Thank you for your interest in learning about our history!
In 1958 Oregon State College was still in the A. and M. mode; her perceived mission was to educate farmers, foresters, engineers, and technicians to civilize the frontier, leaving to her sister institution in Eugene the task of pursuing cultural advances in the humanities and social sciences.
The faculty in the Lower Division Liberal Arts in particular felt deprived and out of it with no majors in their fields and no graduate students. Some who had come from metropolitan areas sorely missed live performances of concerts, plays, and operas by world class artists. KOAC-FM, the classical music station then based in Corvallis, helped fill the gap; its classical music programming at that time was excellent, rivaling Eugene’s present-day KWAX-FM classical music station. The Corvallis Music Association, active since the end of World War II, brought outstanding soloists and occasional major orchestras to Gill Coliseum. But there was little for chamber music aficionados except the long drive to and from Portland for the occasional chamber music concert there.
Thomas Kranidas, a young Oregon State English instructor from the University of Washington in Seattle, conceived the idea of persuading the College to sponsor a concert series that would bring world-class chamber music ensembles to Corvallis. He mentioned this to his English department colleagues, Faith Norris and Bernard Malamud, who immediately sparked on the idea. Malamud came from New York, and Norris from Berkeley. Although neither were musicians, they appreciated chamber music. Other key players were Ernst Dornfeld and John Decius. Dornfeld, Professor of Zoology, was a superb amateur pianist and profound scholar of music. Decius, Professor of Chemistry, was an enthusiastic amateur cellist.
Kranidas, an amateur violist, joined Decius, Dornfeld, and other local players in sessions to play through the masterpieces of the chamber music repertoire. The results only whetted their appetites for professional performances. They approached the Chairman of the Music Department, Robert Walls, whose primary interest was voice; he was supportive, as were the Dean of Liberal Arts, Ralph Colby, and the College President, A. L. Strand, an entomologist.
Colby was Principal Violist in the OSC Symphony, where Kranidas also played the viola. Colby appointed Kranidas, Malamud, Norris, John OConnor of the Music Department, Robert Wayne Smith of the History Department, and Walls to the Liberal Arts Program Committee to organize the concert series.
Walls and his staff negotiated with the artists management. The committee publicized the venture, raised funds from music lovers in the community, and staged the first concert at the Home Economics Auditorium on the O.S.C. campus at 8 P.M. on October 19, 1959, featuring the Hungarian Quartet. This was a distinguished group trained in Budapest, as good as any quartet in the world. The program: Haydn’s Lark Quartet, Beethoven’s Opus 132, and Smetana’s From My Life. In November, the Claremont Quartet played Mozart, Bloch, and Schubert. Bloch, who lived at Agate Beach near Newport, had died in Portland four months earlier. The final concert of the first season in March 1960 presented the Amadeus Quartet, a group from England that stayed together for thirty years and dissolved with the death of their beloved violist. They played late works by Mozart, Bartok, and Brahms.
All three concerts were well received. From the outset, the Committee favored selling season tickets, to seek financial stability. Initial charge for a season ticket for all three concerts was $7.50; $3 for students. Patrons were asked to give $25; nearly thirty responded. Overhead was minimal, absorbed by the College. Budget for the first year was $1500. There were 290 subscribers.
Over the next few years the founders worked to keep the series afloat. Kranidas and Malamud moved on to other institutions. Other campus music lovers agreed to serve on the Committee. In 1963 Jack Decius asked me to serve on the board, explaining that it was desirable to have some non-OSU people in the act to avoid town-gown divisiveness and to encourage more participation by other townies. Starting as a token townie I have been on the board ever since.
Always we faced budget constraints. I remember a crisis in the sixties when we failed to meet budget. Our Chairman, John OConnor, a Professor in the Music Department, went to the new President of Oregon State University James Jensen to describe our predicament and ask for assistance. He told me that President Jensen sympathetically heard him out and politely agreed to find money to make up the deficit. Jensen then fixed him with a steely blue eye and explained it would be the last time we could count on this, and we would have to sink or swim without another bail-out.
Since then, the Associated Students of Oregon State University (ASOSU) have generously given us funds in return for student body card admission privileges, and our group has always given all students a break on ticket fees. We appealed to women in the community to raise money with a yearly drive to sell tickets, coax donations from music lovers, and solicit business patrons. The Gazette-Times assisted us with news stories about these fund-raising efforts, biographies and photographs of the artists, and criticisms of our concerts.
We shopped carefully for quality groups at bargain prices, since we were a classic example of champagne-tastes-but-beer-money. Our leadership established cordial but wary relations with agents for the various groups, working with similar chamber-music series in Eugene and Ashland to cut costs by block-booking ensembles who could cut their own transportation expenses by playing consecutive engagements on tours in our area, passing along these savings to us by cutting their performance fees. We tried to achieve balance between expensive, high-rolling, established stars and less costly, unheralded newcomers of top quality.
