As All Classical Radio prepares for an exciting year ahead, we’d like to take a moment to pause and reflect, with gratitude, on 2023. Together, we achieved so much!
Thanks to your generous support, All Classical has had monumental achievements over the past year—from innovative community collaborations, composer and artist residencies, and an initiative project profiling trailblazing artists of the Pacific Northwest.
All Classical Radio is community-focused and community-supported. Your tax-deductible contribution by December 31st will help to ensure the music continues in the year ahead, sharing comfort and inspiration with our community every day.
Ranked the #1 classical public radio station in the nation (Nielsen Audio) in the station’s 40th anniversary year.
Installed retrospective pop-up exhibit at the Oregon Historical Society, recognizing 40 years of orchestrating magic on the radio.
Launched Artist Anthology, an NEA-funded, initiative profiling 40 trailblazing artists of the Pacific NW culminating in a limited-edition book.
Announced the station’s 2024 relocation to a custom built state-of-the-art media center in Downtown Portland, with over 50% of funds raised to date toward the relocation capital campaign.
Hosted The Improv Sessions, an on air and on demand project featuring former Oregon Poet Laureate Kim Stafford and pianist Hunter Noack.
Produced 17,520 hours of outstanding programming on two networks, serving millions across the region and U.S.A. with listeners streaming in 100+ countries.
Launched ICAN Become, a new radio series and podcast featuring youth interviewing astronauts, architects, chefs, and more, on icanradio.org.
Featured 40+ regional artists and organizations on fourth season of Fall into the Arts radio series.
Collaborated with music, art, and community service organizations on unique events like The Magic of Eric Carle with the Metropolitan Youth Symphony, and a free concert with Portland Parks and Recreation.
Celebrating the magic of the season is one of All Classical Radio’s most beloved traditions. Each December, our Program Director, John Pitman, selects twelve carols from our extensive Festival of Carols library for a deep dive into their origins.
In 2019, we explored holiday classics like Hark! The Herald Angels Sing and O Tannenbaum, while 2020’s post delved into international favorites such as Riu, riu, chiu and Noël nouvelet. In 2021’s list of carols, we traversed centuries with Medieval pieces such as In dulci jubilo and Veni, veni Emmanuel, and in 2022, we featured some Hanukkah classics as well as the operatic favorite, O Holy Night.
This year, we’re expanding our celebration of the season to include a wide range of languages, origins, time periods, and more, from the 12th-century Wexford Carol to Pink Martini’s contemporary rendition of Vamos, pastores, vamos.
The buoyant traditional French carol, Il est né le divin enfant (He is born, the Divine Child), is thought to be from the 18th century. Adding to the carol’s mysterious origins, both the composer and poet are unknown. The mood of the piece is joyful and celebratory in appreciation of the birth of the baby Jesus. The text and music of the carol were first published separately in the 19th century, about a decade apart—At some point thereafter, the two were joined into what is now a staple of French Christmas music tradition. Follow along with an English translation of Il est né le divin enfant here.
Wexford Carol
The Wexford Carol, a traditional piece from Ireland, dates from as early as the 12th century and is among the oldest surviving European seasonal carols. Commonly sung as part of a traditional Irish Christmas celebration, the Wexford Carol tells the story of the Nativity in rhyming verse. The title of the carol refers to County Wexford on the east coast of Ireland. After centuries of aural passage, it was first written down by William Grattan Flood (1857-1928), music director of St. Aidan’s Cathedral in Enniscorthy. Versions of the lyrics exist in both English and Gaelic, though historians have yet to confirm which version came first. This carol is written in Mixolydian mode, so be sure to listen for its distinctive minor seventh.
