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'''''Music for a Time of War''''' is the 2011 concert program and subsequent album recording by the [[Oregon Symphony]] under the [[Artistic director|artistic direction]] of [[Carlos Kalmar]]. The program contains four compositions inspired by war: [[Charles Ives]]{{'}} ''[[The Unanswered Question]]'' (1906), [[John Adams (composer)|John Adams]]{{'}} ''[[The Wound-Dresser]]'' (1989), [[Benjamin Britten]]'s ''[[Sinfonia da Requiem]]'' (1940) and [[Ralph Vaughan Williams]]{{'}} [[Symphony No. 4 (Vaughan Williams)|Symphony No. 4]] (1935). The recording sessions marked the Oregon Symphony's first performances of ''The Wound-Dresser'' as well as [[baritone]] [[Sanford Sylvan]]'s debut with the orchestra. The program was first performed on May 7, 2011 at the [[Arlene Schnitzer Concert Hall]] in [[Portland, Oregon]], with an additional performance the following day. Both concerts were recorded for album release. On May 12, the Symphony debuted at [[Carnegie Hall]], repeating the program performed in Portland at the inaugural Spring for Music Festival.
'''''Music for a Time of War''''' is the 2011 concert program and subsequent album by the [[Oregon Symphony]] under the [[Artistic director|artistic direction]] of [[Carlos Kalmar]]. The program consists of four [[composition]]s inspired by war: [[Charles Ives]]{{'}} ''[[The Unanswered Question]]'' (1906), [[John Adams (composer)|John Adams]]{{'}} ''[[The Wound-Dresser]]'' (1989), [[Benjamin Britten]]'s ''[[Sinfonia da Requiem]]'' (1940) and [[Ralph Vaughan Williams]]{{'}} [[Symphony No. 4 (Vaughan Williams)|Symphony No. 4]] (1935). The recording sessions marked the Oregon Symphony's first performances of ''The Wound-Dresser'' as well as [[baritone]] [[Sanford Sylvan]]'s debut with the company. The program was performed on May 7, 2011 at the [[Arlene Schnitzer Concert Hall]] in [[Portland, Oregon]] and again the following day. Both concerts were recorded. On May 12, the Symphony debuted at [[Carnegie Hall]], repeating the program at the inaugural Spring for Music Festival.


In October 2011 the ''Music for a Time of War'' recording was released through the Dutch [[record label]] [[PentaTone Classics]]. The album marked the orchestra's first recording in eight years as well as Kalmar's first with the Oregon Symphony. The live performances and album received favorable reviews; the recording performed well commercially, debuting at number 31 on ''[[Billboard (magazine)|Billboard]]''{{'s}} Classical Albums chart. Several publications included the album on their lists of the best classical recordings of 2011. The album earned three recognitions from the [[National Academy of Recording Arts and Sciences]] for the [[2013 Grammy Awards]]. Kalmar and the Oregon Symphony were nominated in the categories [[Grammy Award for Best Orchestral Performance|Best Orchestral Performance]] and [[Grammy Award for Best Engineered Album, Classical|Best Engineered Album, Classical]] (along with engineers Jesse Lewis and John Newton and mastering engineer Jesse Brayman). Producer [[Blanton Alspaugh]] was nominated for [[Grammy Award for Producer of the Year, Classical|Producer of the Year, Classical]] for his contributions to ''Music for a Time of War'', among other recordings.
In October 2011 the recording was released by Dutch [[record label]] [[PentaTone Classics]]. The album marked the orchestra's first recording in eight years and Kalmar's first with the Oregon Symphony. The live performances and album received favorable reviews; the recording debuted at number 31 on ''[[Billboard (magazine)|Billboard]]''{{'s}} Classical Albums chart. The album made several lists of the best classical recordings of 2011. The album earned three recognitions from the [[National Academy of Recording Arts and Sciences]] for the [[2013 Grammy Awards]]. Kalmar and the Oregon Symphony were nominated in the categories [[Grammy Award for Best Orchestral Performance|Best Orchestral Performance]] and [[Grammy Award for Best Engineered Album, Classical|Best Engineered Album, Classical]] (along with engineers Jesse Lewis and John Newton and mastering engineer Jesse Brayman). Producer [[Blanton Alspaugh]] was nominated for [[Grammy Award for Producer of the Year, Classical|Producer of the Year, Classical]] for his contributions to ''Music for a Time of War'', among other recordings.