We went along in this mode with three concerts a year, mostly string quartets with an occasional piano trio, piano quartet, sonata recital, or wind ensemble, gradually acquiring more patrons and business patrons. In 1970 I suggested to the Board that Program Notes would enhance audience appreciation of our concerts. I recalled the extensive commentary in programs of the Chicago Symphony Orchestra by a local musician named Felix Borowski (called The Fourth B by the Chicago Tribune). The Board agreed. Since no one else volunteered, I started writing notes, relying initially on the OSU Library, record jackets, and borrowed books as sources.
Tharald Borgir, an accomplished pianist and scholar devoted to the baroque era, joined the board in the late sixties, bringing an enthusiasm for diverse instrumental groups and for baroque music. As chairman of the OSU Department of Music, he assisted the chamber music series in many ways. By 1971 we were up to four concerts a year and were including small chamber orchestras and vocal ensembles on our programs.
Violinist Marlan Carlson, later successor to Borgir as Chairman of the Music Department, replaced Borgir on our board, bringing with him a devotion to classic instrumental combinations and a drive to bring to our series groups of the highest quality. In 1980 within one month we heard the Guarneri and Juilliard Quartets, at that time the two leading quartets in the world. Carlson served as Chairman from 1977 to 1982, and again for the 1984-85 season when for the first time we presented six concerts. Along the way the group incorporated to confirm its status as a nonprofit educational entity eligible for tax-deductible gifts, established its independence from Oregon State University while retaining a friendly and mutually beneficial relationship, changed the location of the concerts from Home Economics Auditorium (Milam) to LaSells Stewart Center in 1981, and renamed ourselves as Chamber Music Corvallis in 1997.
Ze’ev Orzech and Joann Anselone each served as Chairman for years. Many people have served on the Board, generously sharing such tasks as booking, ticketing, ushering, hosting and assisting artists, group and program selection, publicity, and fund-raising. It seems unfair to mention individuals as I have done above, without also recognizing Sue Dornfeld, John Morris, Dorothy Miller, Kenneth Hedberg, Shirley Byrne, Fred Horne, and others who have contributed countless hours and efforts to keep superb music ensembles coming to Corvallis. Since 1990 Carole Orloff has been Chairman. With her leadership CMC has extended outreach activities to include workshops by our artists for young students. CMC has cooperated with the Corvallis-OSU Music Association in presenting programs sponsored jointly. For the last two years, CMC sponsored the splendid Piano Music Series begun by Rachelle McCabe. This stretched our resources too far. We hope that this outstanding keyboard series will resume soon. John Morris and Carole Orloff have been extraordinarily ingenious and productive in finding grants, getting contributions from businesses, and finding other sources of funds. A series of astute and industrious treasurers–Stefan Bloomfield, Robert Clark, and Steven Esbensen–have handled our accounting and disbursing. So far we have got by without paid administrative personnel. As this is written, we commence our 42nd season, anticipating six concerts.
From the now-retired Board Chair and Artistic Director – Let’s take a look back at CMC’s journey over the course of the past eight years to see what we have accomplished.
Introducing a greater diversity in the instrument configuration of the ensembles presented, beginning in early 2015, was the most significant change in CMC’s programming. String instruments and piano ensembles, with very rare exception, were the mainstay for the first 55 seasons. Folks who attended classical music events, up close and personal, in our wider community, were rarely exposed to non-string instrument configurations (wind, brass, early period). CMC made it a point to diversify.
Major decisions about our performance venue that followed my assuming the chair of the Board of Directors in 2012 were to move: from the more costly LaSells Stewart Center’s Austin Auditorium, with it’s 800-seat orchestra section no longer suitable for the sizes of our chamber music audiences, to the much more affordable, suitable, and friendlier Sanctuary of the First Methodist Church for the 2015-2016 season; then three blocks east to the Sanctuary of the First Presbyterian Church, with its new Hamburg Steinway piano, that many felt was acoustically preferable along with its more up-close seating, for the 2017-2018 season.
Concerts had been taking place on a midweek evening through part of the 2014-2015 season, the actual weekday depending on the availability of the LaSells auditorium and the ensemble. Once we moved to a church venue, fixed Friday evening concerts, begun in early 2015, became the standard practice, as the church’s Sanctuary was most often available that night of the week. An end-of-the-week concert would seemingly appeal to people still employed and to parents desiring to expose their children to chamber-style classical music in the evening hours.
