable musical squall that I wrote down immediately.”

Composers, performers, and listeners interested in learning more alxmt the Maine new music scene—whether classical,jazz.folk.NewAge,electronic,etc.—canwriteto the Maine Composers’ Eorum at Box 8763. Portland, ME 04104orcall(207)772-8168forfurtherinformation.

GlennJenks

IlieotherMainestringquartetfeaturedon Fireinthe Carden (sec above) is Glenn Jenks’ String Quartet in Ragtime, which he wrote in 1W0 in an attempt to “marry ragtime and the late Romantic style into a new-old sound th.it’sbothentertainingandserious.”Soundoverlyambitious? Not for someone whose taste in music has always been eclectic enough to embrace “the 3 Bs,” Pete Seeger. Jimi Hendrix, Charles Ives, and Scott Joplin! Although Jenks’ lively,unorthcxloxquartetis“modeledafterthestructureof Beethovensmiddlc-jxruxlquartetswiththeharmonicpalette of Debussy and voice-leading like Brahms,” it also incorporatesechoesandquotationsofStephenEostcr,Cole Porter, Rodgers and Hammerstein, and Scott Joplin in the manner of jazz improvisation. “It’s in the I.aurentian Quartet’srepertoire—they’rethequartet-in-residenceatSarah lavvrcnccCollege—soit’sbeenperformedmanytimesacross thecountry,”Jenkssavs.

StringQuartetinRagtime isavailableoncassette(Bonnie Banks 107) at the Owl & Turtle Ixxrkshop in Camden, from Outer Green Records (Schooner bare's distributor) at 118 BrighamStreet.SouthPortland,04106(207)743-7929orby writingdirectlytoBonnieBanksPnxluctionsatP.O.Box811. Camden. ME 04843. Jenks—who divides his time Ix'tween road-trippianoperformancesatragtimefestivals,teachingat home in Camden, and comjxising—has also had one of his piano rags. “Queen of Violets.” recorded by Tony Caramin (head of Piano Pedagogy at the Eastman School of Music) on the CD Hrass Knuckles: An Excursion into Contemporary Ragtime Compositions. Volume 4 of the Eastman American Music Scries (Albam/t ROY 253). In addition, you can hear himplaytwelveofhisoriginalpianoragsonthecassette Ragtime Alchcmv (StompOff1179).Jenksalsorecentlyput together the piano soundtrack for a PBS documentary on EdnaSt.VincentMillaventitled’Renascence”thatmayhave wonthedubiousdistinctionofattractingthesmallestnumlxT ofviewersintelevisionhistory.“ItwasairedoppositetheO.J. Simpsonverdict,”Jenkssavsruefully.

ElliottSchwartz(b.1936)

All music by nature exists in time, but Bowdoin College ProfessorofMusicElliottSchwartzhaswrittenonepiecethat alsoexistsinspace,makingitallthemoreripeforsomesort ofinteractive,cutting-edge,CD-ROMvirtualdocumentation.

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Tltc piece in question. Elevator Music(1967),isasitespecific,multi-mediacompositiondesignedfortwelvegroups ofperformersscatteredthroughoutthefifteenfloorsofColes loweratBowdoinCollegewithmusicalinstruments,special effectslighting,costumes,mirrors,phonographs,tapedecks, etc.,whiletheaudienceof200,dividedintogroupsoften, takesturnsridingupanddowntovariousfloorsintheelevator for three minutes at a time, in a random manner determined by the conductor, who operates the elevator and rings tlie emergencyIxdltogivetheperformerstheircues.According toSchwartz.thepiecewasintendedtolx?theauralequivalent ofpassingthroughbanksofcloudsinajetplane—stillanovel experience in the 1960s. “We could only rehearse in a traditional space, which was kind of like using a flight simulator,"hesays.“Ididn’tfindoutforsurewhatitwould soundlikeuntilweactuallydidit.”

Although Schwartz himself was Ixmi in Brooklyn. Neu York,hisgnindGitlicrlivedinPortland,andhisfathergrewup here and attended Portland High School and the University ofMaine.'11msitisnosurprisethatmanvofhisrecorded compositions have strong Maine connections, bor example. Celebralions/Heflections: A 'Kime Warp (Vienna Modern Masters 3012) was commissioned and premiered bv the Portland Symphony Orchestra in 1985 and incorporates passagesfromaVictorianparlorsongventonofInngfellows "MyIx>stYouth”—aswellasafamiliarchordsequencefrom The Rock) Horror Picture Sliow! Similarly, Bellagio Variations (CM 2041) was composed for the Portland String Quartet in I9S0 and contains recurrent snippets of “Rise. Sons of Bowdoin” like you’ve never heard it before. Other CDs featuring Schwartzs avant-garde chamber music indude SocietyofComposersInc.Potpourri (Capstone 8609). Elliott Schwartz: Chamber Works (CRI 598). and Dream Music Chamber Works of Elliott Schwartz (Capstone8633).

HaroldStover(b.1946)

Portland’slongstandingtraditionoftalentedorganistcomposersisupheldbvIlaroldStover.OrganistandDirector of Music al Woodfords Congregational Church. A Pennsylvania native, Stover studied at Carnegie-Mellon, Juilliard, and Westminster Choir College k-fore serving as Organist and Choirmaster of Second Presbyterian Church in NewYorkCityformanvwars.Ik-hasplacedrecitalsinNew York. London. Edinburgh, Portland, and elsewhere, performed in concerts with the New York Philharmonic and otherensembles;andhaslx.cnfeaturedseveraltimesasIxith performer and composer on "Pipedreams,” American Public Radio’snationally-syndicatedprogramoforganmusic.

Stover’s Sieumark Variations for Organ and Pianohas Ikvii recorded by the mothcr-and-son duo of Jeannine and Alan Morrison on theirEestive Duo CD (aca CM2OO5O); and his Rog. Pastorale, and Carillon has been recorded bv Jeannine Morrison and Joanne Rogers on their Virtuoso Duo Piano Showcase CD (aca CM20023). Of the fonner piece, Stoversays,"1triedtoseehowmanydifferentdisguisesI couldputonthestrait-lacedh\mntunc’Ifthoubutsuffer God to guide thee’ —and came up with even thing from baroquetocountTv-and-wcsterntogospeltorock-and-roll"As forthelattercomposition,itisunusualinthatcarillonpiece imitatingthesoundofpealingIxdlsarcnormallywrittenfor organ rather than piano; it is also unique in containing a musicalallusiontotheMrRogers’song"It’saBeautifulDav intheN’eighborhtxxl.”whichStoverinsertedintributetohis many years of friendship with the Rogers family (Pianist JoanneRogersisErcdRogers’swife.)

Rebecca Wing

They alwavx say you lain) by teaching.and Rclxxca Wing agrees that she’s certainly learned a lot about audience attention spans bv teaching music at public and private schoolsforelevenwars.“Westernersarenotusedtorelaxing inanaudiencesetting.”savsWing,whohasIxxnaBuddhist for the past ten wars. ‘They're more used to an adrenalin* cliargcd.rock-and-rollsituation.”11msnotonlyd(x>Wing concentrate on centering her own bodv physically while performinginordertoavoidwork-relatedailments,shealso incorporatesmeditativetechniquesandavarietyofvexaland instrumental textures into her performances to help her audience stay equally focused on the listening experience Oneexampleofthisisherimprovised"heart-singing."which

Wingdescribesasakindof“spiritualseal-singing.”

Primarily a keyboard composer and performer, Wing earnedaMusicEducationdegreewithaclassicalfocusfrom theUniversit)ofSouthernMaineandthenspentthenextfive yearslearningaboutjazzwhileplayingpianoinajazztrio w ith singer Tracey Mad ran. More recently, she has begun toexplorethesacredmusicofindigenouscultures,andall threeinterestsarereflectedinthepiecesonher Dancing Spirit CD, which call to mind everything from Vince Guaraldi to George Winston to Debussy and Satie to Medieval organum. Wing also ranks Chopin, Brahms, Bach, andVivaldihighonherlistoffavoritecomposersandsax-s that"MilesDavisisGtxltome.”Dancing Spirit isavailable on both CD and cassette at Amadeus Music and Starbird Music in Portland, al CD .Authority in South Portland, at Macbean's Music in Brunswick, or directly from Wing Music, 295 Forest Avenue #970, P.O. Box 97)5, Portland, ME 04104-5015, (207)892-6594.

Robby Greenlee

When the American Guild of Organists was founded in New York City in 1896, Maine was ably represented among the145foundingorganistsofestablishedreputationbynative Portland composer John Knowles Paine, future Portland Municipal Organist Will Macfarlane. and the composer Horatio Parker, who wrote many of his later works while summeringinBlueIfill.

InJulyof1996,5,240organistsfromalloverthecountry convened in New York to celebrate the Guild’s centennial withfivedaxsofrecitalsonnotableinstrumentsthroughout Manhattan; and Maine once again held her ground musicallywhen ThreeSpiritualsforPalmSunday by Bowdoin CollegemusicprofessorRobbyGreenleewaspremieredatSt. Peter’sLutheranChurchinCiticorpCenterasjointwinner of the 1995-96 Hohkamp-ACO Award in Organ Com¬ position.AccordingtoGreenlee,hisinterpretationsof“Ride on. King Jesus,” "Were You There?” and "Swing Ix>w, Sweet Chariot”blendthejxrntatonicmckxliesofAfrican-American spiritualswiththebluesscaleoftraditionaljazz,theextended tertian harmonies and chromaticism of early Messiaen, and thevirtuosicfrenchorgantoccatastyleofthefirsthalfofthis century,testingthe“four-limbedcapabilitiesoftheorganist” to the limit. In fad. Greenlee has observed that his most vexing compositional problem-apart from the universal composer's lament of insufficient time to composc-is consistent!)writingmusicsodifficultthatheshrinksfrom playingithimself!