==Program==
==Program==

Revision as of 22:51, 4 February 2013

Music for a Time of War
OrchestraOregon Symphony
ConductorCarlos Kalmar
ComposerCharles Ives
John Adams
Benjamin Britten
Ralph Vaughan Williams
VenueArlene Schnitzer Concert Hall, Portland, Oregon; Carnegie Hall, New York City
Associated albumMusic for a Time of War
Date(s)May 7–8; 12, 2011
GuestsSanford Sylvan

Music for a Time of War is the 2011 concert program and subsequent album by the Oregon Symphony under the artistic direction of Carlos Kalmar. The program consists of four compositions inspired by war: Charles Ives' The Unanswered Question (1906), John Adams' The Wound-Dresser (1989), Benjamin Britten's Sinfonia da Requiem (1940) and Ralph Vaughan Williams' Symphony No. 4 (1935). The recording sessions marked the Oregon Symphony's first performances of The Wound-Dresser as well as baritone Sanford Sylvan's debut with the company. The program was performed on May 7, 2011 at the Arlene Schnitzer Concert Hall in Portland, Oregon and again the following day. Both concerts were recorded. On May 12, the Symphony debuted at Carnegie Hall, repeating the program at the inaugural Spring for Music Festival.

In October 2011 the recording was released by Dutch record label PentaTone Classics. The album marked the orchestra's first recording in eight years and Kalmar's first with the Oregon Symphony. The live performances and album received favorable reviews; the recording debuted at number 31 on Billboard's Classical Albums chart. The album made several lists of the best classical recordings of 2011. The album earned three recognitions from the National Academy of Recording Arts and Sciences for the 2013 Grammy Awards. Kalmar and the Oregon Symphony were nominated in the categories Best Orchestral Performance and Best Engineered Album, Classical (along with engineers Jesse Lewis and John Newton and mastering engineer Jesse Brayman). Producer Blanton Alspaugh was nominated for Producer of the Year, Classical for his contributions to Music for a Time of War, among other recordings.

Program

Music for a Time of War contains four classical compositions by 20th-century composers based on the theme of war.[1] Kalmar stated, however, that the program was not inspired by current events and that not every composition included within the program was written specifically because of war.[2] He also warned that audiences should not attend the performances anticipating an optimistic conclusion:

There is redemption in our concert, but not at the end. I think that is an important point. I don't think that anybody who goes to this concert will come out and think everything is alright. I think the pacing is good because nothing is alright. If we humans have to live with war, that is pretty much what the message should be.[2]

The program begins with Charles Ives' The Unanswered Question, originally the first of Two Contemplations, composed in 1906 (its counterpart being Central Park in the Dark).[3] Theodore Bloomfield, who would later serve as music director of the Oregon Symphony from 1955 to 1959, conducted its world premiere at the Juilliard School in New York in 1946. The Oregon Symphony had first performed the work in January 1974, under Lawrence Leighton Smith, and had played it under Kalmar in January 2007. The Unanswered Question, which is approximately six minutes in length, contains parts for clarinet, flute, oboe, trumpet and strings.[3] The existential composition starts softly and builds with a repeated "ambiguous" question delivered by an offstage trumpet solo and answered by other instruments.[1][3]

"Our program this year is a stunning, intense trip on the topic of war. It begins with a general question (that Ives did not intend to link to the theme of war), and it shows deep emotionality, sorrow, pain, harshness, brutality and peace. Not necessarily in that order, but it is a full package. A great opportunity!"