The printing firm we had been using during my first eight years on the Board changed three times, the first (2010) and third (late 2015) when notified that the firm had suddenly gone out of business from one day to the next. Our association with a small, family-owned firm in Albany (Pride Printing) since February 2016 has been a very beneficial and happy one. There were significant advantages (flexibility and cost) to changing from an entire season”s concert booklet (roughly 25 two-sided pages with numerous sponsoring ads) to an individual one-sheet, four-sided program leaflet with no ads for each of the five concerts in the 2014-2015 season. The previous season, 2013-2014, we replaced the dull/matte paper with topnotch gloss, a change since maintained with the leaflets, giving the paper a better feel and making for quieter page turning, as well as making possible a more appealing use of color photos of the ensembles.
Speaking of “color,” by far the most enjoyable aspect of my responsibilities was finding, selecting, and booking the ensembles, presenting a mix of ensemble types with different instrument configurations during each season of five or six concerts, communicating with their respective agent representatives or some of the musicians themselves, and hosting at least one musician per each concert. Though there was a gradual increase in the ensemble / agent asking fees, by establishing and maintaining close and warm working relationships with the agents by email or phone, it was possible to stay within a limited budget. Agents were willing to lower their fees, largely based on those trusted working relationships, the excellent reputation CMC had developed among agents and musicians over several decades, and the desire of ensembles to visit and perform in Oregon and the Pacific Northwest. CMC has prided itself in being able to offer high quality classical chamber music with only very modest increases ($20->24) in subscription ticket prices over the course of the past nine to ten years.
Color was also added when Martha Dayton very kindly offered each spring to paint in water colors a combination of some musical instruments pertinent to the upcoming concert series to embellish the front panel of the season’s brochure, after helping to choose a color theme for our brochure and posters for each season.
Last but not least, I want to thank our audiences for their on-going and active support of classical chamber music and the cultural life of our wider Corvallis community.
Robert Verhoogen
Corvallis, September 2020
Chamber Music Corvallis salutes the ensembles who have brought us superb music for 63 years
Note – for those less familiar with the terms designating ensemble/instrument configurations:
Quartet = string (1st violin, 2nd violin, viola, cello) unless specified
Trio = piano (violin, cello, piano) unless specified
Woodwind quintet = flute, clarinet, oboe, horn, bassoon
Brass quintet = 2 trumpets, French horn, trombone, bass trombone or tuba
Reed quintet = oboe, clarinet, saxophone, bass clarinet, bassoon
ALPHABETICAL LISTING OF ENSEMBLES (1959 – 2022)
Adaskin String Trio with Tom Gallant, oboe 15/16
Akropolis Reed Quintet 16/17
Allegri Quartet 68/69
Alliage Saxophone Quintet 11/12, 14/15
Alma Trio 63/64, 67/68, 69/70
Altenberg Trio 99/2000
Amadeus Trio 97/98, 03/04
Amadeus Quartet 59/60, 61/62, 73/74, 77/78
Amati Quartet 03/04
Amelia Piano Trio 03/04, 06/07, 09/10
American Brass Quintet 75/76, 80/81
American Chamber Players 93/94, 95/96, 99/00, 04/05, 18/19