Although1'hreeSpirituals wasreviewedfavorablybyWall StreetJournal operacriticandPillhoardclassicaleditorHeidi Walcson. and the sheet music copies of it available for purchasesoldoutwellbeforetheendoftheconvention,the piece has yet to lx? recorded. However, some of Greenlee’s choral music has been captured on CD by the Bowdoin Chamber Choir in Concert CD includes Greenlee’s lively, cross-rhvihmicarrangementsoftheCostaRicanfolksong"Si me den pastelcs,” which he composed for the Choir’s 1992 PuertoRicantour. The Music of the Renaissance/Songs of Ecuador CD features three shimmering arrangements of Ecuadoran songs that display, to varying degrees on the indigenous Quechua Indian culture. Greenlee wrote these fortheChoir’s1996tourtoEcuador,andsavsthatforhim the high point of both Latin American tours was seeing audience members’ faces light up with recognition upon hearinghisnewversionsoftheirtraditionalsongs.BothCDs are available at Macbean’s Music in Brunswick or from the Bowdoin College bookstore.

VernerTorkanowski

A few years ago, the PSO delighted its audience by presenting'Three Movements for Maine, a sweeping,original work by internationally acclaimed conductor, composer, and violinist Werner Torkanow'sky (1926-1992), who moved here »n 1982 to conduct the Bangor Symphony Orchestra. Of Ihree Movements, his final achievement, the former con¬ ductor of the Boston, San Francisco, and Chicago Svmphonv Orchestras wrote: "In most of the work, the sounds arc of Maine-itssilences.Nature’supheavals,theconstantinterplax betweenlandandseaandaboveall,thefeelingofspaceand beinginit.”ForSI5,youcanpurchaseitaspartofahvo-CD

Above:johnliislxepicturedwith Ihisk (left)and Nipball,J997, createdwithwire-fedmigweldingandnails. I’mmtheexhibition“frozenbyI'ire"attheBmvdoinCollegeMuseumofArt.Retow:detailfrom Codfish, byfamesTylor, 1994, fortheDepartmentofMarineResources,HoothbayHarbor.

Mame

ByCarlA.Little

hefirstartworktoentertheperma¬ nentcollectionofthePortland Society —now Museum —of Art wasBenjaminPaulAkers’sThe DeadPearlDiver,1858,givenbv hiswidowin1888.BorninSaccarappa (nowWestbrook),Maine,Akers(18251861)wentontoestablishhimselfasa sculptorofportraitbustsandneo-classical piecesontheorderofthePearlDiver. SculptureinMainehascomealong waysinceAkers’sera,ashasthecollection ofthePortlandMuseumofArt,which todayownsseveralhundredpieces.Rc-

viewingthemuseum’sholdings,onefinds sculpturesbyRodin,Picasso,HenryMoore,

iseNcvelson,BernardLanglais,Robert Lmrent,AbbottPattison,CabotLyfordthclineupisanimpressiveone,andin¬ cludesasignificantselectionofcontem¬ poraryworksbythelikesofCelesteRo¬ berge,KenGreenleaf,JohnVentimiglia, andJeffKellar.Sculpturalworksbysuch artistsbetterknowninothermediumsBeverlyHallam,John1lultberg,andRob¬ ertIndiana,forexample—arealsointhe collection.

Withafewdifferences,similarinventor¬ iescanbefoundatotherMainemuse¬ ums,suchastheFarnsworthinRockland, whichboastsasubstantialgroupofNevelson’sworks,andtheOgunquitMuseum ofAmericanArt,whereyouwillfindthe likesofLaurentandDavidvonSchlegel] wellrepresented.Thecollegeanduniver¬ sitymuseumsinMainealsoregularlydis¬ playsculptureintheirgalleriesandon theircampuses.

TheauthorsandeditorsofMaineand ItsRoleinAmericanArt,publishedonthe occasionofacomprehensiveexhibitionat ColbyCollegein1963,includedabouta dozensculptorsintheirsurvey,beginning withAkersandendingwithsuchcontem¬ porariesasAbbottPattisonandClark Fitz-Gerald.'Hielattertworemainactive astheyentertheir80s.Pattison,wholives inLincolnville,wasrecentlythesubjectof amajorexhibitionatMaineCoastArtists

inRockport.Fitz-Gerald,fromCastine, haspiecesinpublicsitesacrossthestate, fromtheBangorInternationalAirportto theMountDesertIslandRegionalHigh School.Heiscurrentlyworkingona commissionfortheSt.GeorgeSchoolin Bucksport.

andothermodernmasters,alongsidea wealthofsculptorsassociatedwithMaine. WilliamZorach,MildredBurrage,Lou¬

IfMaineandItsRoleinAmericanArt weretobebroughtuptodate,there woiddhavetobeanentirenewchapter addedtocovertherangeandwealthof sculpturalactivityinthisstate.Inhisbook MaineArtNow(1990),criticEdgarAllen Beembegantofulfillthisser¬ vice.'Phoworkofanumberof sculptorswashighlighted;oneof CelesteRoberge’smonumental steelandgranitefiguresgenu¬ flectedonthecover;andthefirst artistprofiledwasBernard“Black¬ ie”Langlais,thelegendarysculp torfromCushing,Maine. Intheearly1960s,Langlais wasshowinghisabstractreliefs insuchhigh-profileNewYorkvenuesas the/MianStoneandCastelligalleries.Mov¬ ingtoCushingin1966,heblossomed

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intooneofthecountry’sfinestanimaliers. sculptorsofanimals.1lismenageriecame toincludesandpipers,bears,porcupines, tigers,cows—andRichardM.Nixon,set waistdeepinapond,raisinghishandsin thatludicrousvictorysalute.

Perhapsbecauseofitsclosenesstona¬ ture,Mainehasnurturedanumberof animalartists.AcaseinpointisEdwin Gamble,whohasmadeanartofrender¬ ingbirds.Hisbronzeandwoodpieces, showninrecenttimesatthePortland MuseumofArtandtheWendellGillev MuseuminSouthwest1larbor,aregrace-

EskimoBird, soapstone&mineralizedwalrustusk withwoodbase,byEdGamble, 1991. fulandaerodynamic,exoking,morethan replicating,aspecificwingedcreature.As hehaswritten,“Inmvwork,birdsareonly avehicle,nomorethanthat—vettheyare aneverabsorbingstimulusandinspira¬ tion."

DanEaltcanesanimalsoutofwoodin hisbarnstudioonasidestreetinthetown ofNortheastHarboronMountDesert Island.Ilisdelightfulcastofcreatures— cheetahs,snakes,hyenas,monkeys—hare foundhomesallovertheislandandthe world:inrecentyears,hehashadshowsin Zanzibar,IndiaandRussia.Wlienvisiting PortinaStormbookstoreinSomcsvillc. Ilookforoneofhispolarbears,which senesasabenchforbrowsersinthechil¬ dren’sbooksection.

Anotheranimalartistofwidereputation, AnneArnold,hassummeredinMainefor mamsears.Workinginavarietyofmedi¬ ums,includingwood,canvasstretched overarmaturesandstoneware,shehas createdmarvelousportraitsofdogsand cats,includingMainecoons,aswellas lessdomesticatedspecies,suchasrac¬ coons,rabbits,hippos,andelephants.Liv¬ inginruralMaine,shehasalsodoneher shareofcows,pigsandgoats.Inareview intheNewYork'limessomeyearsago, critic11iltonKramercalledArnold“one ofourbestandmostoriginalsculptors.”

EiguralartistshavefoundMaineequally hospitabletogettingworkdone.Ogun-

quitservedasthehomeofDavidvon Schlegel!,wellknownforhisbentply¬ woodsculpture,andRobertLaurent, whosestylizedfigures,manyofthem female,gainedhimnationalacclaim. GastonLachaise,thatmasterofthemon¬ umentalwoman,alsospenttimeinthe area.

himorerecentdays,JonathanBorofsky,oneofthecountry’sforemostsculp¬ tors,hasfoundartisticsustenancein Ogunquit.InaninterviewpublishedinA CenturyofColor,ahistoryofthecolony, Borofskynoteshow.Maine’snature“invig¬ oratesaswellasrelaxesandallowsmeto findmybalance,mycenter,andtoseek outfreshideasandfeelingsthatwill becomematerializedinmvwork.”These arcsentimentsthatmightbesharedby manvasculptorworkinginthepinetree state.

WilliamZorach(1877-1966)cameto Mainein1919withhisartistwifeMar¬ guerite.TheyinitiallystayedatStoning¬ ton,onDeerIsle,andlatersettledin GeorgetownonLongIsland.According tohistorianJohnBauer,Zorachwas“a leadingfigureintherevivalofdirectcarv¬ ing—thatoldandpatientprocessof releasingtheimagefromtheblock."Ide oftenworkedingranite,creatinghisani¬ malsandfiguresoutoftheveryessence ofMaine.HieZorachs’daughter,Dahlov Ipcar,becameanacclaimedartistinher ownright,fabricating,amongotherart¬ works,marvelousclothsculptures.

Anothermodernist,WilliamMuir (1902-1964),alsocametoDeer Isle,in1939,theretosettlewithhis painterandarchitectwife,Emilv Muir.AnumberofMuir’ssculp¬ tureswerebasedontheformsofplantshe foundinMaine.11ispieces,carvedfroma rangeofwood,haveanabstract-organic quality.

ThankstotheGleasonandOTarrell GalleriesaiidtheRound1opCenterfoi theArts,Muir'sworkhasenjoyedarevival inrecentyears.11islargepieceStone-Cut¬ ter,inspiredbythequarrvmenofDeer Isle,wasrccentlvcastinbronzeandnow standsinaparkinStonington.

Oneofthemostacclaimedof20th-cen¬ turysculptorsfoundherearliestinspira¬ tiononthecoastofMaine.LouiseNevelson(1900-1988)emigratedfromRussia toRocklandwithherfamilvintheearly 1900s.“RocklandwasaW/XSPYankee town,”theartiststatedinher1976autobi¬ ographyDawns+Dusks,where“evenif

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youwereJesusChristSuperstar,youwere stillanoutsider.”YetNevelson’steachers encouragedhertocreate,enoughsothat whensheleftthecoastof.MaineforNewYorkin1920,shehadtherequisiteconfi¬ dencetomakealifeofart.

Inone’stravelsaroundMainetodav, sculptureturnsupjustaboutevcn-wherc. Manj-galleriesnowfeaturesculpturegar¬ dens—JudithLeightoninBlueHill, SamuelShawContemporaryJewelersin NortheastIlarbor.LikesCallcryinSouth Casco,tonamebutthree.Atthesame time,freelancecuratorslikeJuneGinn specializeinpresentingoutdoorsculpture shows.

