Oregon daily emerald., June 28, 1983, Page 6 and 7, Image 6

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‘Bravo’ goes to Bach staff as well as Rilling
Royce Saltzman, Henriette Heiny and Marie Lamb put in long hours
to make the Bach Festival a success.
Shouts of “bravo, bravo” followed Helmuth Rilling off stage
after the Oregon Bach Festival gave its premier performance at
the Hult Center Friday night.
The appreciative audience rose to its feet when Rilling return
ed to take another bow in front of adoring fans.
Although Rilling’s attention is well-deserved, few fans ever
see the hard work of four paid staff and 80 volunteers who literally
make the festival’s magical performances reality.
"There is just tremendous organization involved" in making
the festival happen, says assistant festival director Henriette
Heiny. “Sometimes people ask me, ‘You have a full-time position
with the festival. What do you do when it is over?’
“It’s getting ready for next year, getting money, getting grants
and evaluating what you’ve been doing so that next year you make
less mistakes," she says.
The festival's founding father and executive director since its
small beginnings 14 years ago is Royce Saltzman. Besides his
festival responsibilities, Saltzman has been an associate dean in
the music school, but beginning fall term he will relinquish that
position to work full-time for the festival.
The festival’s beginning is an interesting one. Some say it
was mere coincidence, others swear fate brought Saltzman and
Rilling together.
While Saltzman was traveling in Europe in 1968-69 he happen
ed to attend a performance that Helmuth Rilling was conducting.
Rilling invited Saltzman to his home afterward for coffee, and
Saltzman in turn asked Rilling to come to Eugene and conduct at
the University’s music school.
"I think they thought very similiarly,” says Henriette Heiny,
the festival’s assistant director.
"Their interest was more in improving musicianship and con
ductorship in general. They designed this idea of having a summer
workshop here in Eugene on campus. Out of the workshop grew a
performance. It was so well-received, they enlarged the perfor
mance aspects.
“The quality rose, the interest in musicians who were return
ing (to the festival) grew. One carried the other until it had as its
focus, the audience," Heiny explains.
Because the festival draws musicians from all over the coun
try, as well as from Germany, much of Saltzman’s job involves
contacting the musicians, making arrangements for them to come
to Eugene, sending them their music long before the festival
begins and making sure they’re all paid at l«ast union wages.
A successful festival depends not only on the musicians, but
on the administrators, as well, Saltzman says.
"The demand in the administrative area is just as heavy
because you have to make it possible for the musicians to do
their best — that’s what the staff does. Our job is to see that
everything runs as smoothly as possible,” he says.
And when things don’t run smoothly Saltzman attempts to
iron them out. For example, he received a TELEX only four days
before the festival was to begin that a member of the orchestra, a
German oboe player, was hospitalized and could not come to
Eugene.
Three phone calls to Europe and one travel agent later,
Saltzman found a replacement from Frankfurt. “I used to get very
frustrated" about uncontrollable circumstances, he says. But after
14 festivals, Saltzman says he's learning to "go with the flow.”
The festival’s fiscal director, Marte Lamb, calls her boss a
"wonderful person who cares about his musicians and staff. With
Royce as administrator and Helmuth as conductor, there couldn’t
be a better team,” Lamb says.
The festival’s German-born assistant director, Heiny, is in
charge of promoting the festival. She handles the advertising,
marketing and fundraising aspects of it.
Heiny also helped compile the festival’s impressive 90-page
program, parts of which are written in both English and German.
Before joining the festival staff in 1982, Heiny was the
women’s head gymnastics coach at the University.
Lamb, who is also the ticket officer, saw her job take on new
meaning this year. Because the festival sold out nearly every per
formance last year in the tiny, 550-seat Beall Hall, evening perfor
mances were moved to the 2500-seat Silva Hall at the Hult Center.
The move should mean as many as 30,000 tickets sold in 1983
compared to 13,000 sold in 1982
Ticket sales comprise nearly one-third of the festival’s
$330,000 budget. Private donations, corporate and federal grants,
workshop fees, concessions and advertisements in the program
make up the remaining $220,000.
Besides the three paid staff members, work-study student
Patti Guthrie takes care of “special projects,” such as mass mail
ings and other odd jobs.
Weeks before the festival begins, it's not unusual for the staff
members to be working 12-hour days, Lamb says.
“It’s hectic and frantic, but everything gets done —
sometimes five minutes before we need it, but it always gets
done.”
Staff members breathed a huge sigh of relief when all went
exceptionally well at the festival’s 1983 debut Friday night.
But Heiny was "so exhausted” during last year’s festival that
“it went by like a dream. It goes so fast. You work so hard all year
and it’s gone in two weeks.”
None of the staff members are complaining, though.
“When it all comes together, it’s so wonderful," Heiny says.