American Quartet 92/93, 98/99
Ames Piano Quartet 91/92, 94/95
Anonymus 4 (vocal) 94/95
Arcis Saxophone Quartet, 21/22
Arden Trio 89/90
Arditti Quartet 01/02
Ariel Quartet 13/14
Arioso Wind Quintet w/ Rachelle McCabe 96/97
Aspen Soloists 81/82
Atos Trio 13/14
Audubon Quartet 99/2000
Auryn Quartet 10/11,14/15
Autos Ensemble 78/79, 80/81, 87/88
Axiom Brass Quintet 15/16
Aviv Quartet 09/10
Baltimore Consort, 21/22
Bartok Quartet 81/82, 85/86
Beaux Arts Trio 91/92, 93/94
Belcea Quartet 09/10
Berlin Counterpoint 19/20
Berlin Octet 89/90
Boreal Trio 18/19
Borealis Quartet 08/09, 15/16
Borodin Trio 88/89
Borodin Quartet 72/73, 78/79
Brahms Quartet 65/66, 68/69
Brentano Quartet 96/97
Bulgarian Quartet 77/78
Calder Quartet 12/13
Calefax Reed Quintet 10/11
Camerata RCO 17/18
Cavani Quartet 91/92, 95/96
Chamber Orchestra Kremlin 01/02
Chester Quartet w/ Lydia Artymiw, piano 90/91
Chilingirian Quartet 88/89
Claremont Quartet 59/60, 62/62
Cleveland Colorado Quartet w/ Elizabeth Braden 91/92
Composers String Quartet 84/85
Concentus Musicus of Denmark 71/72
Concertante 04/05
Concord Quartet 81/82
Cuarteto Casals 06/07, 11/12
Cuarteto Latinamericano, 21/22
Cypress Quartet 06/07, 08/09
Czech Nonet 06/07
Da Capo Chamber Players 92/93
Daedalus Quartet 11/12
Daniel Quartet 17/18
Danzi Woodwind Quintet 64/65, 68/69
Daurov & Myer, cello-piano, 13/14
David Finckel & Wu Han, cello-piano duo 02/03
David Golub & Gary Hoffman, piano-cello, 94/95
Debussy Quartet 65/06
Delgani Quartet 18/19
Deller Consort (vocal) 69/70
Diderot Quartet 18/19
Diotima Quartet 12/13
Dimlov Quartet 70/71
Dorian Wind Quintet w/ Jane Hawkins, piano 85/86
Emerson Quartet 89/90, 93/94, 95/96, 2000/01
Ensemble 4.1 17/18
Ensemble 415 10/11
Ensemble Lucidarium 19/20/22
Ensemble Wien 95/96
Enso Quartet 10/11, 74/75, 87/88
Escher Quartet 14/15
Euclid Quartet 97/98
Falla Guitar Trio 09/10, 11/12
FANDANGO!, 21/22
Feld Quartet 60/61
Fine Arts Quartet 60/61, 66/67, 76/77, 88/89
Florestan Trio 79/80
Folger Consort 82/83
Francesco Trio 80/81
Frans Bruggen/Alan Curtis, recorder/harpsichord 73/4
Franz Liszt Orchestra of Budapest 80/81
Gabor Rejto & Adolph Baller, cello-piano 72/73
Gabrieli Quartet 85/86
Golub-Kaplan-Carr Trio 92/93
Gould Trio w/ Robert Plane, clarinet 10/11, 16/17
Guarneri Quartet 76/77, 79/80
Hagen Quartet 85/86
Hungarian Quartet 59/60, 60/61, 64/65
Icicle Creek Piano Trio 12/13
I Musici di Montreal 03/04
Janacek Quartet 70/71
Jasper Quartet 13/14
Juilliard Quartet 61/62, 66/67, 75/76, 78/79, 79/80, 88/89, 03/04
Jupiter Quartet 11/12
Kalichstein-Laredo-Robinson Trio 83/84, 02/03
Keller Quartet 98/99
Kim / Basney Fortepiano / Violin Duo, 15/16
Koeckert Quartet 62/63, 65/66
Komitas Quartet 62/63
LA Chamber Orchestra Winds 90/91
Lafayette Quartet 89/90, 92/93
LaSalle Quartet 64/65
Leipzig Quartet 08/09
Leonardo Trio 94/95
Leontovych Quartet 96/97
London Baroque Ensemble 91/92, 97/98
London Chamber Orchestra 94/95
Los Angeles Piano Quartet 87/88
Lydian Quartet 84/85
Manasse & Nakamatsu, clarinet-piano 10/11, 12/13
Manderling Quartet w/ Robert Plane, clarinet 07/08
Meccore Quartet 17/18
Melos Quartet 73/74, 76/77
Mendelssohn Quartet 86/87
Miami Quartet w/ Jon Nakamatsu 99/00
Mirari Brass Quintet 17/18
Mobius Guitar Trio 19/20
Morgenstern Trio 14/15
Moscow Quartet 12/13; w/ Mikola Suk, piano 14/15
Mozart Piano Quartet 01/02, 08/09
Muir Quartet 81/82
Musical Offering 81/82, 86/87
Musicians from Marlboro 83/84, 90/91
National Chamber Orchestra of Toulouse 96/97
Neave Trio 18/19
New Danish Quartet 63/64
New London Soloists Ensemble 73/74