'Ihcrcalsoseemstobeagrowingnum¬ berofso-called“vanity”studios,where artistsselltheirownworks.Whilethere hasneverbeenashortageofpainters hanginguptheirownshingles,moreand moresculptorsarefollowingsuit.Someof theseshops,likeErnieAbdclnour’sstudio onRoute102inTownIfillandGilWhit¬ man’sGardenofSculptureonRoute1 nearW'iscassct,aredelightfullsfunky enteqrrises.

Turnonyoursculpturescannerand sou’llfindindividualpiecesturningup justabouteverywhereyoulook.There’s JaneWasey’slovelytributetoAndre,the famousseal,inRockportIlarbor,Cabot Lyford’sdolphinsinPortland’sOldPort. W'illiam/orach’sSpiritoftheSeaatthe UnisersiEofMaineatMachias.

Ifallgoesasplanned,inthenottoodis¬ tantfuturetherewillbea"DrivingGuide toOutdoorSculptureinMaine.”Abbe Levin,specialprojectscoordinatorforthe MaineArtsCommission,hasbeenwork¬ ingwithIlilarvBassetttoproducesucha guide.

Theideagrewoutofanotherproject, “S.O.S.:SaseOutdoorSculpture,”ana¬ tionwideefforttorecordandpreserve publicartsponsoredbstheSmithsonians NationalInstitutefortheConsersationof CulturalProperts.Nowinitsformative stages,theguidewillincludeCisilWar memorials,sculpturegardensandcollec¬ tions.andfeatureindividualwalkingtours forthecitiesofPortlandandBangor. ThankstoMaine'sPercentforArtpro¬ gram.mans'publicparksandbuildings, includingschools,librariesandstate offices,featureartworksbscontemporary sculptors.ThePercentforArtlawwas establishedbstheMaineStateIlegislature toprosidefundsfortheacquisitionof worksofartfornewls-constructedorren-

oratedstate-fundedbuildings. Usingacommunity-centeredteamap¬ proach,theMaineArtsCommissionoxer¬ secsthisver}’excitingprogram.Duncan Hewitt,JeanneBruce,RoyPatterson, JamesTyler,JeffKellar,NatashaKempers-Cullcn,andMelitaWestcrhmdarc justahandfulofthesculptorswhosework gracespublicsitesaroundthestate.

zXccordingtoPaulEaria,whosucceeded PeterSimmonsasdirectorofthepro¬ gram,asofJune1,1997,theMaineArts CommissionhadapprovedfifteenPer¬ centforArtprojectsforthisfiscalyear, totaling$297,845inpaymentstotwenty¬ eightartists.Withartsfundingcontinual]}' undersiegebyWashingtonpoliticians,it istothecommission’screditthatthey havemanagedtomaintainthisvitalpro¬ gram.Writevourcongressman,senator, andpresident!

Atthesametime,artschoolsinMaine serveassculpturalhothouses.Harriet MatthewsatColbvandJohnBisbeeat Bowdoinaretwoprofessorsofsculpture whohavevitalcareersasartists.Bisbee usesnailsinanumberofhisrecentweld¬ edabstractpieces,someofwhichwere displayedthispastsummerattheBow¬ doinCollegeMuseumofArt.Matthews wasthesubjectofamajorexhibitionat Colbyin1995.

lireSkowheganSchoolofPaintingand Sculpture,theHaystackMountainSchool ofCraft,theMaineCollegeofArt,the UniversityofMaine,Collegeofthe Atlantic—theseinstitutionsandmany morecontributetothethrivingworldof sculpture.

Thesedaws,theMainewoodsringwith thesoundofhammerandchisel—well, maybenotthewoods,andmaybenot hammersandchiselsringing,butmanya sculpturestudioisinfullswing.Chain¬ sawsshriekandweldingrodshiss,butyou willalsofindthemoretraditionaltoolsof thetradechippingawayatwoodand stone.

HaveIforgottenanyone?Oh,yeah: SteveLindsay,LiseBeen,RonCross, PhilKaelin,DonMeserve,StewHen¬ derson,RobertMajorowicz,Christine Woelfle,HelenaSinkovitch,ChrisDun¬ can,JamesPierce,DuncanSlade,Abby Huntoon,MichaelShaughnessy,Jack Welch,WilliamManning,FritzDictcl, PaulHeroux,RayMuqjhy—thelistgoes on.Theseandmanymoresculptorshave chosenMaineasaplaceformakingsculp¬ tureofever}'ilk.GreenAkers,indeed!

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DetailfromlooseCall,"byJohnSwan,oilonpanel.Inset:theartistathisStroudwaterhomeandstudio.

ArtistJolinSwanhasboughtthe Stroudwaterhouseandstudioof theAmericanImpressionistWalter Griffin(1861-1935),andifyou thinkthat’sespeciallyappropriate, there’smore-Swan,aPortlandnative (DeeringHigh1967),isadirectdescen¬ dantoftheTatefamily,whorantheKing’s masttradeoutofthelandmarklateIlouse

nextdoor.

“Mygreat,great,greatgrandmotherwas borninthishouse,longbeforeWalter Griffinmovedhere,”Johnsays.“We Tateshavecomefullcircleafter200 years,”helaughs.“We’rebackinthe neighborhood.”

Andwhataneighborhood./AfterPort¬ landMagazineranacoverstoryinSep¬

tember1994ontheauctionoftheGrif¬ finhouseandstudio,alongwithnumer¬ ouspaintingsstillstoredinthestudio, therewasaflurryofinterestintheplace, butnevertherightbuyer,untilJohn.

“Thepeoplewhoweretryingtobuyit beforemewerefightingformonthstotear thestudiodown,”hesays.“Itwasacondi¬ tionofthesale.”

Happily,thatdealfellthrough,andnow theghostofWalterGriffinhasthepleas¬ ureoflookingovertheshoulderofanoth¬ ernativesonashepaintsthewaterlilies anddarkgreenreflectionsofwhatmany

twosonsaregrownupnow)andearninga livingshinglinghousesandbams,thisfree spirit’sfirstpaintingswentforjust“$200a whack”inthemid-1970s,ashetoldSport¬ ingClassicsmagazineinarecentprofile

Swn issoinspiredbyJohnSingerSargentthathekeepsaSargentquotationoverhiseasel.Askedwhyapainter’s workdidn'tmatchhispotential,Sargentdrylyresponded,“Perhapshehad loomany otherinterests."Swan,who isenthusiasticaboutjustabouteverything,usesitasamantratokeeptohiswork. Above:detailfromjohnSwan’s“Bahamas,"oilonpanel. harecalledthemostbeautifulviewin Portland.

“WhenWalterGriffinfirstsawthis place,”Johnsavs,“hesaid,‘It’stheclosest thingtoHranccIveeverseen.’”Standing onthedeckofhisstudio,acollectionof cedar-shingledbuildingshesaysGriffin “moveddownherefromfartherupthe hillandconnected(evencuttingspecial windowsinthestructuretoframeviewsof thepondas1ivingart),”Johnpointstothe somnolentbrancheshangingoverthe darkriser,thelilypads,cloudsmoving slowlyoverthewater’ssurfaceandsays, “It’severywhereyoulook.It’sjustridicu¬ lous.1feellikeI'mdroolingwheneverI’m outhere."

A1972graduateoftheUniversityof New’Hampshireasanartmajor,where hestudiedunderOgunquit’sJohnLaur¬ ent,Swanisclearlyinfluencedbymaster techniciansofthezVmcricanSchool-Jolm SingerSargent,WinslowIlomer,and,sig¬ nificantly,Griffinhimself,whosespiritis evenwhereinthehouseandstudio,espe¬ ciallyinthepaintings,drawings,andchar¬ coalsSwanhaspurchasedandplaced evenwherc.

Afterafewyearsstartingafamily(his

byTomDavis,butnowbothhiswatercol¬ ors—helosesthe“reckless”qualityofthe medium—andliisoils(heonceaban¬ donedalandscapeforthreeyearsbefore returningtoitandfindingitwasoneofhis favorites)aresoughtafteralloxerthe countryandhavebeenfeaturedineven-

thingfromtheDartmouthCollegecol¬ lectiontosportingmagazinestoEsquire. Andthoughhemoves,talks,andjokes withayoungerman’senthusiasm,John takeshisworkasseriouslyashiscollectors

do,asthe“Novisits,Iamworking”signin thefrontofthestudioattests.1leloxesto understandthings,bringouttheirintima¬ cy,andmakethemhisown:“It’sniceto besurroundedbyyourownstuff,”he pointedouttoDaxis,whetherit’sancient boats,books,orfishingtacklefromhis familycampinRangclcytothewaya heronlandsrightbehindthestudio.

“Thefirstthing1didwasrestorethe deck,”hesax's,“sothatIcouldbeouthere allthetime,becomepartofthepond myself.Then,onceIwaspartofthepond, Icouldstartwatching.”

Buthowdoyouknowwhen\ouve enteredaJohnSwanpainting(for that'swhatit’sliketolookatone)? Lormany,beyondthepowerof histechnique,it’stheintrospectixe qualityoftheworkthatbringsthexiewer righttotheedgeofSwan’snoumcnal ‘pond’ and beyond. As Tom Davis of SportingClassicsputsit,“Thesolitude thatiscentraltotheexperienceoftheout¬ doorshaslesstodo,finally,withtheab¬ senceofpeoplethanitdoeswiththe chancetobealonewithsourmostprixate thoughts.Thisrecognition,Ithink,isthe geniusofJohnSwan’sart.”

1hisSeptember.JohnSwanandhisblacklabradorretnewr.Sot,will welcomethepublictoashowofne*workinthehhnS^anstudio. !eaturin% a number of images of Stroudwater Pond Eor more inionnation,call^2I>11

ThemuseumattheIjouvredevotesImofitsroomstopaintingsbyCorot,oneofitsfavoritesons.With16works byImpressionistWalterGriffin,couldn’tthePortlandMuseumofArtdothesame?Above:“SouperaDeux," circa 1909-19/2, oneof-I? 1)workshytheinfluential,talentedMildredGiddingsPurrage(1890-1983), noneofwhicharecurrentlyondisplay.

