For the first act of this episode, we chat with David Mason, the Director of Facilities Services at the University of Oregon School of Music and Dance. He tells us about what it’s been like keeping the facilities open for instruction during the pandemic. The SOMD is the front runner for these activities on campus and is serving as a model for other departments as they experiment with opening up. We finish up by listening to, and discussing a performance from our first guest artist, Charles Noble, Assistant Principal Viola of the Oregon Symphony.
After listening the performance Henri Vieuxtemps’ Op. 55 Cappriccio for Solo Viola, we chat with Charles about how he’s been surviving the pandemic. We also discuss what creative and innovative ways that 45th Parallel and Oregon Symphony have been engaging in to keep up with the swiftly changing music scene.
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John Reynolds
Dec 7, 2020 -
David Mason presents a detailed, behind-the-scenes view of keeping shop amid COVID at the UO School of Music and Dance. Amid all the disinfecting activities, I was struck by comments about the “eerie quiet” that has displaced all the sounds from practice rooms and performance spaces. Keeping a safe distance is not a simple 6 feet; what do dancers need? Trombone players need extra length in front.
Performance is so central to this School, yet is now absent. The challenge is to remain hopeful.
After a somber, powerful rendering of Vieuxtemps’ Cappricio for Solo Viola, Charles Noble compares the richness of sound between violin and viola. In his case, a bike accident disabled in 2019 his left arm and shoulder, making even the lifting and placement of the viola excruciating for some time. He talks also about diminishing performance opportunities. He has created small-ensemble events every Friday, and has maintained a blog for many years. Charles describes his group 45th Parallel, and praises the “familial” atmosphere at the Oregon Symphony.