New York Chamber Soloists 76/77
New York Philomusica Chamber Ensemble 99/00
New York String Sextet 65/66
New Zurich Quartet 82/83
Orion Quartet 94/95
Pacifica Quartet 2000/01, 05/06
Panocha Quartet 81/82
Paris Trio 04/05
Peabody Trio 05/06
Petersen Quartet 95/96, 97/98
Philharmonia Quartett Berlin 04/05
Piano Extravaganza 98/99
Portland Baroque Orchestra 95/6, 98/9, 02/3, 08/9
Prague Chamber Orchestra 82/83
Prazak Quartet 88/89
Prokofiev Quartet 69/70
Quartet Sine Nomine 92/93
Quartetto Beethoven di Roma 84/85, 89/90
Quartetto Gelato 05/06, 07/08
Quartetto Italiano 63/64
Quatuor Ebene 13/14
Quatuor Via Nova 87/88
Quintessence 03/04
Quintetto Boccherini 79/80
Raphael Ensemble 97/98
Raphael Trio 90/91, 92/93
Richards Quintet 71/72
Ridge Quartet 83/84, 87/88
Rogeri Trio 82/83, 84/85
Schubert Ensemble of London 93/94, 96/97, 98/99, 2000/01, 02/03, 04/05, 07/08, 17/18
Secolo Barocco 72/73
Shanghai Quartet 88/89, 07/08
Sibelius Academy Quartet 90/91
Skampa Quartet 2000/01
Smetana Quartet 72/73
Soni Ventorun 2000/01
St Petersburg Quartet 02/03
Stamitz Quartet 91/92
Streicher Trio 01/02
Stuttgart Trio 77/78
Suk Trio 75/76
Syntagma Musicum 74/75
Szymanowski Quartet 05/06
Takacs Quartet 83/84, 86/87, 90/91, 98/99
Tashi / Clarinet & Strings 80/81/83/84
Tel Aviv Quartet 70/71
Telegraph Quartet 16/17
Tesla Quartet 16/17
Tokyo Quartet 74/75, 77/78, 78/79, 80/81, 82/83, 84/85, 86/87, 89/90, 01/02
Trio Apollon 2000/01
Trio con Brio Copenhagen 07/08
Trio Concertante 75/76, 79/80, 86/87
Trio di Milano 85/86, 93/94, 97/97
Trio Italiano D’Archi 66/67
Trio Solisti 09/10; w/ Amy Burton, soprano, 12/13
Triple Helix Piano Trio 11/12
Turtle Island Quartet 06/07
Vaghy Quartet 71/72
Valencia Baryton Project, 21/22
Vega Quartet 02/03
Vegh Quartet 62/63
Vermeer Quartet 97/98
Vienna Octet 84/85
Vienna Piano Trio 98/99, 01/02, 05/06
Vilnius Quartet w/ Andrius Zlabys, piano 08/09
Warsaw Quintett 67/68, 71/72
WindSync 16/17
Ying Quartet 93/94, 04/05, 13/14; w/ Menahem Pressler 97/98
Ysaye Quartet and Friends 2000/01
Yuval Trio 74/75
Zagreb Quartet 67/68
Zemlinsky Quartet 09/10
Chamber Music Corvallis salutes the ensembles who have brought us superb music for 63 years
Note – for those less familiar with the terms designating ensemble/instrument configurations:
Quartet = string (1st violin, 2nd violin, viola, cello) unless specified
Trio = piano (violin, cello, piano) unless specified
Woodwind quintet = flute, clarinet, oboe, horn, bassoon
Brass quintet = 2 trumpets, French horn, trombone, bass trombone or tuba
Reed quintet = oboe, clarinet, saxophone, bass clarinet, bassoon
CHRONOLOGICAL LISTING OF ENSEMBLES (1959 – 2022)
OSU Liberal Arts Programs Committee
1959 – 1960
10/19/59 Hungarian Quartet
11/09/59 Claremont Quartet
03/10/60 Amadeus Quartet
1960 – 1961
10/19/60 Hungarian Quartet
01/22/60 Fine Arts Quartet
04/05/61 Feld Quartet
1961 – 1962
11/02/61 Amadeus Quartet
01/31/62 Claremont Quartet
03/04/62 Juilliard Quartet
1962 – 1963
10/09/62 Vegh Quartet
02/27/63 Koeckert Quartet
OSU / Friends of Music
1963 – 1964
10/14/63 New Danish Quartet
03/02/64 Quartetto Italiano
04/01/64 Alma Piano Trio
1964 – 1965
11/13/64 Hungarian Quartet
01/06/65 Lasalle Quartet
02/25/65 A Sonata Recital (cello/piano)
04/12/65 Danzi Woodwind Quintet
1965 – 1966
11/10/65 Brahms Quartet
01/31/66 Koeckert Quartet
1966 – 1967
03/06/67 Trio Italiano D’Archi (String)
1967 – 1968
11/17/67 Warsaw Quintet (SQ+piano)
02/07/68 Zagreb Quartet
1968 – 1969
11/16/68 Allegri Quartet
01/10/69 Brahms Quartet
04/02/69 Danzi Wind Quintet
1969 – 1970