WLal s l^ol 0mi Oisplf Al Tk PMA

ByDonnaGold

TWEN’IYyearsago,thePortland Museum of Art owned no Win¬ slow1lomer,noMarsden1lartley.

Today,inadditiontoworkson permanentloan,itowns18Hom¬ erpaintings,sixWyeths,two1lartleyoils, 439worksbyMildredGiddingsBurrage, and115bv1leleneVonStreekerNyee. Burrage?Nyee?Sometimesaccessions docomeinlargedoses,butnotfrecpiently.The439Burragescamein1981,along withanoilbyLaurenceSisson,assorted workbynineteenthcenturylandscape artists,anaturestudybynotedsculptor

LouiseBourgeois,andanoilwashfeatur¬ ingabirdbynotedabstractexpressionist RobertMotherwell.

In1985,inadditiontoalargetempera onpaperbycontemporaryMaineartist Abb)’Shahn,anoilportraitofWilliam Kicnbusch by Henry Varnum Poor, a miniatureeighteenthcenturyoilonivory' bySamuelShelley,severaloilsbvuniden¬ tifiedartists,anoilbyPollyKapteyn BrownwhorantheConceptArtSchool,a one-timerivalofthePortlandSchoolof /Art,came15oilsbvItalian-lx>martistVin¬ centCanadcwhowasassociatedwiththe

Ogunquitcommunity'andtheworkby illustratorNyee,whow'asknownforher silhouettes.

Afterthemuseum’sdoublewhammyof WyethandKatzthissummer,averaging some600dailyvisitors,andcallsfrom aroundtheEasternseaboardwondering aboutticketavailability(no,thePMA doesnotselladvancetickets),Portland Magazine beganwonderingwhatwas

ASmallSelrrlionOfWorlcsInTlwPpnnanenl (.dIIdcISdu lly ArHsl & ?!d. ol’PubiHngs

behindthesummerblockbusters.Tliere are13,000objectsinthemuseumcollec¬ tion.What’sinthebasement?Whataren’t weseeing?

We’renotseeingtheoilonivory,not much,atleast.We’realsonotseeingthe lockofGeorgeWashington’shairthat’s supposedtobeinthecollection,andwe arecertainlynotseeingthenumerous 18thand19thcenturyobjectsthatbelong intheas-yetunrestoredMcLellan-Sweat

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house,byfarthebulkofthecollection. Indeed,we’renotseeingthehouseatall —thePaysonwingwascreatedasawel¬ comingfacadetoleadvisitorstoit,butthe houserestorationnevergotcompleted. We’realsonotseeingmuchofNyceor Burrage.

Still,avisittothemuseumoffersplenty, evenifyonneverwanttosecanother Wyeth.TheStateofMaineCollection, andtheEuropeanworks,offeralmosttoo muchtosee,eveninanafternoonofart viewing./\ndit’srotatedfairlyoften,sovisitorsarefrequentlychallengedwithnew arrangements,andunseenwork.

Rootingaboutinthesubstanceofthe permanentcollection,wearcnotassur¬ prisedbywhat’snotseen,asbyhowmuch thereistosec,andhowmuchofthatsecablestuffcameintothemuseumvery recently.ThePMAisnotanewinstitu-

MilffllireJ Btuiinrage

WhoisMildredBarrage?EarlShettleworthofthe MaineHistoricPreservationCommission,had beenapersonalfriendofhersbeforeherdeathin 1983.Weaskedhimforabriefbiographyandthis iswhathesaid.BurragewasborninPortlandin 1890,thedaughterofaministerandgrand¬ daughterofaBangorlumberbaron.Shespenther youngadulthoodstudyingpaintinginFrance, hobnobbingwithGertrudeSteinandthelike. WhenWorldWarIcame,Mr.Burragemanagedto sailacrosstheoceantoremovehisdaughterfrom thebattlefray.BurragereturnedtoMaineandkept traveling,wanderingtothewest,northwest,and CentralAmerica.Later,duringWorldWarII,she sketchedthewomenworkersoftheshipyards, whilealsoteachingartasasortofrecreational therapist,toworkersandhospitalizedveterans.In herday.Burrageenjoyedanationalreputation, especiallyforhersculpturalmica,foilandpaint collages.ShealsohadaMainereputationasa doer:shewasinfluentialinMaineCoastArtists,in restoringtheLincolnCountyCourthouse,and otherhistoricbuildings,inassuringthemuseum qualityofMainecrafts.

Burragehadasister.Madeleine,andthetwo wereratherinseparable.Madeleinewasajeweler, andhadworkattheopeningexhibitofthe MuseumofModemArtinNewYorkCity.Aboxof herjewelrywasaddressedandreadytogotothe M0MA,butnevermailed.Today,it,too,isatthe PMA.

—DonnaGold tion,butitspentmostofits115yearsasan all-boysclubhouseforahandfulofnine¬ teenthcenturylandscapeartists.Itwas only20yearsagothatitcatapultedintoa strongregionalmuseumoftwentiethcen¬ turyart.

Muchofthecreditforthistransforma¬ tiongoestoJohn1lokersonwhoworked atthemuseumbetween1970and1987, firstascuratorthenasdirectoroverseeing thenew,modernwing.Creditalsobe¬ longstoCharlesShipmanPayson,whoin promisingthemuseum17Winslow1loni-

ers,expectedittocreateacontextworthy ofit.

There’sanicecontinuitytothecos¬ mopolitanlookofthemuseumthatresult¬ edin1982,forPortlandwasacos¬ mopolitanhubinthenineteenthcentu¬ ry,andthepainterswhofrequentedits shoresandsuburbsandhelpedestablish the museum — Harrison Bird Brown, CharlesBroderickKimball,CharlesCod¬ man, among others — may have been conservative,butthe}’werenotbackwater artists.Abitbeforethetimeofmostof theseartists,Portlandhadbeenthesixth largestportinthenation,rivalingBoston asaculturalandcommercialcenter;these goldenyearscarriedtheirimpactthrough¬ outthecentury.Andthoughtheseartists havespentsometimeintheshadowof sentimentality,today,themuseum’ssub¬ stantialcollectionoftheseartists—28by' Brown, 10 by Codman, 23 by Samuel Coleman,16byWalterCriffm,and23by Kimball—archighlyprizedinragesof America’snineteenthcenturyvision.

Bytheearlytwentiethcentury,of course,Mainehadbecomeahavenfor modernistsandanewbrandofrealists— CeorgeBellows,nativesonMarsden Hartle}’,RobertHenri,EdwardHopper, RockwellKent,JohnMarin,Emilyand WilliamMuir,GeorgiaO’Keeffe,EairfieklPorter,MargueriteandWilliam Zorach—butthePortlandSocietyofArt, asitwasthencalled,wouldharenothing todowiththem.Nordiditbuyany Ilomers,thoughthegreatartistwaswork¬ ingdowntheroadfromthemuseum. Wyeth,too,wasshunneduntil1953, whenawatercolorofafalllandscape cameintothecollection.Asforthemod¬ ernists,itwasn’tuntil1971thatthemuse¬ um acquired some paintings bv the Zorachsandoneby1lenri.

Butthemuseumwasn’treallyinterested incollectinguntiltheearly1970s.Previ¬ ously,asthePortlandSocietyofArt,ithad beenboundupwithwhatbecamethe PortlandSchoolofArt(andmorerecent¬ ly,theMaineCollegeofArt).Insteadof collecting,theSocietysponsoredart,most notablythroughascriesofsummerartfes¬ tivals.

Oncethecollectingstarted,therewasno stopping.Lookingatthepaintingscollec¬ tion,from1908to1976,themuseum addedworkatanaverageoflessthanfive piecesayear—thesewerethelandscape artists.Inthelast20years,thoughthe actualacquisitionbudgetisquitelimited,

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Since1899PortlandareafamilieshavebeenabletoturntotheirfriendsafrHay NPeabodyforcaringassistance.dtiring difficulttimes.

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Peoplestillsettheirwatchesbyour clock,anddependonustobetherefor thematanyhour,dayornight.

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ithasbeenaddingpiecesattherateof about57ayear—andthat’snotinclud¬ ingthe66pieceswilledtothemuseumby ElizabethNoyce.

’Today,thelandscapeboys,shouldthey peeroutoftheirgravesandintothear¬ chivesoftheonce-littleclubthatJanies PhinneyBaxterhelpedputinplace, wouldfindtheirpaintingstreebyroot, rockbywateralongsidethemodernists theyscornedwhilealive.Together,they comprisetheStateofMaineCollection, partofthevisionof1lolverson’sera.’That visionalmostincludedaWyethwing,too —Ilokcrsonrecallsextensivetalkswith thefamily—butthat,says1lokcrson, “seemedtobelostduringthere-examinationofthemuseum’sdirectioninthetwo yearsafter1left.”

’Thatcollection,instead,hasgonetothe FarnsworthMuseumofArtinRockland. Still,thePortlandmuseum—notun¬ liketheFarnsworth—dependsupon Wyethtodrawanaudience,especially conicsummer.JessicaNicoll,themuse¬ um’schiefcurator,estimatesthatWyethis aboutathirdthedrawofthemuseum’s holdings.

“Thefinancialpressuresofthe1980s causedthemuseumtoputalotofenergy intosinnmershowsandnotmuchduring therestoftheyear,”saysNicoll.’That, however,ischanging.“We’veworkedhard tobecomemoreofayear-roundmuse¬ um.’’I.astyear’sfallglassshowbroughtin asmampeopleasdidthesummershows. 'Ilioughthemuseumcontinuestowiden bothitscustomerbase—drawingpeople fromnorthernMassachusetts,NewIlampshire,andoccasionallyVermont,aswell asitsseasonalbase,theaveragesummer attendanceof600perdaygenerallyplum¬ metstofrom15to150peopleperdayin winter.Thesummerharvestisarealityin Maine.

Exhibitionsarcrelatedtothecollection —whetherdrawingfromthemuseum’s strengths,asinthe“Wyethat80”show thissummer,oraugmentingitsweakness¬ es.ThemuseumownsnoAlexKatzcs; therefore,itbroughtinamajorshowof Katz.

