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Bach festival is back
Thirteenth season opens June 28
He raises his hands — no ba
ton — and there is an intake of
breath all over the house. Then
the music begins, with an im
pact that shakes you to the
soles of your feet.
— “Thrilling to Riding's
Bach,” by Karen M. DuPriest,
Oregon Magazine. June 1982.
Eugene's noted Oregon Bach
Festival opens its 13th session
June 28. The two week
schedule, with up to three per
formances each day, includes a
visit to a vineyard on a double
decker bus, a gallery of Bach
Festival posters, a lecture on the
contrasting values of live per
formance to recorded music, a
Bach supper where performers
and audience members mingle,
an appearance by Eugene's Sil
verwood Chamber Players, a
series of ten free noon concerts,
and a number of evening
performances
The festival originated in I970
when a friendship between Hel
muth Rilling, artistic director
and conductor, and Royce
Saltzman, executive director
and associate dean of the
University's School of Music,
produced a music workshop
and public performance
Both the workshop and the
performances progressed in
quality and reputation, says
Saltzman. And when The New
York Times and The Washing
ton Post say something is first
rate, comments Saltzman about
the festival's reviews, that
means something. The event is
not just home town.
Those reviews are impres
sive:
"What Rilling does in the
Oregon festival is astonishing,"
See page 17
for schedule
writes Paul Hume in a July I979
Washington Post article.
"There are other Bach fes
tivals in the country,” according
to Martin Bernheimer, writing
for the Los Angeles Times in
July I980 “None of them, how
ever, remotely resembles
Eugene’s.”
"The secret is out. The
Oregon Bach festival has grown
into a world class event,” states
DuPriest's recent June article in
Oregon Magazine
The workshop has developed
into an intensive two week mas
ter class in choral conducting
and performance, acclaimed by
authorities to be one of the most
significant in the country.
But the festival still caters to
Eugeneans, says assistant dir
ector Henriette Heiny. "It is a
festival of the town, where they
(Eugeneans) come because
they have a sense of total festive
quality that they want to be part
of. And maybe, through that,
they come to love a certain type
of music "
Eugeneans help support the
events through contributions of
capital and housing. The
University’s School of Music
traditionally asks area residents
planning on vacations to offer
their homes for the Rilling family
and the participating artists and
directors from around the
country and the world This
year, the school still needs ac
commodations for some of the
other participants Persons
wishing to offer living facilities
should call Heiny at 686-5667.
Rilling has been very active
musically both in Germany and
Continued on Page 15
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