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Emergency Shelter Intake Form FRIDAY, AUGUST 31, 2018, 6 PM

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Emergency Shelter Intake Form FRIDAY, AUGUST 31, 2018, 6 PM LIVE RECORDING PROJECT: emergency shelter intake form FRIDAY, AUGUST 31, 2018, 6 PM by Gabriel Kahane LUTOSŁAWSKI SATURDAY, OCTOBER 26, 2019, 7:30 PM SUNDAY, OCTOBER 27, 2019, 2 PM MONDAY, OCTOBER 28, 2019, 7:30 PM Carlos Kalmar, conductor Johannes Moser, cello Witold Lutosławski Cello Concerto Introduction Four Episodes Cantilena Finale Johannes Moser Biography Moser’s discography with his exclusive A dedicated chamber musician, Moser label pentatone has won multiple is a regular at festivals including the awards, and November 2018 saw the Verbier, Schleswig-Holstein, Gstaad release of his most recent disc featuring Kissinger, Colorado, Seattle, and Brevard the Lutosławski and Dutilleux concertos. music festivals. In the 2018/19 Season, Moser was Artist- Renowned for his efforts to expand the in-Residence with the Bournemouth reach of the classical genre, as well as his Symphony Orchestra, Royal Scottish passionate focus on new music, Moser National Orchestra, Berlin Radio has recently been heavily involved in Symphony Orchestra, and the Oregon commissioning works by Julia Wolfe, Johannes Moser Symphony, undertaking a diverse range Ellen Reid, Thomas Agerfeld Olesen, Johannes Kalitzke, Jelena Firsowa, and Johannes Moser last appeared with the of projects including concerto and solo Andrew Norman. Oregon Symphony on January 14, 2019, performances, education and outreach when he performed Shostakovich’s activities, and a chamber orchestra tour Throughout his career, Moser has Cello Concerto No. 1 with conductor directed from the cello. been committed to reaching out to all Carlos Kalmar. Other highlights of last season include audiences, from kindergarten to college and beyond. He combines most of his German-Canadian cellist Moser Moser’s debut with the Vienna concert engagements with masterclasses, has performed with the world’s Philharmonic and Oslo Philharmonic school visits and preconcert lectures. leading orchestras such as the Berlin orchestras, the World and European Philharmonic, New York Philharmonic, premieres of Andrew Norman’s Cello Moser plays on an Andrea Guarneri Los Angeles Philharmonic, Chicago Concerto, and two trips to Australasia Cello from 1694 from a private Symphony, bbc Philharmonic at the including a tour with the New Zealand collection. Proms, London Symphony, Tokyo nhk Symphony Orchestra followed later in the Symphony, and the Philadelphia and season by concerts at the Australian Cleveland orchestras with conductors of Festival of Chamber Music, Melbourne the highest level. Symphony Orchestra, and in recital at the Sydney Opera House. Throughout the concerto, Lutosławski In the Cantilena, soloist and orchestra WITOLD LUTOSŁAWSKI presents soloist and orchestra in near- briefly reconcile their musical argument 1913–94 constant conflict. Many, including before the full orchestra asserts its Rostropovich, heard the concerto as a overwhelming sonic power. The Finale, Cello Concerto struggle between the individual and wrote Lutosławski, features “a sort of composed: 1969–70 external oppressive forces, e.g., an challenge between the cello and the first oregon symphony artist working under the watchful, orchestra, after which the cello – playing performance censorious eye of the Soviet state. The three very rapid sections – is ‘attacked’ by letter Lutosławski sent to Rostropovich different small groups of instruments. instrumentation: solo cello, piccolo, – at Rostropovich’s request – explained Finally the orchestra prevails… after which 3 flutes, 3 oboes, 3 clarinets, bass the “certain musical situations” with the cello moans a lamentation… instead clarinet, 3 bassoons, contrabassoon, descriptive language meant to help the of a gloomy disappearing conclusion that 4 horns, 3 trumpets, 3 trombones, tuba, cellist interpret the music. For his own one might have expected, a short and fast timpani, bass drum, orchestra bells, part, however, Lutosławski rejected coda… recalls the beginning of the work, small cymbals, snare drum, suspended Rostropovich’s metaphor about the or rather its bright atmosphere…” cymbal, tambourine, tam tam, tenor solo cello. When Lutosławski provided drum, tom-toms, vibraphone, whip/ comments for the premiere, he took clapper, xylophone, celesta, piano, harp, pains to describe the music in detail, but and strings deliberately avoided any non-musical estimated duration: 25 minutes interpretation of the work. Presumably, Lutosławski wanted listeners to come to their own conclusions and evaluate the “I can’t guarantee I will play it well, but concerto on purely musical terms. I certainly will play it often.” – Mstislav “The concerto consists of four movements Rostropovich, urging Witold Lutosławski to played without a break: Introduction, write him a cello concerto Four Episodes, Cantilena, and Finale,” The late cellist/conductor Mstislav Lutosławski wrote. “In the Introduction, Rostropovich did more to expand I examine the note D, repeated at one cello repertoire than any other cellist. second intervals in an expressionless When Rostropovich