'Themuseum’scollectionsstrategyisa practicalone,basedonavailability,loca¬ tionandeconomics.’IlioughthePortland MuseumofArtisMaine’slamestandold¬ estgeneralfineartsmuseum,itdoesnot haveaRenaissancecollection,orworkof classicGreece.Forsuchclassics,art-lovers mayheadtoBowdoinCollege—orsouth

“Weworkinconcentriccircles”says Nicoll.“Wedohaveworkherethathas nothingtodowithMaine,butitisartthat elucidatestheMainework.”Thesecircles arecenteredinMaine,butofferabroad historicalandartisticcontext.Nicollsites FrankWestonBenson,anartistwho workedextensivelyonNorth1Laven,fre¬ quentlyintheImpressionistmode,and alsospentsometimeteachingatthePort¬ landSocietyofArt.Bensonneat])'anchors theworkofChildeHassam,anImpres¬ sionistwhofrequentlyworkedinthe region.HisworkfurtheranchorsaMar)' Cassatt,anAmericanImpressionistwho workedinFrance,whoanchorsworkby AugusteRenoir.Thecontextisneatlyaid¬ edbylong-termloansfromScottBlack’s Impressionistcollectionandpermanent loanslikethatoftheJohnWhitneyPayson.

Thefocusissomethingofashiftfrom Holvcrson’sday,whentheideaofaState ofMaineCollectionwasjustbeginningto guidethecollectionpolicy.Atthattime,it wasacceptingawiderrangeofEuropean work,Orientalwork,decorativeartassoci¬ atedwithMaine,andanexcellentcollec¬ tionofmid-to-late-twcntiethcentury printsthatwereaffordableatatimewhen anoilbyAndvWarhol,orasculptureby ClaesOldenburg,forinstance,would ahead)’havebeenoutofreachforthe museum.

Since1lolvcrson,thecollectionhas becomeevenmorefocused.Alarge bod)’ofJapaneseswordguards broughtintothemuseumduring Ilolvcrson’stime(the)’camefrom thecollectionofPortland-bornartistCole¬ man),hasbeendeacccssionedinfavorof Mainework.Theswordguardsfound theirwaybacktoJapan,acoursethat makessensetoNicoll,whosawthemasa tangentthatdidn’tmakesenseforthe Mainemuseum.Thatdecisiondocsnot makesensetoIlolvcrson,whohadafall¬ ingoutwiththemuseumbutstillclosely monitorsitsdirection.Hesawthesword guardsasthestartofanOrientalcollec¬ tiontocomplementart-worksfromMaine’s ChinaTradeandlamentsitsdeparture. Healsoworriesthatalargeportionofthe museum’sbudgetgoestoexhibitsthat havenolastingpowerintheinstitution. Nicollmightdiffer.Workingwithacol¬ lectionscommitteefromthecommunit)’ andastaffthatincludesAprilcGallant, curatorofworksonpaper,andKenneth

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MARGUERITE ROBICHAUX

Wayne,whocuratesEuropeanwork,she isquitepreciseinherdesiresforthe museum.Quitefrequently,piecesfrom exhibitionsfindtheirwayintothemuse¬ um’scollection,especiallyfromshows likethePerspectivesseriesfeaturingwork bycontemporaryMaineartists.The| museumrecentlyboughtBrettBigbee,| AlanBrat’,GregParkerfromsuchshows.[ Workingonexhibits,shesays,“offersus depthofknowledge”oftheartist. Asforthegeneralcollection,Nicollhas identifiedspecificartists,evenspecific areasofworkofthoseartists.“There’sa weirdKarmicdimensiontothisexercise,” shesays.Assoonasthemuseumfocused inonBenson,arelativeoftheartistcalledI wonderingifthemuseumwouldbeinter¬ estedinacanvasforthecollection.She’d begladtohavemore,bytheway.Her wishlistalsoincludesworksbyFrederick Church,MarsdenIlartley,EdwardHop¬ per,AlexKatz,RichardEstes,andmore. Butwithanannualcollectionsbudgetof $15,000,tops,plusthreeendowmentsthat bringinfrom$5,000to$8,000ayear,the museummustbecarefidaboutwhatit buys.Whenspecific,identifiedpieces comeup,themuseumworkswithits FriendsoftheCollections,acommittee gearedtofundraisingforart.Recently,the FriendshelpedbuyamajorMarguerite Zorach,“DianaoftheSea,”andthe museum’sfirstsculpturebyLouiseNevelson.Some14donorswerefoundforthe Ncvelson,raisinganamountthatmore thanmatchedwhatthemuseumwaspre¬ paredtogix'c.FortheZorach,some30 donorsputupalittlelessthanhalfofthe purchaseprice.

Thoughthemuseumtendstorelyalot ongifts—someI5arcconsideredeach monthwhenthecollectionscommittee meets—italsorefusesalotofoffers. “We’llrefuseifit’snotmuseumquality,or notpartofthemissionofthemuseum.” saysNicoll.Forinstance,alarge-scale paintingofanothighlysuccessfulNew Yorkartistwasrecentlyofferedtothe museum.NotbeingMaine-related,and theworkbeingofdubiouslongevity,itwas refused.

Accessioningawork,Nicollnotes,re¬ quiresalargeinvestment.“Weneedto insurethework,catalogueit,registerit, sometimesrestoreorconserveit.”/Andthe museumisalreadybehind.Muchofits holdingshaveyettoberesearched, amongitsomeoftheBurragcwork./Vsfor Nycc,hernamestilldrawsablank.

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Ifyouhaven’tbeenthereforawhile, stopby,becauseit’sprosperous,more inventivethanever,andnowopensev¬ endaysaweekforbothmeals.

Forbreakfast,weorderedTheHuey P.Long($4.95),zippinglyauthentic withandouillesausage,spicyeggs, homefries,andraisintoast,andaRed Eye($4.50),star-stunningwithbarbe¬ cuePolishkielbasa,spicyeggs,gritsor “homies,”andtoast.Butitwasthe thirdmemberofourpartywhowalked awaywithallthehonorswhenshe orderedTheCajunScramble($6.25), deliciouswithrealcrawfish,hotpep¬ pers,andouillesausage,andcheddar cheesescrambledwitheggs.“Itwas good,”shesays,lookingovermyshoul¬ deras1writethis,stillremembering.

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The only Afghan Restaurant in Maine is conveniently located downtown at 419 Congress Street, where the Habibzai family brings traditional Afghan cuisine to Portland using ingredients such as Basmati rice, lamb, chicken, beef, spinach, eggplant, green beans, and pumpkin. The results—including many vegetarian dishes—aredeliciousbutnotloospicy,andattractpatrons from as far away as Boston and Bangor. Bring your own wine and beer to complement meals that have earned 31/2 stars out of four and the ‘Best Ethnic Food" award fromCBW. Catering and take-out are available, and most majorcreditcardsareaccepted.773-3431.

Aubergine Bistro-Wine Bar is a true Parisian bistro in theheartofPortlandat555CongressStreet.Inacasually elegant atmosphere, cuisinier David Grant prepares French bistro dishes such as Sweetbreads with Madeira and Cepes and Panfried Oysters with Tomato Sabayon. Savor a piece of France with the area's only traditional French cheese course. Charming and affordable, Aubergine is truly Portland’s answer for a new dining experience. Dinner served Tuesday-Saturday, 5:30 p.m10 p.m.; French Sunday brunch 11 a.m.-2 p.m. Closed Mondays. 874-0680.

The Audubon Room at the Inn by the Sea on Route 77 in Cape Elizabeth combines breathtaking views of the Atlantic Ocean with culinary masterpieces that feature fresh local produce, native seafood specialties, and exceptional homemade breads and desserts prepared on the premises. Some house favorites include Grilled Salmon with an Orange Basil Vinaigrette, Sauteed Oysters with Porcini and Champagne, and Lemon Custard Tart with Maine Blueberries. Patio dining and carry-out available.767-0888.

Situated in an historic stone and brick building designed by Frederick Law Olmsted of Central Park fame, the Barking Squirrel Cafe offers patrons a warm fire and a relaxingsettingbythefountaininPortland'sDeeringOaks Park, inviting comparison to New York's renowned Tavern on the Green. Open Tuesday-Sunday and holidays for lunch and dinner, with brunch served on Saturday and Sunday, the Barking Squirrel serves a broad variety of traditional,vegetanan,seafood,andworldcuisineat very affordable prices ($1.50 on up). Enjoy the huge outdoor barbecue pit for lobster and clam bakes in summertime. Take-outalsoavailable.774-5514.

The “melting pot" New American Cuisine featured at Cafe Always is heavily influenced by Nouvelle Cuisine, but without the ‘less is more" approach. Some favorite menu items are a Maine lobster and goat cheese burrito with tomatillosauceandmangosalsa;grilledfiletmignonover oven-roasted red potatoes with a parmesan crisp and vintage port demi-glace; and fresh native tuna wrapped in sun-driedtomatopestoandItalianprosciuttowithabasil buerreblanc.TheirBellinicocktailisthehighlightofa unique selection of wines and liquors, with parking and terrace dining available at 42 Middle Street Open Tuesday-Sunday at 5 p.m. for dinner. 774-9399

Cafe Stroudwater. located in the Embassy Suites Hotel at th®PortlandJetport,specializesinAmericanbistrocuisine with an emphasis on native seafood and prime cuts of ^at. but it is Chef William Boutwell's creative touches— like shrimp and lobster Napoleon with grilled eggplant, Qoat cheese, and red peppers served over a tomato coulis—that make this dining experience like no other in Portland In addition to a spectacular Sunday brunch, the Cafe also offers wine dinners, Portland's only Chef's Table, and a fine selection of locally brewed beers For

reservationscall775-0032.

At David's Restaurant you can sample four-star entrees featuring farm-fresh produce and native products like seafood sausage, sesame and coriander crusted tuna, or goat cheese packets with grilled vegetables (773-4340). David’s at the Oyster Club, set in a converted open-air market building, boasts an abundant raw bar, 20 varieties of seafood, lobster, fresh pasta, microbrews, and Maine's largest single malt scotches list (773-4340). Turino’s Stone Oven Pizzeria combines wild mushrooms, prosciutto, artichoke hearts, and fresn herbs to create authentic gourmet pizza from old Naples (780-6600). All threerestaurantsarelocatedat164MiddleStreet.