Personent Hodie
Personent Hodie (On this day Earth shall ring) is a triumphant Medieval Christmas carol with anonymous origins that, along with other seasonal carols such as In dulci jubilo, Good King Wenceslas, and Gaudete!, was discovered in a 16th-century Finnish songbook called Piae Cantiones. Over the past century or so, the carol has been arranged several times—the version arranged by Gustav Holst has remained particularly popular. Interestingly, the text is based on a Medieval song referring to St. Nicholas, the patron saint of children and the historical prototype for Santa Claus. You can find an English translation of the text celebrating the Nativity here.
Candlelight Carol
English composer and conductor John Rutter (b. 1945) is one of the most influential musical voices in 20th and 21st-century choral repertoire. Both his arrangements of known pieces and original works are familiar and beloved by choirs all over the world. Rutter’s original Christmas carol, Candlelight Carol, was written in 1984 and inspired by Geertgen tot Sint Jans’s 15th-century painting, “Nativity at Night.” Geertgen’s imagery shows Mary and a gathering of angels gazing down at the infant Jesus lying in a manger. Rutter’s carol beautifully captures the intimacy and serenity represented by the subjects of the painting.
A Spotless Rose
Similar to John Rutter’s Candlelight Carol, A Spotless Rose by English composer and organist Herbert Howells (1892-1983)has become a staple of the season, particularly in the U.K. The carol was included in a set of three early works composed by Howells called Three Carol Anthems and uses poetry by an anonymous 15th or 16th-century poet. A Spotless Rose comes across as both simple in its a cappella setting and highly expressive in its text setting. The poetry contains metaphors for Jesus’s birth and the purity of Mary, the “spotless rose” being Jesus and the “tender root” being Mary. The original poem was written in German, “Es ist ein Rose entsprungen” (Lo, how a rose e’er blooming), which may conjure up another popular Christmastime carol.
Cherry Tree Carol
Like many centuries-old songs, the traditional English carol referred to as the Cherry Tree Carol has anonymous origins and likely dates from the 15th century. Over the years, the piece has evolved into an extensive assembly of variations in text and music. One possible origin story for the carol is that it was first used in one of the Coventry Plays, a cycle of mystery plays performed in Coventry, England, in the late Middle Ages (and perhaps also the source of the famous Coventry Carol). To add to the fogginess around this piece, the versions sung today may be a composite of three separate but thematically related carols.
The lyrics for the Cherry Tree Carol relate to an apocryphal story in which a pregnant Mary and Joseph are traveling to Bethlehem and pass by a cherry orchard. Mary asks Joseph to pick cherries from one of the trees, but Joseph refuses, citing skepticism over their child’s paternity. Jesus then commands the tree to lower its branches from the womb, causing Joseph to repent.
Still, still, still
Still, still, still, a peaceful Austrian Wiegenlied (lullaby) originating from Salzburg in the early 1800s, is commonly performed today in both German and English. The melody comes from a traditional Austrian folk song, and the text comprises two to five verses (depending on what version you are singing) portraying Mary soothing the infant Jesus to sleep. The gentle, straightforward tune allows for numerous creative arrangements and makes it an accessible piece for larger groups of singers. Read an English translation of this seasonal Wiegenlied here.
The Seven Joys of Mary
While not exclusively a Christmastime carol, The Seven Joys of Mary has become closely associated with the season in recent years. The devotion to the seven joys of Mary has been a tradition since the Medieval era and has produced no shortage of musical material ever since. Historically, the subjects of the seven Joys have varied; in versions sung today, those Joys typically constitute the following: 1. Mary sees her infant son; 2. Jesus heals the infirm; 3. Jesus restores sight to the blind; 4. Jesus “reads the bible o’er;” 5. Jesus raises the dead; 6. Jesus bears the crucifix; and 7. Jesus ascends to Heaven.
Below is the most frequently performed version of the carol, composed by Sir Richard Terry (1864-1938):
Quem pastores laudavere
Like many of the carols featured in this article, the gentle Nativity carol, Quem pastores laudavere (He whom the shepherds praised), has Medieval origins. The anonymous source of the text is from 15th-century Germany, and variations of Michael Praetorius’s (1571-1621) arrangement from the early 1600s remains popular even today. The carol’s Latin text portrays an outside perspective of the Nativity—the worship of the shepherds and the wise men at Jesus’s birth. Sing along with an English translation of the Latin verses here.
