“We thought Oregon deserved better than just another travel ad,” said Wieden+Kennedy agency art director Nick Stokes. “So we turned to animation to try and capture its magic. We’re very proud of the work, and I’m honored to represent my home state in such a unique way.”
The spot depicts popular outdoor activities in Oregon like mountain biking the North Umpqua Trail, swimming at Trillium Lake, and hot air ballooning over Willamette Valley wine country.
Animation was produced by Psyop and Sun Creature Studio, with an original score performed by the Oregon Symphony.
Here is a side-by-side set of photos showing the settings that inspired the various scenes in the campaign.
A few weeks ago 50 members of the Oregon Symphony played a recording session at Arlene Schnitzer Concert Hall. It was for a new series of spots for Travel Oregon, a campaign titled “Only Slightly Exaggerated”. It’s a whimsical and Disney-esque Anime-inspired portrait of Oregon’s natural splendor, and it sounds pretty good, too. The score was composed by James Dooley and orchestrated by Tim Davies.
I come up with these ‘random musings’ posts every now and then. What do they mean? Mostly they mean that I’m thinking about what I’m doing in a new way and becoming more engaged in my music making. Or I am just bored and want to write something. Take your pick.
This week we’ve been rehearsing a wonderful (if very traditional) program of Glanert, Mozart, and Brahms with a stellar young violinist (Benjamin Beilman) and excellent guest conductor (David Danzmayr). So, some observations relating to the rehearsal period and first two concerts. Tickets here.
Mozart is really, really hard to play. Don’t let anyone tell you otherwise. If they do, immediately discount any of their other opinions as completely worthless. Part of the difficulty, as I see it, is that Mozart’s writing is so perfectly symmetrical and logical. One’s phrasing and musicianship must be equally as impeccable to pull off a performance better than merely solid. Beilman really has the goods here. Lustrous tone, beautifully in tune, interesting ideas.
It’s been just under five years since we last played Brahms’ First Symphony, and I’m struck by a number of things. First, our woodwinds, playing as a choir as they must often do in the works of Brahms, are simply phenomenal. Such blend and unanimity of phrasing! And their solo work is also good – Martha Long in her big solo in the last movement, Martin Hebert in his leaping, yet sinuous solo in the first movement, John Cox with the gorgeous alphorn call in the last movement. And our brass in their chorale, etc. Deep bench and more than a few star players. We’re so lucky here.
There is little as terrifying as the pizzicato entrance and accelerando in the last movement introduction. So much can go so wrong and be so audible to everyone! But when it comes off well, it’s electrifying!
In the string chorale (reminiscent of Beethoven’s 9th finale) in the last movement, there is nothing better than playing the descending counter line in the violas. Especially when the section is allowed to really play. So much fun!
Those are my musings for today. Hope to see you at one of our concerts!
It’s hard to believe, but yesterday marked the beginning of my 22nd season with the Oregon Symphony. Even though I’m closing in on the quarter century mark, there are still things that make me happy when I show up at the first rehearsal of the season.
First, my colleagues. Since we don’t have a summer season, the orchestra members scatter to the four corners of the globe doing summer festivals, vacations, and in some cases, other jobs. Because of this, we don’t get to see each other that much during our off time – even those of us who are close friends. Seeing everyone after the summer break is much like seeing one’s friends at school after the long break. It’s old home week, with lots of hugs and stories shared before rehearsal and during the break.
Second, the sound of a really great orchestra. With few exceptions, the summer festival orchestras we play in are not of the quality of the Oregon Symphony. They are fun, and good, but as festival orchestras, they are put together afresh each summer, often without the continuity of personnel that a full-time orchestra has. When we come back from the summer break, and I hear just how good we sound, even on the first day back, it makes me smile from the pleasure and pride of it.
Third, knowing I’ll be getting paid soon. Yeah, we don’t do it solely for the money, but the mortgage must be paid! In a less than 52 week orchestra, budgeting is a constant battle. Saving money from each paycheck to apply towards the summer bills, trying to figure out how much summer work there will be this year, etc. Some people rely on unemployment benefits to make it through the summer, but it has become so difficult to jump through all of the hoops that the state has in place that some of us – me included – have given up trying to collect benefits.
Today (Saturday), we perform at the Oregon Zoo in a program that has lots of audience favorites. The temperature will hit 99F today, with around 90 expected at concert time. Thankfully, no tuxedos or tails for us – it’ll be OSO polo shirts and slacks for us – and we have new water bottles to keep us hydrated, if not cool. Plus, there’s the 1812 Overture!