Carlos Kalmar on the program submitted to the Spring for Music Festival, also performed in Portland prior to the Oregon Symphony's Carnegie Hall debut[4]

The second composition is The Wound-Dresser, American minimalist composer John Adams' account of Walt Whitman's experience as a medic during the American Civil War. The work refers to Whitman's 1865 poem of the same title, part of a greater collection of poems related to the conflict.[3][5] Adams wrote the composition following the death of his father, who suffered from Alzheimer's disease and was cared for by his wife (Adams' mother). According to the Music for a Time of War program notes, Adams was also influenced by friends who died of HIV/AIDS during the 1980s and how their struggles impacted loved ones. In his own notes, Adams wrote: "I was plunged into an awareness not only of dying but also of the person who cares for the dying... The bonding that takes place between the two is one of the most extraordinary human events that can happen – something deeply personal of which most of us are completely unaware."[3] The work, which is approximately 20 minutes in length, contains parts for bass clarinet, bassoon, clarinet, solo baritone, flute, horn, oboe, piccolo, piccolo trumpet, synthesizer, timpani and strings.[3] In Kalmar's program the baritone soloist is Sanford Sylvan, for whom the piece was written in 1989.[5][6][7] Adams premiered the piece with the Saint Paul Chamber Orchestra and Sylvan in February 1989;[3] Sylvan's performance subsequently earned him a Grammy Award nomination.[7][8] The live recording sessions marked the first performances of The Wound-Dresser by the Oregon Symphony as well as Sylvan's debut with the orchestra.[6][7]

File:Ives-adams-rvw-britten.jpg
Music for a Time of War featured composers, clockwise from top: Charles Ives, John Adams, Ralph Vaughan Williams and Benjamin Britten

The program continues with Benjamin Britten's Sinfonia da Requiem (1940), commissioned by the Japanese government to commemorate the 2,600th anniversary of the Japanese empire. Britten, a pacifist, took the opportunity to compose a work that expressed his anti-war sentiments as well as his grief over the deaths of his parents.[1] The Japanese were displeased with Britten's composition for its Christian connotations and melancholic tone, deeming it unsuitable for the national ceremony. However, Britten was unapologetic about his work.[3] Sinfonia da Requiem contains three movements—"Lacrymosa" ("Weeping"), "Dies Irae" ("Day of Wrath") and "Requiem Aeternum" ("Eternal Rest")—and alludes to the Catholic Church's Requiem.[3] The work premiered in March 1941 at Carnegie Hall, performed by the New York Philharmonic with John Barbirolli conducting. The Oregon Symphony premiered the composition on February 26–28, 2005 with Kalmar conducting; these performances marked the orchestra's most recent before Music for a Time of War. Approximately 18 minutes in length, the symphony contains parts for alto flute, alto saxophone, bass clarinet, bass drum, bassoon, clarinet, contrabassoon, cymbals, English horn, flute, harp, horn, oboe, piano, piccolo, snare drum, tambourine, timpani, trombone, trumpet, tuba, whip, xylophone and strings.[3] The end of the symphony marked the completion of the program's first half. Kalmar requested that the audience hold their applause from the start of the program until the end of Britten's symphony.[1]

Music for a Time of War ends with Ralph Vaughan Williams' Symphony No. 4, composed during 1931–1934. Williams did not write the symphony about a specific subject; once he quipped that the work was "about F minor" and his wife insisted he had "[experimented] with purely musical ideas".[3] However, critics interpreted the piece as a reflection of the political situation in Europe in 1935. The BBC Symphony Orchestra, conducted by Adrian Boult, premiered the symphony at Queen's Hall in London in April 1935. Boult considered Symphony No. 4, a dissonant work inspired by Beethoven, to be a "'magnificent gesture of disgust' against war and fascism".[3] The Oregon Symphony first performed the work in February 1959 with Bloomfield conducting; prior to the May 2011 concerts, the ensemble had not performed the symphony since October 2001, with James Judd conducting.[3] Approximately 34 minutes in length, the symphony contains parts for bass clarinet, bass drum, bassoons, clarinet, contrabassoon, cymbals, English horn, flute, horn, oboe, piccolo, snare drum, tenor saxophone, timpani, triangle, trombone, trumpet, tuba and strings.[3]

