Tapestry; Edit Master

I'm going to have a look at the the the the the the the the the the the the the the the the the the the the the the Pianist Azamar Glen won the 1973 Oregon Music Teacher's Association Competition.

In the 10 years since, Glen's concert career has been steady on the path to the performer's dream, Carnegie Hall. Glen holds 20 concerts a year in Oregon, and recently received a Metropolitan Arts Commission Award. He speaks knowingly of Debussy, Chopin, and Brahms, but in fact, Glen had never heard their compositions until he was 18. The first music I listened to was gospel music, you know, church music that you go to, the church that you have grown up in, and that was my first real awareness of what music was, or that particular type of music. Then from there, I started listening to

more jazz and rhythm and blues and what they call soul, and then I just said, well, hey, that's where it's at. Now, classical music is something that kind of snuck up on me. The first thing I did for the first year, and I couldn't even read music, I didn't know an A from a C-sharp, was I found an old book that was published around the turn of the century on piano technique, and I started working out of that. It totally lost because I didn't know what was going on, but through the rigor and more of not a musical standpoint, but more of an analytical standpoint where I mathematically work things out, I was able to develop some facility on the piano from that. The arts became a discovery, and it takes a while for your mind to grow and understand classical music. Glen says it was his former piano teacher at Pacific University, who gave him his discipline in music.

In a way, I'm glad now that I was finally able to open my mind up to the classical music because it gave me so much technique. I'm glad now that I was able to open my mind up to the classical music. I'm glad now that I was finally able to open my mind up to the classical music. I'm glad now that I was able to open my mind up to the classical music. I'm glad now that I was able to open my mind up to the classical music.

I'm glad now that I was able to open my mind up to the classical music. The strength and flow in Glen's music is apparent in another discipline he has mastered. I myself am a self defense instructor, but I was able to discover some of the more delicate forms of the martial arts. The suppleness, suppleness in the way you approach it is very relaxing

for the mind, and it's one way of not only using your body, so you feel it as a whole, but in a way it's like music it can quiet your spirit and calm your soul. Glen now lives in forest grove where he spent his college years. I think I partly came out of here, came out here because I knew I could find the tranquility that I needed for myself as an artist to continue to grow. That growth in music has focused on composition and a style that fuses Glen's early music exposure to his current music love.

I tend to be versatile because I don't just write classical stuff. I do write popular things and some things with jazz elements in it. I hope someday to have some of my works that I've written performed by some of the major orchestras in the country, but time will tell that. In the meantime, concert performances keep Glen busy, and his personal time is spent perfecting the art forms he so dearly loves as he searches for the next step in his career. Thank you. The Portland Art Museum, now the Portland Art Museum,

now the Portland Art Association was founded by seven citizens in 1892. They had $1,000 and no works of art. Since then, it has preserved the past, taught artists of the future, and adopted another art form, film. The years have not been without controversy. The museum seems to have relinquished its role in relation to contemporary art and has let the initiative pass to other groups in the city. Nor have they been without financial difficulties. The Xerox machine was being foreclosed.

We had to pass the hat at trustees meeting to meet the payroll. Now there's more talk of change in a board of trustees as the charge of studying an organization another board created three years ago. I have sat here and listened to two years of complaint about the ways in which the relationship holds back the museum in the college in the film study center. The museum hosted its first exhibition in 1892 and purchased its first painting in 1908. A year later, the museum art school began, now the Pacific Northwest College of Art. And to this day, it's the only school of its kind in the Northwest. It has not always been easy to keep the doors of the art museum open, relying almost exclusively on private funding and volunteers has been no match for inflation and a lack of new funding sources. Portland Attorney Brian Booth was president of the board of trustees in 1977 and 1978 when the Portland Art Association approved a reorganization to turn things around. Basically to improve the financial management and of the association, we came up with a plan whereby there'd be one executive director with responsibility for the entire association.

The association, when I was first president, consisted just of the museum and the school. While I was president, we added the film study center. The theory was that the director would be in charge of all three organizations. Each organization, film study center, museum and school would have its chief operating officer who would report to the executive director and he would provide support for all three organizations and leadership for all three organizations. Academician Steve Anastra was hired in 1981 to be the first executive director of the reorganized Portland Art Association. We have carefully studied where our budget now is in comparison to where it should be to adequately support in accordance with national standards everything we are doing. And we told the board last April that the current fiscal year budget should be increased by 1.1 million dollars. In other words, we are successfully operating with great strain, about 43 percent under budgeted

and if we continue to try to do this, we are going to erode the essential quality of the institution. Austro has directed a long-range planning committee of the Board of Trustees to study the mission, structure and finances of the association. The most controversial plan would have the college cease to be a four-year degree granting institution. The museum would offer some art classes. Another option would see the college affiliate with another institution, probably a university in the area. Either one would probably eliminate Austro's job. Sally Lawrence, acting director of the Northwest College of Art, is working to keep the college within the association. I think that ideally it is possible for a museum and a school to live together and to live in a symbiotic relationship. I think it takes a lot of work on a lot of people's part and a lot of understanding of what various kinds of roles those groups have. And it requires the dedication of the Board of Trustees to all of its programs for support equally to all of them.

The future of the art college is important to local artists. Peter Michael Russo taught at the school for 27 years. I think that the museum in the school, for example, has always been considered inseparable from each other and each providing an important contribution to the other. This was an ideal of those who established the museum and has been an ideal for the whole community, so naturally as an artist I'm very concerned for the future of the community. Because it will affect the whole community if the school were to be amputated from the museum. I remember this old Southern saying, even ain't broke, not fixed it. Reach out.