11/10/69 Deller Consort (4 voices, 2 violins, lute, harpsichord)
03/09/70 Prokofiev Quartet
04/06/70 Alma Piano Trio
1970 – 1971
11/09/70 Janacek Quartet
01/28/71 Dimoc Quartet
03/04/71 Tel Aviv Quartet
1971 – 1972
11/19/71 Vaghy Quartet
01/21/72 Richards Wind Quintet
02/29/72 Warsaw Quartet Bacewicz
04/28/72 Concentus Musicus of Denmark (2 voices, 8 instruments, 6 musicians)
1972 – 1973
10/28/72 Smetana Quartet
01/15/73 Rejto & Baller cello/piano
02/06/73 Secolo Barocco (flute, oboe, violin, bassoon, harpsichord)
05/02/73 Borodin Quartet
1973 – 1974
11/05/73 Melos Quartet Stuttgart
01/22/74 New London Soloists Ensemble (9 string instruments)
02/27/74 Brueggen & Curtis (recorder & baroque flute, harpsichord)
05/01/74 Amadeus Quartet
1974 – 1975
10/15/74 Yuval String Trio
01/14/75 Syntagama Musicum (2 voices, 11 instruments, 5 musicians)
02/12/75 Tokyo Quartet
04/23/75 Cleveland Quartet
1975 – 1976
10/21/75 Trio Concertante (piano/viola)
11/25/75 Suk Trio (string)
02/17/76 Juilliard Quartet
03/31/76 American Brass Quintet
1976 – 1977
10/29/76 Melos Quartet Stuttgart
02/11/77 Fine Arts Quartet
03/08/77 Guarneri Quartet
04/21/77 New York Chamber Soloists (string trio, oboe, piano)
1977 – 1978
11/03/77 Bulgarian Quartet
12/01/77 Stuttgart Trio
03/03/78 Tokyo Quartet
05/06/78 Amadeus Quartet
1978 – 1979
10/13/78 Tokyo Quartet
12/05/78 The Aulos Ensemble (baroque flute, cello, violin, oboe, harpsichord)
02/18/79 Juilliard Quartet
04/22/79 Borodin Quartet
1979 – 1980
10/28/79 Quintetto Boccherini (strings)
02/21/80 Guarneri Quartet
01/29/80 Juilliard Quartet
02/21/80 Guarneri Quartet
04/24/80 Florestan Trio
1980 – 1981
10/02/80 Tokyo Quartet
12/05/80 Francesco Trio
01/22/81 Franz Liszt Orchestra of Budapest
02/18/81 The Autos Ensemble
04/05/81 American Brass Quintet
05/03/81 Tashi (clarinet, 3 violin/viola, cell)
1981 – 1982
10/18/81 Panocha Quartet
11/13/81 Muir Quartet
01/18/81 Concord Quartet
02/10/82 Musical Offering Chamber Ensemble (violin, oboe, bassoon, cello, harpsichord)
03/14/82 Bartok Quartet
04/12/82 The Aspen Soloists (piano trio)
1982 – 1983
11/27/82 Tokyo Quartet
12/01/82 Rogeri Trio
01/30/83 Prague Chamber Orchestra
02/23/83 New Zurich Quartet
04/26/83 The Folger Consort (voice, 3 musicians, 8 instruments, at LaSells Stewart Center)
1983 – 1984
10/30/83 Kalichstein-Laredo-Robinson Trio
01/14/84 Ridge Quartet
02/04/84 Musicians from Marlboro (violin, violin/viola, cello, double-bass, piano)
03/10/84 Takacs Quartet
04/09/84 Tashi (clarinet + string quartet)
1984 – 1985
10/16/84 Composers Quartet
11/26/84 Quartetto Beethoven Di Roma
01/16/85 Lydian Quartet
02/08/85 Vienna Octet
03/31/85 Tokyo Quartet
05/01/85 Rogeri Trio
1985 – 1986
10/25/85 Trio di Milano
12/04/85 Dorian Wind Quintet & piano
01/29/86 Bartok Quartet
03/10/86 Hagen Quartet
04/09/86 Gabrieli Quartet
1986 – 1987
10/11/86 Tokyo Quartet
11/19/86 Musical Offering
01/09/87 Trio Concertante
02/06/87 Mendelssohn Quartet
05/01/87 Takacs Quartet
1987 – 1988
10/12/87 Quatuor di Nova
11/04/87 Cleveland Quartet
01/08/88 The Aulos Ensemble
02/05/88 Los Angeles Piano Quartet
03/11/88 Ridge Quartet
1988 – 1989
10/05/88 Fine Arts Quartet
11/16/88 Chilingirian Quartet
01/31/89 Juilliard Quartet
03/10/89 Shanghai Quartet
04/18/89 Borodin Trio
1989 – 1990
09/30/89 Tokyo Quartet
11/06/89 Quartetto Beethoven di Roma
01/10/90 Lafayette Quartet
02/10/90 Berlin Octet
04/13/90 Emerson Quartet
04/26/90 Arden Trio
07/02/90 Penderecki Quartet
1990 – 1991
10/13/90 Takacs Quartet
11/07/90 Los Angeles Chamber Orchestra Winds & Piano (9 instruments)