Performances and broadcasts

Portland, Oregon's Arlene Schnitzer Concert Hall, where the program debuted and was recorded for album release

The Oregon Symphony presented the program at the Arlene Schnitzer Concert Hall in Portland, Oregon the evening of May 7 and the afternoon of May 8, 2011.[9][10] Both performances were recorded for album release by the Boston-based company Soundmirror.[6][11][12] The Symphony debuted at Carnegie Hall on May 12,[9] repeating the program at the inaugural Spring for Music Festival.[10][13][14] The Symphony raised $300,000 to fund travel and hotel expenses in order to participate in the concert series, which invites orchestras "dedicated to distinctive and adventurous programming" to perform "unusual repertoire".[2][4][15] In addition to the Oregon Symphony, the inaugural festival presented seven ensembles within nine days, including the Albany Symphony Orchestra, Dallas Symphony Orchestra, Montreal Symphony Orchestra, Orpheus Chamber Orchestra, Saint Paul Chamber Orchestra and Toledo Symphony Orchestra.[15] Orchestras were invited based on their submitted program proposals.[4] No other participating ensembles presented a program based on a single-topic theme.[1] In February 2011, three months before the Carnegie Hall performance, The Oregonian reported that nearly half of the 1,000 tickets reserved for the Oregon Symphony had been sold.[15] Kalmar also later confirmed that 450 Oregonians traveled to New York City to witness the performance.[16]

Portland's classical radio station, KQAC, broadcast the concert live throughout the Pacific Northwest as part of an ongoing partnership with the Symphony.[15][17][18] The Carnegie Hall performance was broadcast live across the United States.[4] WQXR-FM, the classical radio station licensed to Newark, New Jersey and serving the New York City metropolitan area, broadcast the Carnegie performance live in 3D sound in collaboration with the design and engineering consulting company Arup.[19][20] WQXR also hosted a live chat on their website.[21] Prior to the live broadcast, WQXR's Q2 Music provided "[their] own somber take" on the Oregon Symphony's war-themed concert by airing a program with works by Lowell Liebermann, Seppo Pohjola, Steve Reich, Frederic Rzewski, Dmitri Shostakovich and John Adams.[22] KQAC aired the program again in November 2011.[23] Since then, the station broadcast a CD release program in April 2012 and has also aired select compositions from Music for a Time of War.[24]

Reception

The concert program received positive reception in Portland, New York City and elsewhere.[13][25] The Oregonian's David Stabler wrote that during the May 7 performance the orchestra displayed peak condition and "played with a precision and intensity that would have been unattainable a decade ago".[1] He complimented Sylvan's diction and emotional engagement, but wrote that some words were difficult to hear. Stabler called the timpanist's performance during Britten's symphony "fierce" and the orchestra's playing "clear and intentional."[1] James Bash of Oregon Music News wrote a positive review of the New York performance, describing it as more enhanced, dramatic and intense than the Portland concerts partly because of the venue's superior acoustics.[26] Bash described the orchestra's performance of The Unanswered Question as "compelling and auspicious" and wrote that Sylvan's vocals during The Wound-Dresser "conveyed the sensitive text superbly".[26] In addition to complimenting the Symphony overall, Bash highlighted contributions from solo performers by name and instrument. After noting the audience's enthusiastic response to the performance, including multiple bravos and particular recognition for Kalmar, Bash quipped "the Oregon Symphony may be regional in terms of size and budget, but they are world-class when they play".[26]

Following the New York concert, music critic Alex Ross tweeted: "Triumphant Carnegie debut for the Oregon Symphony -- best of Spring for Music so far. Eloquent Sylvan, explosive Vaughan Williams."[27] On his blog, "The Rest Is Noise", Ross called the Symphony's performance "extraordinary".[28] In his two-page review of Spring for Music for The New Yorker, Ross devoted more coverage to the Oregon Symphony than the other featured ensembles and considered Music for a Time of War the highlight of the festival.[29][30] Ross called the Symphony's performance one of the "most gripping events of the current season".[14] The review also contained an illustration of Kalmar, "hair flying and all".[30] Sedgwick Clark of Musical America called the orchestra's performance of Vaughan Williams' Symphony No. 4 "positively searing... with fearless edge-of-seat tempos... breathtakingly negotiated by all."[14] After Clark's review was published, Ross posted on his blog that he and Clark concurred: the Symphony's performance was the most "remarkable" of the season.[31] Ross later included the Symphony's concert on his list of the most memorable classical performances of 2011.[32]