died in 2007, at manner as a moment of complete the age of 80, his obituary noted more relaxation, or even absentmindedness… than 100 new works for cello that passing on from the state of Rostropovich had inspired, encouraged, absentmindedness to that of concentration and/or commissioned. Many of the and the other way round is always abrupt… 20th century’s greatest composers The last moment of absentmindedness is wrote for Rostropovich, including slightly different from the previous ones, Dmitri Shostakovich, Benjamin Britten, with dynamic differences, grace-notes, etc. Sergei Prokofiev, Olivier Messiaen, and It is as if the cello, having been forced to Witold Lutosławski. perform monotonous, boring repetitions, were trying to diversify them in a naïve, “I needed more than a year and a half silly way. At this moment, trumpets to bring this Concerto to a successful intervene to stop the cello and shout out conclusion,” Witold Lutosławski wrote an angry phrase. in his program notes for the premiere. “I sent the pages to Rostropovich “After a five-second pause, the cello begins bit by bit as they were drafted. I also the first Episode, inviting a few instruments wrote him a letter explaining the to a dialogue… Brasses put an end to it, form my concerto was taking, using a as they did at the end of the preceding vocabulary more literary than musical. movement. Other Episodes unfold in a I have done it purposely in order to similar manner. Their character is always make certain musical situations in the grazioso, scherzando [pretty or joking], score clearer and more suggestive. But or the like. Only the interventions of the it does not imply any literary or extra- brasses are serious and will remain so musical meaning…” nearly until the end of the piece.” OREGON SYMPHONY • CARLOS KALMAR, MUSIC DIRECTOR LIVE RECORDING PROJECT: emergency shelter intake form FRIDAY, AUGUST 31, 2018, 6 PM Carlos Kalmar, conductor Alicia Hall Moran, mezzo-soprano Holland Andrews, Gabriel Kahane, and Holcombe Waller, chorus of inconvenient statistics Maybelle Community Singers Gabriel Kahane emergency shelter intake form I. what brings you here? II. the chorus of inconvenient statistics III. where did you stay last night? IV. if you answered yes to “living with family” V. have you ever been evicted? VI. certainly we can all agree VII. have you received any income in the last thirty days? VIII. do your co-workers know that you have lost your home? IX. are you eligible for a section 8 voucher? X. has your physical health caused you to lose your housing? XI. a brief history of the subprime mortgage loan crisis XII. have you ever been denied a lease or loan? XIII. thank you for completing this form THIS CONCERT IS BEING RECORDED! Please note that this concert is being recorded for future release. We ask patrons to be as quiet as possible during the performance, and to refrain from turning pages until movements are complete. ARLENE SCHNITZER CONCERT HALL emergency shelter intake form LEAD RECORDING SPONSORS Anonymous Scott Showalter Karen & Bill Early The Standard Jim & Karen Halliday Robert and Barre Stoll Fund of the Tige & Peggy Harris Oregon Community Foundation Robert & Janis Harrison Nancy & Walter Weyler William & Flora Hewlett Foundation Mr. & Mrs. Homer Williams Holzman Foundation/ Renée & Irwin Holzman Oregon Symphony Biographies An avid theater artist, Kahane has appeared twice at the bam Next Wave Festival, in 2014 with the critically-lauded staged version of The Ambassador, directed by Tony-winner John Tiffany; and returning in 2017 with 8980: Book of Travelers, directed by Daniel Fish. He is also the composer-lyricist of the musical February House, which premiered in 2012 at the Public Theater. Alicia Hall Moran Gabriel Kahane A graduate of Brown University and two- Alicia Hall Moran – mezzo soprano and Over the last decade, Gabriel Kahane has time MacDowell Colony fellow, Gabriel lives composer – conjures from the sonic quietly established himself as a songwriter in Brooklyn, ny. molecules of classical music and jazz a all his own, grafting a deep interest in creative world entirely her own. storytelling to a keen sense of harmony The Her latest album, Here Today (2017), was and rhythm. His major label debut, Ambassador, a study of Los Angeles seen released to high praise with transcendent through the lens of ten street addresses, was vocal performances that travel easily from hailed by Rolling Stone as “one of the year’s jazz club to symphony hall. All About Jazz very best albums.” raved, “I may not know from which depth of her soul Alicia Hall Moran summoned Gabriel has collaborated with a diverse array Here Today, but I do know that it will negate of artists, including Paul Simon, Sufjan any and every imposter who tries to take Stevens, Andrew Bird, Blake Mills, and Chris Holland Andrews its place.” Her ice-skating operatic project Thile, the front man of Punch Brothers, for Breaking Ice: Battle of the Carmens on the whom Kahane opened fifty concerts in the Holland Andrews is an American extended- 2018 Prototype: Opera/Theatre/Now Festival, U.S. in 2015 and 2016. As a composer, he technique vocalist, composer, and performer resulted in a New York Times feature.
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