You can't beat the location of DIMillo's Floating Restaurant at 25 Long Wharf off Commercial Street for fabulous water views of Portland Harbor. Escape from the hustle and bustle of the city by watching the boats go by as you enjoy fresh Maine lobster served year-round, steak, seafood dishes, and more. Open 7 days a week from 11 a m. to 11 p.m., with a children's menu available. For drinks and a lighter menu, try their Portside Lounge. 772-2216.

Welcome to F. Parker Reidy’s, site' of the original Portland Savings Bank built in 1866 at 83 Exchange Street. Established in 1976 during the renaissance of the Old Port area. F. Parker Reidy's has become a Portland fine dining tradition, specializing in steaks and fresh seafood,butalsoofferingpasta,chicken,andsalads,with prime rib featured on weekends. Turn-of-the-century decor, personalized service, and great food create a warm and congenial atmosphere popular for both business and intimate dining 773-4731.

Deep in the heart of the mysterious Woodfords area at 540 Forest Avenue is the Great Lost Bear, where you'll findafullbarfeaturingover50(that'sright,five-o)draught beers, predominantly from local micro-breweries. Accompanying them is an enormous menu with everything from soups, salads, and sandwiches to steaks and ribs, as well as a large vegetarian selection and the best nachos and buffalo wings in town Discover where the natives go when they’re restless! Serving from 11:30 a m. to 11 30 p.m. seven days a week. 772-0300. Visit us on-line at: http://www.ime.net/bear/

Hugo's Portland Bistro, accessibly located at the intersection of Middle Street and Franklin Artery, was Portland Dining Guide's 1996 Gold Medal Winner. The innovative menu changes monthly and features fresh seafood and interesting vegetarian dishes Crab cakes are ahousespecialty,andparkingisavailable'Servingdinner only Tuesday-Saturday, with live piano music nightly. For reservations call 774-8538

Iguana Bay Mexican restaurant is the area's newest source of contemporary Tex-Mex southwestern cuisine Conveniently located only minutes north of Portland in the Portland Athletic Club at 196 Route 1 in the beautiful coastal town of Falmouth. Iguana Bay is open seven days a week from 11 a m to 11 p.m., with brunch from 11 a m to 2 p.m. on Sunday House specialties include chili rellenos, shredded beef burritos, margaritas, micro-brews, and specialty tequilas. Happy Hour is 4-6 p.m. Monday through Saturday 781-5308

At the Market Street Grille in the Portland Regency Hotel, spectacular cuisine, Old Port charm, and impeccable service come together in an elegant yet casual environment. Along with daily fresh specials featuring

foods from land and sea, the Grille's chef prepares unforgettable feasts like Seafood Fettucine with lobster, shrimp, and mussels; Baked Lobster with seafood stuffing; Steak Diane Tenderloin, and Black Angus sirloin. Visit 31 Market Street for breakfast, lunch, and dinner. Reservations accepted 774-4200.

The Pepperclub is a prize-winning restaurant (“Best Vegetarian" and "Best Value" in Fromm's Guide) featuring creativeworldcuisine.Itsblackboardmenutypicallylists five vegetarian, three fish, and three meat entries, including a superb organic beef burger. Pepperclub offers relaxed, colorful, unusually affordable dining on the edge of the Old Port with easy, free parking and good wines and beers. Open nightly at 5, payment by cash or personal check. 78 Middle Street, near Franklin Artery. 772-0531.

Voted “Best Pizza in Maine" since 1990 by the PPH and CBW, Ricetta’sBrickOvenPizzeriaistrulyatasteofthe Old Country. M. E. Curly of the PPH raves:“Ricetta’sis arguably the best pizza west of Rome." Dine-in, take-out, delivery, and catering are available, and the all-you-caneat gourmet lunch buffet includes pizzas, pastas, soups, andsalads.Afullselectionofbeerandwineisavailable, and kids eat FREE on Mondays from 3 pm till closing Located at 29 Western Avenue. South Portland 775-7400.

Saigon Thinh Thanh, 608 Congress Street, Portland. Just across Congress Square from the State Theatre and the Portland Museum of Art is Maine’s—and probably New England's—finest Vietnamese restaurant. Four-star, spicy, exotic tastes jump from the delicious fish, pork, shrimp, and scallop dishes that include Vegetable Sate Rice Vermicelli,BeanCurdwithGarlicRiceVermicelli,Scallops with Snow Peas, and extraordinary curries and specials 773-2932

Freshlobsters,shellfish,salmon,andlocalfishhavebeen specialties at the historic Seamen's Club for over three generations, while aged beef, prime rib. quiches, fresh pasta, vegetarian and southwestern selections, homebaked breads and desserts, and fresh fruits and vegetables round out the menu. The best weekend brunches on the planet include soups, turkey sandwiches, and salads, and a full bar is always available. The Lunch and “Lite" menus are served from 11 am. to 11 p.m. in a comfortable setting overlooking the harbor at 1 Exchange Streetand375ForeStreetinthehuboftheOldPort.Call 772-7311 Fax orders: 761-4444 No room charges ever for banquets and meetings: 773-3333.

Tabitha Jean's Restaurant al 94 Free Street offers you zestyAmericanregionalcuisineinacasualsettingthatis handicapped accessible and convenient to the State Theatre, the Civic Center, and the downtown arts district Their fresh seafood, pasta, vegetarian dishes, grilled entr6es, homemade desserts, and extensive wine selection received an enthusiastic four-and-a-half-star ratingfrom Maine Sunday Telegram. Validated parking is available. 780-8966.

Tortilla Flat has been serving New Englanders fine Mexican food and drink for over 25 years At 1871 Forest Avenue in Portland you can find favorites like nachos, fajitas,chimichangas,tamales,burritos,tacos,enchiladas, and frozen margaritas seven days a week, as well as seafood, steak, pork, and chicken cooked with a Mexican flair. With lunch specials starting at $3.95, a children's menu, nightly specials, a Chili Happy Hour, a screened-m deck, and take-out, Tortilla Flat is a memorable Mexican experience you can afford any time 797-8729

Musk’

PCA Great Performances, 477 Congress Street, Portland. Pianist Santiago Rodriguez performs p^TOtcchnical works by Rachmaninoff at 7:30 p.m. on Wednesday, October 8 in Merrill Auditorium. 'Pickets areSI6,$24,and$30throughPort’Ilxat8424)800.

Portland Conservatory of Music, 44 Oak Street, Portland. Soprano Christina Astrachan and the Da Ponte String Quartet perforin in recital at 8 p.m. on Saturday, September 27.'Pickets arc $10 for adults and $6forstudentsandseniors.Call775-3356.

Portland Performing Arts, 25A Forest Avenue, Portland. The African-American women’s quintet Sweet Honey in the Rock brings their a cappella music to Merrill Auditorium on Saturday, September 27. Call 761-1545.

Saco River Grange Hall, Salmon Falls Road, Bar Mills. Doreen’s Jazz New Orleans returns from the French Quarter at 7:30 p.m. on Saturday, September 13, blending clarinet, tuba, drums, and piano with thrillingresults(ticketsare$10foradultsand$8for students and seniors). 'Ilien on Friday, September 19 at 7:30 p.m., Jennifer Poiter performs haunting, original songs from her upcoming (3D with help from Jim Lyden, Carl Dimon, Larry Weddlcton, Dana Packard, and Ix>ra Walker (tickets are $8 for adults and$6forstudentsandseniors),('all929-6472.

Bowdoin College, Brunswick. Jazz singer Susannah McCorkle performs jazz and American popular songs “From Bessie to Brazil” at 7:30 p.m. on Saturday, Octotar 4 in Kresge /Xiiditormm. 'Pickets cost $10 for adultsand$8furseniors.Call725-3375.

Chocolate Church Arts Center, 804 Washington Street, Bath, legendary “Queen of the Blues” Koko Taylor (with band) opens the fall season at 7:30 p.m. on Saturday, October 11. Call 442-8455.

L/A z\rts, 49 Lisbon Street, tawiston. Rising singersongwriter Lisa McCormick performs with special guest Jonathan Fdwards at 8 p.m. on Friday, Octotar 3 in Lewiston Middle Scluxil Auditorium. 'Pickets arc $15 for adults and $12 for students and seniors. Call 782-7228 or (800)639-2919.

Jonathan’s Upstairs, 2 Bourne Lane, Ogunquit. Maine-grown folk star Daw Mallett takes the stage on Saturday, September 20 ($15); followed by the blues of Leon Rcdbone with Mimi Cates on Friday, October 24 ($20). ,\ll shows arc at 9 p.m. Call (800)464-9934 or 646-4777 for tickets and dinner reservations.

TL-aler

Portland Stage Company, Portland Performing Arts Center, 27 Forest /Venue, Portland. Shakespeare’s immortal love story Romeo and Juliet opens September 28 and runs through October 26 at 7:30 p.m. Tuesday-Friday, 5 p.m. on Saturdays, and 2 p.m. on Sundays, with an additional 9 p.m. Pay-What-YouCan show the first Saturday and an extra 7:30 p.m. show the first Sunday). 'Pickets cost $19 to $29, with discounts available for students and seniors. Box Office: 7744)465.

Oak Street Theatre, 92 Oak Street, P.O. Box 5201, Portland. 'Ilie outrageous musical comedyRuthless— capsulizcd by its director as “Shirlev Temple meets Rosemary's Raby" — runs through September 21 at 8 p.m. Thursday-Saturday and at 7 p.m. on Sunday (tickets arc $10 on Thursday and Sunday, and $14 on Friday and Saturday). Opening September 25, Paula

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Vogel’sDesdemona (a play about a handkerchief)isa madcap comedy showcasing unccnsored scenes between Desdemona, Emilia, and Bianca from the cutting-room floor of Shakespeare’sOthello (through Octolxrr 12 at 8 p.m. Thursday-Saturday and at 5 p.m. on Sunday; tickets cost $14, with half-price night on Thursday). Ongoing at Oak Street is a scries of open poetryreadingshostedbySteveLuttrellof Cafe Review magazine at 8 p.m. on the last Monday of ever}’ month ($2).BoxOffice:775-5103.

