I went to the symphony a few times in high school and I really loved it. And then I never went again until I started dating a symphony harpist twenty-five years later. I lived in Walla Walla and Bethany lived in Salem, Oregon. Whenever she had a Friday night concert at Portland’s First United Methodist Church, with Portland Columbia Symphony Orchestra, I would have arranged to leave work at Walla Walla Foundry midday on Friday. I would drive 3 1/2 hours west through the beautiful Columbia River Gorge so that I could get to the church in time to change out of my jeans, T-shirt, and steel-toe boots and into dress slacks, a white button-up shirt, black dress shoes and a blazer. Every time I sat near the front row and slightly to the right, directly in view of the harpist. She was often nestled behind the cellos and bassists or sometimes she was situated in the front. My first symphony painting was in my choice of medium at the time: rattle-can off-the-shelf spray paint. I don’t think I had even noticed yet that the harp has seven pedals, but I had painted Bethany at her harp almost immediately after my first experience seeing her there.
My first symphony oil painting was “Salem Symphony”, where she was out front on a slightly lower platform than the rest of the symphony. My second full symphony painting was “Portland Columbia Symphony Low Strings” that places her so prominently, and accurately to my vantage and affection, that the rest of the symphony seems to fade into the distance. But I love this symphony and I am making friends there.
And so, based on the core of musicians directly in front of me, is the following cropping:
I look forward to painting Portland Columbia Symphony Orchestra again, but next time I intend to show just a little less harp-centric bias.