In September 2011, the Symphony confirmed that Kalmar's contract, previously set to expire in 2013, had been extended until 2015. According to the organization, his contract was renewed "in recognition of his significant accomplishments", specifically acknowledging the Carnegie Hall performance.[33]

Second invitation to Spring for Music and cancellation

It was also reported in February 2011 that the orchestra had been invited for a second time to perform at the Spring for Music Festival in May 2013 as one of two returning ensembles.[4][15] Kalmar said of the return invitation, "To be invited once is a thrill. To be invited twice is clear proof that we are in the artistic big leagues."[4][15] The New York Times highlighted both returning orchestras when the publication included Spring for Music on its list of anticipated classical music events for 2013.[34] The Oregon Symphony planned to perform a program with works by Thai composer Narong Prangcharoen, Maurice Ravel, Arnold Schoenberg, Franz Schubert and Kurt Weill.[34][35] However, in October 2012 the Symphony announced it would not return to Carnegie Hall in 2013 for financial reasons.[36][37] Replacing the Oregon Symphony is the Detroit Symphony Orchestra. The Detroit ensemble adapted part of the Oregon Symphony's proposed program, including Weill's The Seven Deadly Sins (1933) with featured guest Storm Large and Ravel's La valse (1920).[38]

Recording

Untitled

Music for Time of War, released through the Dutch record label PentaTone Classics on October 25, 2011,[40][41] was recorded in hybrid multichannel (surround sound) Super Audio CD format.[42] Blanton Alspaugh served as producer, John Newton and Jesse Lewis were the recording engineers, and mastering and authoring was conducted by Jesse Brayman.[39] In addition to recording the performances, Soundmirror edited, mixed and mastered the audio.[39] The album contains nine tracks (Sinfonia da Requiem and Symphony No. 4 are divided into separate tracks for each movement) and totals nearly 78 minutes in length.[5][39] Program notes for the recording were written by Steven Kruger.[43][44] The album's cover art photo is credited to orchestra member Martha Warrington.[39]

Music for a Time of War marked the orchestra's first recording in eight years as well as Kalmar's first with the Oregon Symphony.[25][41][42] The recording is the first of four albums to be produced by the Symphony and PentaTone before the end of the 2014–2015 season,[25][45][46] all under Kalmar's artistic leadership.[47] The Symphony celebrated the recording by hosting a CD release party at The Nines the weekend following its release.[41][48][49]

Reception

Professional ratings
Review scores
SourceRating
Allmusic[5]

The album performed well commercially and, like the live performances, received favorable reviews. Music for a Time of War debuted and peaked at number 31 on Billboard's Classical Albums chart the week of November 19, 2011.[13][50] On November 19, BBC Radio 3's program "CD Review", which discusses and recommends new classical music recordings, included Music for a Time of War.[51] Allmusic's Mike Brownell awarded the album 4.5 out of 5 stars and wrote that the Symphony "prove[d] they can easily stand alongside the world's great orchestras".[5] Michael Miller of The Berkshire Review appreciated the "precision and sensitivity" of the playing and Karlmar's "lucid, straightforward, and... virile" approach to the program.[44] Miller also complimented Sylvan's performance and called the recording "memorable" and "thrilling", recommending it for any classical music library.[44] Barry Forshaw of the Islington Gazette thought the war theme was "tendentious" but called the collection "enterprising".[52] James Bash of Oregon Music News called the album a "brilliant stunner", mirroring his positive review of the Carnegie Hall performance.[53]