Arts Conservatory 'Theater & Studio, 341 Cumberland Avenue, Portland.The Gin Game by D. L. Coburn is a Pulitzer Prize-winning tragicomedy about a man and a woman from vastly different backgrounds sharing their common problem of loneliness while playing cards in a nursing home (through September 20). Opening October 10 isb'ire Helle!, the world premiere of a new’ musical by 1 lank Beebe about a star firefighter and how she became one (through Novemlcr 2). All performances are at 8 p.m. Friday and Saturday, 2 p in. on Sunday. 'Tickets arc $10foradults,$8forstudentsandseniors.761-2465.

Portland Players, 420 Cottage Road, South Portland. Opening October 3,JacquesRrelIsAliveandWelland LivinginParis is a sophisticated musical revue about thecomposer’slifethatshowcasestwenty-fiveofBrel’s memorable songs (through October 18 al 8 p.m. on Friday and Saturday, and at 2:30 p.m. on Sunday). Opening night tickets cost $10; all other shows arc $13. Call 799-7337.

Lyric Theater, 176 Sawyer Street, South Portland. Opening September 19 is Cole Porter’s musical CanCan (through October 9 at 8 p.m. on Friday and Saturday, and at 2:30 p.m. on Sunday). 'Tickets to evening shows cost $14, and matinees $11.799-6509.

Dance

Portland Ballet Company, 25A Forest Avenue, Portland, presents an all-Schubcrt program on Friday, October 3 and Saturday, October 4 in Portland I ligh School /\uditorium. Call 772-9671 for performance timesandticketprices.

PCA Creat Performances, 477 Congress Street, Portland. 'Trinity Irish Dance Company performs in thetraditionofthesmashmusicalRiverdance at8p.m. on Saturday, October 11. Tickets arc $16, $24, and $30.CallPortTixat842-0800fortickets.

Saco River Grange Hall, Salmon Falls Road, Bar Mills,offerscontra-dancingwithlivemusicformixers, reels,waltzes,polkas,andlinedancesprovidedbythe versatileSeaSlugsat7:30p.m.onthefirstSaturdayof every month. Beginners and singles are welcome; admission is $4 for adults and $2 for children, with a $10 maximum per family, Gill 929-6472.

Musewuus

Portland Museum of /\rt, 7 Congress Square, Portland. Alex Katz Under the Stars: American Iandscapcs1951-1995”isthefirstretrospectiveexhibit of Katz’s acclaimed paintings ranging from woodland and beach scenes in Maine to urban scenes in New York City (through September 14). “Seurat to Scverini: European Masterworks from the Roljcrt and Maurine Rothschild Family Collection” features more than 30 drawings and prints by Fdgar Degas. Sonia Delaunay, Paul Gauguin, Julio Gonzalez, Natalia Contcharova, Juan Gris, Paul Klee, Gustav Klirnt, Francis Kupka, I lanri Laurens, Fernand I/ger, Henri Matisse, Joan Miro, Piet Mondrian, Pablo Picasso, Olga Rozanova, Georges Rouault, Georges Seurat, Cino Scverini, and Edouard Vuillard (through

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Octolxr 13). “Andrew Wyeth at SO: A Celebration" focuses on the artist’s work in Maine and features more than 20 watercolors, drxbrushes, and temperas of landscapes, interiors, and portraits (through October 13). Opening October 1, “A Legacy for Maine: Masterworks from the Collection of Elizabeth B. Novce" features more than 60 works by American artists such as George Bellows, Alfred Thompson Britchcr, Herman Dudley Murphy, Abraham Walkowitz, Eitz Hugh Line, Childe I lassam, Alvan Eishcr. Eredcric E. Church, W inslow I lomer, Kol^rt Ilenri,RockwellKent,Edward1Iupper,NeilW'elliver, Alan Magee, Maurice Prendergast, William Thon, and all three W'yeths (through January 4, 1998). 'lire museum is open 10 a.in. to 5 p in. Tuesday-Saturday, 10 a.m. to 9 p.m. Tlmrsday-Eriday, and inxm to 5 p.m. on Sunday. z\dmission is $6 for adults, S5 for seniors and students, and $1 for children 6-12, with free admission for everyone Eriday evenings from 5 p.m. to 9 p.m. Call 773-AR'l‘S or (800)639-1067.

Institute of Contemporary zVt at Maine College of Art, 322 Congress Street, Portland. "The Quiet in the Lind: Evenday Life, Contemporary Art, and the Shakers” is an exhibit of the music recordings, oil paintings, photographs, sculptural installations, and videos created bv 10 internationally renowned artists in response to their residencies at Sabbathday Like, Maine —the only active Shaker community left in the world (through Septcmlxr 21). Eree and open to the public Tuesday-Sunday 11-4 and Thursday 11-9. Eor more information, call 775-5152.

Danforth Gallen, 20-36 Danforth Street, Portland. Opening September 11, “Wall Eorms-Sculptura) W'orks in ('lav" is a national exhibition focusing on ceramic sculptural forms w hich extend from the wall (through October 2). Opening September 25, "Still Life"isajuriedtravelingexhibitopentoMaineartists over 55 years of age (through June I, 1998). Opening October 9, “The Picture without the Thousand Words: The Act of the Photojournalist” explores the jxiwcrofstory-tellingimagesthroughthel>csteffortsof newspaper, magazine, and free-lance journalists nation-wide (through October 30). Meanwhile, the “Eorcst City Annual 1997 Sculpture Exhibition” will be on display in Deering Oaks Park through October. 'The gallery is open 12-4 on Wednesday, Saturday, and Sunday; and 12-8 on Thursday and Eridav (free admission). Eor more information, call 775-6245.

Oslicr Map Ubran, Smith Center for Cartographic Education, 314 Eorcst Avenue, Portland. “Maine W'iklemess Transformed: Timber, Sporting, and Exploitation of the Mooschead lake Region” outlines the mapping and exploration of the wilderness by Europeansettlers,mapmakers,timlrerbarons,railroad engineers,andsportingenthusiastsfromjustafterthe American Revolution through the 1960s (through January 4. ENSi. Library hours are 1-4:30 p.m. and 68 p.m. on W ednesday; 9 a.m.-12:30 p.m. and 1-4:30 p.m. on Thursday; and 9 a.m.-l 2:30 p.m. on Saturday. Admission is free. Eor information on the collection, call780-4850.

Maineh I rames and Gallery. 534 Congress Street, Portland, is sponsoring a public art reception cum wine and cheese soiree at which artistic and literary people may gather for the purpose of social and intellectual exchange horn 3 to 8 p.m. even Eriday Torguesthostsartists,call8284)03]or(800)826-8303.

University of Southern Maine zXrt Gallery, 37 College Avenue, Gorham. “Project 2” displays the* installationPine Bed by Marcella Manoogian (through October31).In“Project3,”installationartistRol>crt Lieber and composer David Nye combine environment and music to evoke the changing but

■ LISTINGS ■

constantpresenceoftheseain“silenhhorc:adiary”at

7 p.m. on Friday, September 26 and Saturday, September 27 at Portland Yacht Sen-ices, 58 Fore Street, Portland (admission $5). Gallery hours: Tuesday-Friday 11-4, and 1-4 on Saturdays (free admission),(-all780-5409.

Jones Museum of Class and Ceramics, Douglas I till, Sebago, houses an international collection of glass, pottery, stoneware, and porcelain from 1200 B.G. to the present that includes Sandwich glass, Chinese export porcelain. Baccarat paperweights. Majolica, /\mcrican art glass, Worcester porcelain, and more. This summer’s special exhibits arc “Decoration in Class and Ceramics,” “18th-Century Glass of the MidAtlantic States,” “65 Years of Modern Steuben,” and “Variations on a 'Hicmc: a Personal Essay.” Museum hours are Monday-Saturday 10-5 and Sunday 1-5 (through mid-Novembcr). Admission is $5 for adults, $3.75 for seniors and .W\ members, $3 for students, andfreeforchildren.Call787-3370.

Bowdoin College Museum of Art, Brunswick. “Connections with Antiquity” consists of clay, metal, and paper cut-out panels created by Maine artist George Mason in response to the ongoing exhibit “Art and Life in the Ancient Mediterranean” (through Decemlx.!23).'Iliegalleriesareopen10a.m.-5p.m. Tuesday-Saturday and 2-5 p.m. on Sunday (free admission),('all725-3275.

Bates College Museum of/Vt, Bardwell and Russell Streets, lewiston. "Alex Grey: Numinous Flesh" is on display in the Upper Gallen- (through October 10), whilethe1ower('.alien-features“FigurativeDrawing” (through December 19). For more information, call 786-6158.

Ogunquit Museum of American Art, P.O. Box 815, Shore Road, Ogunquit. “Realism in 20th-Gentury American Painting” is a major survey exhibition focusing on the changing perceptions of realism in 100 works bv William Bailey, Alexander Brook, Charles Burchfield, Clarence Carter, Charles Demutli, D)is Dixld, Martha Erlelxieher, /Man Fcltus, Audrey Flack. Robert Henri, Rockwell Kent, Ami lofquis’, Kenneth I laves Miller, William Paxton, Guv PcneduBois,LiliaCalxitPcnv,FairfieldPorter,Isaac Soyer. Robert Vickrey, and N. G. Wyeth (through SeptemlKf 30). Running concurrently is an exhibit of drawings and etchings bv Paul Cadmus, one of America’s finest draughtsmen (through September 30). The museum is open Monday-Saturday 10:305:00andSundaysfrom2to5p.m.;admissionis$3for adults. $2 for students and seniors, and free for children under 12. Call 646-4909.

Gleason Fine Art, 15 Oak Street, B<x)thbay I larlxir. “Emily Eveleth: Doughnuts Redux” showcases the artist’sheroicallyscaleddoughnutpaintingsthathave been compared to Renoir, Francis Bacon, and 17thcentury Dutch still lifes (through September 17). Callen- hours: Tuesdav-Saturdav, 10 a.m.-5 p.m. or by appointment. Call 633-6849.

Hmsworth/Vt Museum, 332 Main Street, Rockland. Maine at Work” is a comprehensive exhibition of 19th- and 20th-century paintings, sculpture, photography, prints, and drawings focusing on the ways people in Maine have worked and thought about theirworkinglives,includingdepictionsofseafaring, fishing, logging, agricultural work, domestic chores, town and office occupations, heavy industry, and personal tasks (through October 5). The museum is open 10-5 Tuesday-Saturday and 1-5 on Sunday. Admission is S5 for adults, $4 for seniors, and S3 for childrenages8-18.('all596-6457.