01/09/91 Sibelius Academy (string quartet)
03/09/91 Chester Quartet
04/05/91 Raphael Trio
05/02/91 Musicians from Marlboro
1991 – 1992
10/09/91 Beaux Arts Trio
10/23/91 Stamic Quartet of Prague
11/20/91 Ames Piano Quartet
03/07/92 Cavani Quartet
04/04/92 London Baroque Ensemble (2 violins, cello, harpsichord)
04/29/92 Colorado Quartet & Elizabeth Braden, soprano
1992 – 1993
10/08/92 American Quartet
11/04/92 Golub-Kaplan-Carr Trio
02/10/93 Quartet Sine Nomine
03/10/93 De Capo Chamber Players (flute, clarinet, violin, cello, piano)
03/31/93 Raphael Duo (cello/piano) from Raphael Trio
04/29/93 Lafayette Quartet
1993 – 1994
10/13/93 Schubert Ensemble of London (violin, viola, cello, bass, piano)
11/18/93 American Chamber Players with Edward Newman, piano (violin, horn, viola, cello)
01/16/94 Emerson Quartet
02/20/94 Beaux Arts Trio
03/10/94 Ying Quartet
04/15/94 Trio di Milano
1994 – 1995
10/21/94 London Chamber Orchestra (8 violins, 2 violas, 2 cellos, double-bass)
11/19/94 Leonardo Trio
01/17/95 Orion Quartet
02/14/95 Anonymous 4 (vocal)
04/11/95 Ames Piano Quartet
05/02/95 Golub & Hoffman (cello/piano)
1995 – 1996
10/26/95 Portland Baroque Orchestra
11/10/95 Peterson Quartet
01/07/96 American Chamber Players
01/28/96 Glowacka & Gokcen (cello/piano) with Majestic Theater
02/12/96 Cavani Quartet
03/31/96 Emerson Quartet
04/29/96 Ensemble Wien (violin, 2 violas, & double-bass)
1996 – 1997
10/09/96 National Chamber Orchestra (6 violins, flute, 2 violas, 2 cellos, double-bass, harpsichord)
11/12/96 Brentano Quartet
01/06/97 Arioso Wind Quintet with Rachelle McCabe, piano
02/05/97 Trio di Milano
03/04/97 Schubert Ensemble of London
04/05/97 Leontovych Quartet
Chamber Music Corvallis
1997 – 1998
10/16/97 The Raphael Ensemble (2 violins, 2 violas, 2 cellos)
11/20/97 Amadeus Trio
01/15/98 Ying String Quartet with Menahem Pressler, piano
02/11/98 Peterson Quartet
03/02/98 London Baroque Ensemble
04/06/98 Vermeer Quartet
1998 – 1999
10/14/98 Takacs Quartet
11/05/98 Portland Baroque Orchestra
11/20/98 Vienna Piano Trio
01/15/99 Schubert Ensemble of London
02/21/99 American Quartet
03/05/99 Cheifetz & McCabe, cello/piano
04/18/99 Keller Quartet
CMC and the OSU Department of Music Piano Masters Series
01/08/99 William Howard
02/26/99 Anne-Marie McDermott
04/25/99 Rachelle McCabe, William Ransom, Stephanie Leon Shames, Jonathan Shames
1999 – 2000
10/13/99 Audubon String Quartet with Ericka Eckert, viola, and Walter Gray, cello
11/10/99 New York Philomusica Ensemble (piano, 2 violins, 2 violas, cello)
02/02/00 Altenberg Trio
03/03/00 American Chamber Players
04/13/00 Skampa Quartet
CMC & Corvallis-OSU Music Association
01/14/00 Miami String Quartet with Jon Nakamatsu, piano
CMC / Piano Masters Series
11/16/99 Angela Hewitt, piano
02/25/00 Craig Sheppard, piano
04/21/00 Andrew Rangell, piano
2000 – 2001
10/16/00 Pacifica Quartet
11/15/00 Ysaye String Quartet with Resgis Pasquier, violin, & Jean-Claude Pennetier, piano
01/18/01 Schubert Ensemble of London
02/15/01 Soni Ventorum Wind Quintet
03/07/01 Emerson Quartet
04/18/01 Trio Apollon
2001 – 2002
10/10/01 Chamber Orchestra Kremlin (6 first violins, 4 second violins, 4 violas, 3 cellos, double-bass)
11/15/01 Streicher Trio (forte-piano)
01/16/02 Tokyo Quartet
02/20/02 Vienna Piano Trio
03/14/02 Arditti Quartet
04/11/02 Mozart Quartet
2002 – 2003
10/07/02 Vega Quartet
11/01/02 Kalichstein-Laredo-Robinson Trio
01/21/03 Schubert Ensemble of London
02/24/03 David Finckel & Wu Han, cello/piano
03/12/03 St. Petersburg Quartet