Soundmirror also received compliments. Andrew Quint of The Absolute Sound described the sound as "vivid, highly detailed, and dynamic" as well as absent of "digital steeliness".[12] Quint also called the front-to-back layering "outstanding".[12] Michael Miller complimented the quality of the recording for having "no problems of intonation or ensemble" and said the album "belongs in the reference collection of any audiophile, whether they are inclined to multichannel playback or not".[44] Miller specifically appreciated Alspaugh and the engineers for capturing the loudness and subtleties of Sinfonia da Requiem.[44] International Record Review's Nigel Simeone recommended the recording, calling it "impressive" and writing that the live sound is "exceptionally vibrant".[12] Kalman Rubinson of Stereophile commended the ensemble, PentaTone and Soundmirror for providing "spacious, transparent, powerful sound".[12][54] Rubinson, who designated the recording as the best concept album of the year, praised the program for being "thought-provoking and restorative" and appreciated the range of emotions it summoned.[54]

Several publications included Music for a Time of War on their lists of the best classical recordings of 2011.[55] Eugene Weekly recommended the album as a "stocking stuffer" on their list of the best Oregon classical music recordings of the year. Contributor Brett Campbell called the recording one of the year's "most compelling", with "blistering, committed, sharply etched performances" that illustrate the orchestra's quality under Kalmar's leadership.[56] Similarly, Portland Monthly included Music for a Time of War on its list of fifteen "giftable" Portland albums.[57] Alex Ross of The New Yorker included the album on his list of the ten most "exceptional" classical music recordings of the year, offering holiday gift ideas in the process.[46][58] New York City's Time Out included the album as number seven on their list of the ten "Best Classical Albums of 2011".[59] The publication's Steve Smith called the collection "greater than the sum of its parts".[59] James Manishen of the Winnipeg Free Press included Music for a Time of War as number three on his list of the ten best classical recordings of the year, calling the performances "superbly prepared".[60]

Music for a Time of War earned three recognitions from the National Academy of Recording Arts and Sciences for the 2013 Grammy Awards.[61][62] Kalmar and the Oregon Symphony were nominated in the categories Best Orchestral Performance and Best Engineered Album, Classical (along with engineers Jesse Lewis and John Newton and mastering engineer Jesse Brayman).[63][64] Producer Blanton Alspaugh was nominated for Producer of the Year, Classical for his contributions to Music for a Time of War, among other recordings.[65][66] The nominations marked the orchestra's first from the Grammy Awards since 2004.[67][68]

Track listing

  1. The Unanswered Question (Charles Ives) – 5:44
  2. The Wound-Dresser (John Adams) – 20:18
Sinfonia da Requiem, Op. 20 (Benjamin Britten)
  2. "Lacrymosa (Andante ben misurato)" – 8:34
  3. "Dies Irae (Allegro con fuoco)" – 4:53
  4. "Requiem Aeternam (Andante molto tranquillo)" – 5:36
Symphony No. 4 in F minor (Ralph Vaughan Williams)
  2. "Allegro" – 8:57
  3. "Andante moderato" – 10:01
  4. "Scherzo: Allegro molto" – 5:22
  5. "Finale con epilogo fugato: Allegro molto – con anima" – 8:33

Track listing adapted from Allmusic and the album's liner notes.[5][39]

Personnel

Credits adapted from Allmusic.[69]