-Compiled by GwenThompson

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WEBETYOU’VEdrivenpastthissecret enclaveofVictorianaathousandtimesand neverseenitasyouwhizalongForest Axenueandchangelanessixtenthsofa milepastWarrenAvenueheadingwest towardRivertonParkandScbagoLike.It’s on the left-an Early Gothic Revival countryhouserighthereinPortland-at 1514EorestAvenue,screenedbybushes

andcrowningthetopofahillonaprivate, lushlylandscapedlot:thelandmarkLevi zVwood1louse,builtduringtheCivilWar. Setbackfromthestreetandcooledbv lovelyshadetrees,thishouseincludesa strikingthree-storycarriagehouse,which hasbeenrestoredwithtwofloorsofliving quartersandanobservationdeckthatlooks outoverwoodssowild“it’slikebeingin theAllagash,”sayslistingagentRichard PerkinsofMarkStimsonRealtors.“This wholehouse,”hesavs,“isPortland’s

Inside are many custom touche evocativeoftheperiod,anumberofthen inspired by the pages of Victorian. magazine,nswellasarchitecturaldetail orderedfromSanFrancisco.Notcwortb arethestenciledglassdoubledoorsinth, foyer,rescuedfromaformerVictoria: homeonBoston'sBackBay,andth: periodreproductionpaislevandtiger wallpaperinoneofthehouse’sthre. parlors,eachwithfireplace.Moder? touchesincludemarblefloorsintin hallway,Sub-Zerokitcheninwhite tile with sunken breakfast room conservatory,masterbathwith24-caragoldfaucets,andasecond-floorhottubii thereartowerwithleafyviewsand; cathedralceilingglowingwithinterior stainedglass.Bestofallistheexterior carvingthattrimstheedgeofthehouse' largegables.Notonlyisitoriginal,bur eachpiecewascanedfromasingletree Taxesare$4228.50.

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TLeAriTJkiuep

FictionByDanDomench

N'oonecouldhavepredictedmy disintegration.Foroxerfifteen yearsImethodicallyincreased myskills,myestate,andmycol¬ lectionasIremainedpractically invisibleintheNewEnglandmarket.Ata glanceIcouldaccuratelydeterminethe significanceandworthofanypainting, drawing,furniture,artobject,sculpture, glass,anddocument.Iearnedmyabilities withconstantobsessivestudyandagoniz¬ ingmemorizationandcountlessmuseum \isitsandwheneverpossible—tenderly touchingitemsofbeautywithmvsensi¬ tivehands.Iwasafocusedanddeter¬ minedchampion.

Thedayofmyfallbeganwithatrium¬ phantmorning.Awomanrespondedto my“CashForAntiquities"adabovethe TVlistingsinthePortlandtabloid.After

afewquestionstoheronthephone,Isus¬ pectedthewomanownedapieceofsome value,leuminuteslater,intheodorous kitchenofhersubsidizedapartmentina complexlitteredwithrustingtricyclesand doorstornofftheirhinges,Iliftherwood¬ enchildren’schairtothesunlight.Itwas likelycraftedforanEnglishroxalhouse¬ hold,late15thcentury,intheoriginal lacquer,withpressedgoldcoronets etchedintotheseat,inbetterthangood condition,worthtenthousandminimum onabaddav.Maybefifteen.Thewoman sitsdown,holdsherheadinherhands, andsavs,“Mygrandmothergaveittome twentyyearsago.Iwasgoingtogiveitto mydaughter,butshe’sinthehospital. Chemo...Iknowit’savaluablething..." Butthere’snotensioninherface,only worry,andshe’sbreathingsmoothlyso thefactis,shedoesn’tknowthemeritof thechair.Iofferhertwohundreddollars. Shejerks.Ithink,uhoh,toohigh,she’s suspicious,she’llbeshoppingthechairall oxertowninhalfanhour,butno,I’mon

thebeambecauseshesays,“Twohundedandfifty.”Isay,“Don’tbegreedy.Two ten.”Shesays,“Twotwentyfive.”And1 sax,“Sold.”

I’mnotexenoutoftheneighborhood withthechairinmytrunkwhenmyser¬ vicepagesme.1callthecustomerfrom mycarandthisonesoundsmorelikethe usual.Arecentwidower,aMr.Seeley,his xocalcordswhistlingintothephone, wishestomoxequietlyoutofhishome andsellexcrythingtoonedealertoaxoid embarrassment.Icantellfromhisstam¬ meringabouttheimportanceofhisdin¬ ingtablethatit,andmostlikelyexerythingelseheowns,willbejunk.

ButIgo,Isuppose,withthexaguchope thatImayfindsomethingofconse¬ quenceandbeabletoassisttheoldman inhisneedtoletgoofthepast.IIewel¬ comesmeintoacedarshinglecottage nexttotherailroadtracksoffForest Axenue.Ilisthinbodyisbarelypresent underhiscleanwhitepantsandxvhite shirt.Hemoxesquicklyandlightly

throughthehouseasifhisbonesareas hollowasafalcon’s.IIeshowsmea burned-blackbakingtinfullofhisde¬ ceasedwife’scostumejewelryashebrags aboutherdaxsasadancer.Whatgreat legsshehad.Thejewelryisworthless.1Ie tellsmeaboutasaltwaterfarmona Maineislandwherethevlivedhappilvfor forteyearsasheopenstheflapsofthe cardboardboxesofhardbackbooks pushedupagainstthecrackedplaster walls.Condensedbooks.lietellsme aboutslaughteringchickensandhiswife roastingthemoverajjplewoodforsum¬ merpeopleasheindicatestheubiquitous Wvethprintoverthefireplace.It’sasurf sceneandsun-fadedandcheap,butat leastit’srrot“Christina'sWorld.”1Iepush¬ esasideashoeboxofoldChristmascards toshowmethegrainofhischerrywood diningtable.It’snotbadforveneer.The restofthefurnitureisswampoakand pine.Noattictocheck.Nothingbutwater inthebasementandheistalkingtome nowaboutCod,abouthowhisfaithin

FICTION

Codhassustainedhimthroughahardlife andnowthedeathofhiswife.“Youmust learntopray,”hesays,“Itishardfora youngman,butwithoutpraverwearcall victimsofourappetites.”Inodpolitely, butatthispoint,1believehisentirehouse¬ holdisashipwreck,theforgettabledebris ofapoorman,becauseIamnotlistening. BecauseIhaveatenthousanddollarchild¬ ren’schairinthetrunkofmyMaximaSC andIamstupidlyover-confident.1am abouttotellhimnothanksandleave whensomethingdrawsmebacktothe shoebox.Ireachin,andasifdrawinga raffleticket,pidloutahandmadecard.It isafinepencilsketchofaruddywoman onagraniteoutcropping.Irecognizeher faceandmyheartcrampsasIturnitover andreadtheinscription.“Those,”Mr. Seeleysays,“arcnotforsale.”Iremove theHallmarks,thefoil-stampedcards,and thefadedSantasanddigfurtherinthe box.Isax’.“Wyeths.Theremustbefiftyof them.”IIesays,“Scvcntv-two...forthirtysixyearsz\ndvmademywifeaChristmas

cardandabirthdaxcardandsentitalong. Excrvsummersheroastedchickensfor himontheisland.IIelikedher.”

1say,“1willgixevoufixethousandfor thebox.”IIesays,“Ohno.Icouldn’t.”I offerten.fifteen.Twenty.Atforlv-fivc,he weakens."IfIknewvouwouldkeepthem alltogether.Inamuseumorsomething. Withnix'wife’snameonthewall.”

Ofcourse,Iassurehim,thexbelongina museum.Atseventy-fixethousand,he accepts.ButhehasacruiseshipIocatch thisewening.Hewastakingtheboxto Paristoshowhiswife’ssister.CouldIwait untilhereturns?Ialmostscream.Inless thananhourIemptymvsavingsandsafe de-positboxandmaxmycreditline.Ipay himincash.IIehandstheboxtomeasif itcontainshiswife’sashes.“Codhashis strangeways,doir’tyouthink?”hesays andwipeshiswetexeswithpointyfingers. 1can’tsleepallnight.Ipacemycondo witha16thcenturyWilkinsonswordin mygrip.WhatifsomeoneknewIhada one,maybeatwo,mavbeathreemillion

dollarcollectionofWyethstudies? Wouldtheykillforthem?

Atfirstlight1callLucyDiAngelo, thesmartestzkmericanartbuyer inBoston.ItellherwhatIhave inhand.1’hereisanugh;uglv pause.Shesays,“Itamazesme thatnoneofyoueveraskfortheen¬ velopes.Itwouldhethenaturalthingfor her,don’tyouthink,tokeeptheminthe envelopes.Apostmarkwouldbenice.I’ll lookatthem,butI’lltellyouupfront, they’refakes.”

“Butthewomanontherocks,theHel¬ ga,”Isaxandshesavs,“Yes,Iownashoe boxmyself,hedoesagreatHelga.”

I’veframedthecardsandhung themineveryroom.I’vecometo likethem.Hislinehasanalmost religiousiconicquality.AndIve keptthechildren’schair.Ive sincelearneditistheonlymissingoneof asetofthreemadeoriginallyforthe King’sChildren’sChapelinLondonin 1610.Thatmakesitworthahundred thousandminimum.Maybemore.The woman1boughtitfromreceivestwo hundredandtwenty-fivedollarsfromme eachmonth.1lerdaughterisrecovering and1amnotsurewhy,butwhenIhave courageenough,Iwillreturnthechair toherinperson.

Anditwillnotbothermeif1spendthe restofmylifepickingthroughyardsales andtearingapartdry-rottedpicture framesidioticallysearchingforforgotten lotterywinningsbecause1haveexperi¬ encedsomethingmostmenwillnever know.

1wasruinedbyamanwhocreateda detailedfictionallifethatIbelievedtotal¬ ly.AmanwhosuggestedthatIprayto Godtorelievemyravenousappetites andIbelievedhim.Iwasdefeatedbva monstertalentwholeadmetomyown hungerandencouragedmetodevour myself.z\ndnoweveryday,ashesug¬ gested.IpraytoGodandIthankHim forbringingthatmanintonwlife.

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