"It’s a good feeling. You realize those people wouldn't be here,
and this wouldn’t be happening if you hadn’t worked all year
long.”
Story by Joan Herman
Photos by Mark Pynes
Royce Saltzman has been the founder and executive director since
the Bach Festival's inception 14 years ago. In the beginning it was a
part time job, now Saltzman is going to devote his full time to it.
Continued from page 1
Rilling
attending festivals, offering workshops and guest con
ducting in places like the Soviet Union, the People’s
Republic of China, Japan, the United States, and much
of Europe.
Considered to be one of the world’s finest inter
preters of Bach, Rilling is currently recording all of
Bach's cantatas and will complete this monumental
undertaking by 1985, the 300th anniversary of Bach’s
birth
So respected is Rilling, he was the first German
conductor since World War II to be invited to conduct
the Israel Philharmonic in 1976 and continues to do so
today.
Yet his training lies not only in music. Having
come from a long line of theologians, Rilling received
religious training at tl.e Protestant Theological
Seminary in Schontal, Germany, as well as musical
training at the Staatliche Hochschule fur Musik.
Despite all his successes, Rilling remains
remarkably humble. At about 5-feet 7-inches, he
seems much smaller than the explosive presence he
portrays on stage.
“On the surface he's a rather quiet, unassuming
individual. But he's absolutely dynamic on the
podium," says Saltzman, who has been Rilling’s friend
and colleague since 1969 when he first heard him con
ducting in Stuttgart and invited him to Eugene.
Rilling's silvery, thick hair frames a youthful face,
which is often illuminated by an impish grin and
twinkling eyes.
His fluency in the English language is witness to
his brilliance, Saltzman says. He learned the
subtleties of American humor by reading American
spy novels for relaxation from his busy schedule.
Because Rilling often works 12-hour days, he
uses humor to pace himself. Of rehearsals, Rilling
says “There must be a relaxed atmosphere or we
couldn’t get through the long days.”
But underlying the festive mood of his classes
and rehearsals is a strong commitment to musical
perfection inspired by a man Rilling believes to be the
father of modern music, J.S. Bach.
"He (Rilling) is so committed to the genius of
Bach that he believes everybody in this world should
1
know about Bach. That’s his mission in life — to work
for that and to work up to the quality where it is
justified to put all this time and energy into it,” says
Henriette Heiny, the festival’s assistant director.
“He is tough with himself. He doesn’t take time
off for himself, and people can’t understand how he
can keep up this energy and this consistent going and
going,” Heiny says.
“He’s completely committed to his music. To
him, it all comes back to Bach. He feels it takes a life
of scholarship to understand this man’s music,” she
says.
“I think he is certainly one of the greatest com
posers,” Rilling says of Bach. “No composer has in
fluenced so many other composers.” Mozart,
Beethoven and Brahms were all “strongly influenced
by Bach,” he says.
Just as his commitment to perfection fuels his
music, Rilling draws his seemingly limitless energy
from music.
“He's fantastic,” says Marte Lamb, the festival’s
fiscal officer and ticket manager. “He’s non-stop
energy. There’s no one who can come close to him. He
works from 9 a.m. to 11 p.m. and still has time to be
nice to people who’ve given 50 cents to the festival as
well as those who’ve given $10,000.”
Rilling is less boastful of his monumental efforts
spent each year at the festival. For him, his work boils
down to one thing — “I like the music. I like nice peo
ple. If there are nice people around to listen to that
music, I think that’s the most wonderful thing you can
do,” he says.
Despite his devotion to his profession, Rilling re
mains a “very devoted father,” according to Saltzman.
His wife, Martina, is a professional flutist, and his two
daughters. Sarah, 9, and Rahel, 7, are budding musi
cians. Although they usually travel with him, the family
remained home in the Stuttgart suburb of Warmbronn
because the girls are still in school.
“I am gone very often,” Rilling says. “It’s a pity. I
miss my two little girls.”
Yet Rilling vows to come back to Eugene next
year and hopefully the rotating school schedule in
Germany will allow his family to come with him.
“I’ve come 14 times. I will come again. I like
Eugene. I like the atmosphere here.”
Rilling’s approach to conducting is a mirror of his
approach to living.
During fhe master’s class Rilling tried to express
to a conductor the importance of linking about one's
movements, as well as feeling them.
“The mental process (of conducting) must be one
you just fix in yourself," Rilling told the student. “You
say what you’re going to do and you do it. Conducting
without thinking is useless."
When asked how he, or the musicians, would
describe himself, Rilling hedged for a moment. “I can’t
say how anyone should describe me,” he said. “You
just are who you are and you do what you have to do."
At the festival's first evening performance last
Friday night, Rilling was himself; he did what he had to
do.
And the audience showered him applause and a
standing ovation. Shouts of “Bravo, bravo,” filled the
concert hall.
You just are who you are.
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