04/28/03 Portland Baroque Orchestra
2003 – 2004
10/09/03 Amati Quartet
11/12/03 Amelia Piano Trio
01/07/04 I Musici de Montreal Chamber Orchestra (9 violins, 3 violas, 2 cells, double-bass)
02/04/04 Juilliard Quartet
03/09/04 Quintessence Chamber Ensemble (WQ)
04/26/04 Amadeus Trio
2004 – 2005
10/12/04 Schubert Ensemble of London
11/10/04 Ying Quartet
01/19/05 Philharmonia Quartet Berlin
02/16/05 Paris Trio
03/02/05 Concertante (2 violins, viola, cello, bass, clarinet, bassoon, horn)
04/05/05 American Chamber Players
2005 – 2006
10/10/05 Quartetto Gelato (tenor, eight instruments)
11/02/05 Vienna Piano Trio
01/10/06 Pacifica Quartet
02/21/06 Debussy Quartet
03/08/06 Szymanowski Quartet
04/05/06 Peabody Piano Trio
2006 – 2007
10/17/06 Turtle Island Quartet
11/08/06 Vertavo Quartet
01/17/07 Amelia Piano Trio
02/12/07 The Czech Nonet (SQ + WQ)
03/01/07 Cuarteto Casals & Tom Gallant, oboe
04/17/07 Cypress Quartet
2007 – 2008
10/09/07 Quartetto Gelato
11/14/07 Shanghai Quartet
01/30/08 Schubert Ensemble of London
02/27/08 Mandelring String Quartet & Robert Plane, clarinet
04/16/08 Trio con Brio Copenhagen
06/06/08 Euclid Quartet
2008 – 2009
10/14/08 Portland Baroque Orchestra
11/11/08 Borealis Quartet
01/20/09 Vilnius Quartet
02/11/09 Mozart Quartet
03/04/09 Leipzig Quartet
04/16/09 Cypress Quartet
2009 – 2010
10/22/09 Belcea Quartet
11/10/09 Zemlinsky Quartet
01/12/10 Falla Guitar Trio
02/20/10 Trio Solisti
04/14/10 Amelia Piano Trio
05/11/10 Aviv Quartet
2010 – 2011
10/14/10 Ensemble 415 (2 violins, violin/viola, viola, cello, harpsichord)
11/16/10 Manasse & Nakamatsu, clarinet / piano
01/20/11 Calefax Reed Quintet
02/09/11 Auryn Quartet
04/06/11 Enso Quartet
05/03/11 Gould Trio & Robert Plane, clarinet
2011 – 2012
10/06/11 Falla Guitar Trio
11/03/11 Cuarteto Casals
01/19/12 Jupiter Quartet
02/21/12 Alliage Saxophone Quintet
04/12/12 Daedalus Quartet
05/17/12 Triple Helix Piano Trio
2012 – 2013
10/09/12 Icicle Creek Piano Trio
11/13/12 Calder Quartet
01/25/13 Trio Solisti & Amy Burton, soprano
02/27/13 Moscow Quartet
03/14/13 Manasse & Nakamatsu, clarinet / piano
04/17/13 Diotima Quartet
2013 – 2014
10/02/13 Jasper Quartet
11/07/13 Daurov & Myer, cello/piano
02/12/14 Atos Piano Trio
03/06/14 Quatuor Ebene
04/08/14 Ying Quartet
05/06/14 Ariel Quartet
2014 – 2015
09/29/14 Moscow String Quartet & Mikola Suk, piano
10/29/14 Morgenstern Trio
01/23/15 Alliage Quintet (4 saxophones & piano)
02/27/15 Auryn Quartet
04/10/15 Escher Quartet
2015 – 2016
10/23/15 Dover Quartet
12/04/15 Axiom Brass Quintet
02/05/16 Kim / Basney fortepiano / violin duo
03/11/16 Borealis Wind Quintet
04/29/16 Adaskin String Trio with Tom Gallant, oboe
2016 – 2017
10/07/16 Akropolis Reed Quintet
11/04/16 Telegraph Quartet
01/27/17 WindSync (WQ)
02/24/17 Tesla Quartet
03/31/17 Gould Piano Trio with Robert Plane, clarinet
2017 – 2018
09/29/17 Schubert Ensemble of London
11/06/17 Meccore Quartet
01/31/18 Ensemble 4.1
03/23/18 Camerata RCO
04/23/18 Danel Quartet
2018 – 2019
10/05/18 American Chamber Players
11/09/18 Mirari Brass Quintet
01/25/19 Neave Trio
02/10/19 Delgani Quartet
03/08/19 Boreal Trio
04/26/19 Diderot Quartet
2019 – 2020
10/11/19 Berlin Counterpoint
11/01/19 Ensemble Lucidarium
02/21/20 Mobius Guitar Trio
2021-2022
12/17/21 Baltimore Consort
2/18/22 Ensemble Lucidarium
3/4/22 Arcis Saxophone Quartet
4/22//22 Valencia Baryton Project
5/13/22 Cuarteto Latinamericano
…And if you would like to be a part of CMC history, too, we welcome new volunteers! Please contact us, as we would love to hear from you!