Orchestra roster

  • Fumino Ando – violin
  • Keiko Araki – violin
  • Jennifer Arnold – viola
  • Clarisse Atcherson – violin
  • David Bamonte – trumpet (assistant principal)
  • Joēl Belgique – viola (principal)
  • Joseph Berger – horn (associate principal)
  • Ron Blessinger – violin
  • Edward Botsford – bass (assistant principal)
  • Lily Burton – violin***
  • Ruby Chen – violin*
  • JáTtik Clark – tuba (principal)
  • Emily Cole – violin
  • Julie Coleman – violin
  • John Cox – horn (principal)
  • Dolores D'Aigle – violin (assistant principal second)
  • Eileen Deiss – violin**
  • Marilyn deOliveira – cello (assistant principal)
  • Neil DePonte – percussion (principal)
  • Frank Diliberto – bass (principal)
  • Mark Dubac – clarinet
  • Jonathan Dubay – violin**
  • Greg Ewer – violin
  • Silu Fei – viola
  • Daniel Ge Feng – violin
  • Kenneth Finch – cello
  • Lynne Finch – violin
  • Trevor Fitzpatrick – cello
  • Peter Frajola – associate concertmaster, violin
  • Erin Furbee – assistant concertmaster, violin
  • Ayako Gamo – violin***
  • Brian Gardiner – percussion***
  • Mary Grant – horn
  • Kathryn Gray – violin
  • Jonathan Greeney – timpani (principal)
  • Paloma Griffin – violin***
  • Martin Herbert – oboe (principal)
  • Donald Hermanns – bass
  • Leah Ilem – viola
  • Jennifer Ironside – harp (principal)
  • Nancy Ives – cello (principal)
  • Jun Iwasaki – concertmaster, violin
  • Jeffrey Johnson – bass
  • Mary Ann Coggins Kaza – violin
  • Graham Kingsbury – horn (assistant principal)
  • Evan Kuhlmann – bassoon (assistant principal), contrabassoon
  • Todd Kuhns – bass clarinet, clarinet (assistant principal), E-flat clarinet
  • Shin-young Kwon – violin
  • Eileen Lande – violin
  • Aaron LaVere – trombone (principal)
  • Ryan Lee – violin
  • Marlene Majovski – violin**
  • Matthew McKay – percussion
  • Carin Miller – bassoon
  • Charles Morey – violin***
  • Kyle Mustain – English horn, oboe
  • Robert Naglee – bassoon
  • Yoshinori Nakao – clarinet (principal)
  • Charles Noble – viola (assistant principal)
  • Clint O'Brien – bass*
  • Gayle Budd O'Grady – cello
  • Una O'Riordan – cello***
  • Alicia DiDonato Paulsen – flute (principal)*
  • Stephen Price – viola
  • Brian Quincey – viola
  • Kim Reece – alto saxophone***
  • Gordon Rencher – percussion*
  • Charles Reneau – bass trombone, trombone
  • Sarah Roth – violin
  • Viorel Russo – viola
  • Anna Schaum – viola***
  • Jason Schooler – bass
  • Timothy Scott – cello
  • Deborah Singer – violin
  • Susan Smith – keyboard***
  • David Socolofsky – cello
  • Chien Tan – violin (principal second)
  • Robert Taylor – trombone (assistant principal)
  • Sarah Tiedemann – flute***
  • Karen Wagner – oboe (assistant principal)
  • Martha Warrington – viola
  • Inés Voglar – violin
  • Raffaela Wahby – violin
  • Micah Wilkinson – trumpet
  • Carla Wilson – flute, piccolo
  • Jeffrey Work – trumpet (principal)

Orchestra roster adapted from the album's liner notes.[39]

"*" designates acting orchestra members; "**" designates musicians on a leave of absence; "***" designates guest musicians.[39]

See also

References

  1. ^ a b c d e f g Stabler, David (May 8, 2011). "Oregon Symphony is ready for its Carnegie Hall close-up (review)". The Oregonian. Portland, Oregon: Advance Publications. ISSN 8750-1317. Retrieved October 30, 2012.
  2. ^ a b c "What Can Orchestral Music Say About War? Ask the Oregon Symphony". Newark, New Jersey: WQXR-FM. May 12, 2012. Retrieved November 28, 2012.
  3. ^ a b c d e f g h i j k l m n Schwartz, Elizabeth (2011). "Music for a Time of War". Oregon Symphony. Retrieved October 25, 2012.
  4. ^ a b c d e f "Here We Go Again: Oregon Symphony Will Return to Carnegie Hall for 2013 Spring for Music Festival". Oregon Symphony. February 16, 2011. Retrieved October 26, 2012.
  5. ^ a b c d e f Brownell, Mike D. "Music for a Time of War". Allmusic. Rovi Corporation. Retrieved October 18, 2012.
  6. ^ a b c "The Oregon Symphony in May: (And One Great Night in June): A Grand Finale to Our 2010/11 Concert Season". Oregon Symphony. April 15, 2011. Retrieved October 25, 2012.
  7. ^ a b c "Sanford Sylvan". Oregon Symphony. Retrieved October 25, 2012.
  8. ^ Breslauer, Jan (April 5, 1992). "Music : A Voice for American Music : Baritone Sanford Sylvan is at once populist and avant-gardist, dedicated recital artist and leading-edge opera favorite". Los Angeles Times. Tribune Company. ISSN 0458-3035. OCLC 3638237. Retrieved October 25, 2012.
  9. ^ a b Bash, James (March 2, 2011). "Ticket sales show dramatic improvement for Oregon Symphony". Oregon Music News. Portland, Oregon. Retrieved October 23, 2012. {{cite news}}: Italic or bold markup not allowed in: |work= (help)
  10. ^ a b "Oregon Symphony presents: Music for a Time of War". Portland Center for the Performing Arts. 2011. Retrieved October 23, 2012.
  11. ^ "Oregon Symphony Concerts Set to Hit the Airwaves on All Classical 89.9 FM". Oregon Symphony. April 24, 2012. Retrieved October 26, 2012.
  12. ^ a b c d e "Oregon Symphony: Music for a Time of War". Soundmirror. Retrieved November 28, 2012.
  13. ^ a b c Bash, James (November 24, 2011). "Oregon Symphony CD hits Billboard Classical chart". Oregon Music News. Portland, Oregon. Retrieved October 18, 2012. {{cite news}}: Italic or bold markup not allowed in: |work= (help)
  14. ^ a b c "Oregon Symphony Conductor Bio: Carlos Kalmar". Oregon Symphony. Retrieved October 23, 2012.
  15. ^ a b c d e f Stabler, David (February 16, 2011). "Oregon Symphony gets a second invitation to play Carnegie Hall". The Oregonian. Portland, Oregon: Advance Publications. ISSN 8750-1317. Retrieved October 25, 2012.
  16. ^ "Spring For Music: Looking Back: From Carlos Kalmar". Carnegie Hall Corporation. April 13, 2012. Retrieved October 26, 2012.
  17. ^ "Oregon Symphony and Musicians Agree to New Three-Year Contract". Oregon Symphony. January 25, 2012. Retrieved October 26, 2012.
  18. ^ "Calder to Return to Canada". Oregon Symphony. June 14, 2012. Retrieved October 26, 2012.
  19. ^ "Live Broadcasts: Oregon Symphony: Music for a Time of War". Newark, New Jersey: WQXR-FM. May 12, 2012. Retrieved October 26, 2012.
  20. ^ "WQXR Presents Spring for Music Concerts in 3D". Newark, New Jersey: WQXR-FM. May 2, 2011. Retrieved October 26, 2012.
  21. ^ "Spring for Music: A Seven-Part Series of Live Orchestral Concerts on WQXR". Newark, New Jersey: WQXR-FM. 2011. Retrieved October 26, 2012.
  22. ^ "Q2 Music: Spring Fever: Music in Time of War". Newark, New Jersey: WQXR-FM. May 12, 2012. Retrieved October 26, 2012.
  23. ^ "Quarterly Issues Programming Report" (PDF). Portland, Oregon: KQAC. January 9, 2012. p. 3. Retrieved October 26, 2012.
  24. ^ "Quarterly Issues Programming Report" (PDF). Portland, Oregon: KQAC. July 2, 2012. pp. 1, 3. Retrieved October 26, 2012.
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External links

External media
Images
image icon Gallery: "Oregon Symphony sets off for Carnegie Hall" (The Oregonian)
image icon Gallery: "Oregon Symphony rehearses on Carnegie Hall's famous stage" (The Oregonian)
image icon Gallery: "Oregon Symphony's Carnegie Hall debut" (The Oregonian)
Video
video icon "Oregon Symphony Travels to Play in Carnegie Hall" (The Oregonian)
video icon "Oregon Symphony had a chance to test out Carnegie Hall's famed acoustics in a two-hour rehearsal" (The Oregonian)
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