Verbum caro factum est
Verbum caro factum est (The Word was made flesh), an oft-quoted passage from the Gospel of John referring to the Nativity, has been a facet of Christmas Day mass for centuries. Many composers have taken the liturgical text and set it to music, making it a harmonious fixture of the season. Among the most frequently performed versions of the hymn is Hans Leo Hassler’s (1564-1612) polyphonic motet from the late 16th century. In this style of musical writing, the singers are split into two groups and pass the melody back and forth, culminating in a satisfying tutti finish. Read an English translation of the Latin text here.
While Shepherds Watched Their Flocks
While Shepherds Watched Their Flocks is an English carol written by Irish-born poet Nahum Tate (1652-1715).Tate’s lyrics summarize the Nativity story in the Gospel of Luke 2:8-14. Fun fact: Tate’s hymn was possibly the first Christmas hymn authorized for worship by the Anglican Church. As for the accompanying music, two versions have remained popular. If you’re in the U.K., the standard version sung is “Winchester Old,” an anonymous tune from the 16th century. In the U.S., carolers typically use a melody from an aria from G. F. Handel’s opera, Cyrus, King of Persia.
Vamos, pastores, vamos (Let’s go, Shepherds, Let’s go) is a popular Christmas villancico (Spanish carol) that evokes the excitement and celebratory mood of the shepherds hastening to Bethlehem to welcome the Baby Jesus. The Flor y Canto, a massive Spanish-language hymnal for Catholic worship, credits Spanish priest and musician Evaristo Ciria Sanz (1802-1875) with the authorship of the carol, while other sources assign credit to prolific Colombian songwriter Jeremías Quintero Gutiérrez (1884-1964).
Keep the Celebration Going
Read about more favorites from the Festival of Carols in previous years’ editions of The Stories of Twelve Carols:2022 Stories, 2021 Stories, 2020 Stories, and 2019 Stories. And be sure to tune in starting December 22, 2023 to hear your favorites played on air.
All Classical Radio is thrilled to congratulate Coty Raven Morris, who has been named a finalist for the 2024 Music Educator Award, presented by the Recording Academy and GRAMMY Museum. Coty is one of 10 finalists, narrowed down from a field of 25 semifinalists, selected from more than 2,000 music educators nominated from across the country. She was also named a quarterfinalist for the 2023 Music Educator Award and the Portland State University George C. Hoffman Faculty Award.
The ultimate recipient of the 2024 Music Educator Award will be recognized during GRAMMY Week, prior to the GRAMMY awards ceremony on February 4, 2024, and will receive a $10,000 honorarium and matching grant for their school’s music program.
“Coty Raven Morris is a star who employs the power of music and education to changes lives every day,” says Suzanne Nance, President and CEO of All Classical Radio. “It is a joy to see her outstanding work in the classroom and community, and on the stage, recognized nationally by the Recording Academy and GRAMMY Museum.”
Coty Raven Morris joined the All Classical Radio team in May 2023. In addition to her role as on air radio host, she is a featured author on the All Classical Radio Arts Blog, and a familiar voice on ICAN Radio, the station’s 24-hour arts and music network for children, their families, caregivers, and educators at icanradio.org.
Coty is the Hinckley Assistant Professor of Music Education and Social Justice at Portland State University. She is the Northwest Choral representative for the National Association for Music Education, as well as the Community Choir Chair for Northwest region of the American Choral Directors Association. Coty is also the Founder of Being Human Together, a community rooted in music education striving to normalize difficult topics – like mental health, systemic oppression, diversity, and inclusivity – through conversation and connection.
All Classical Radio’s program director, John Pitman, chats with American violinist Randall Goosby about his second album with Decca Classics. The dynamic young soloist brings freshness to a concerto he first encountered as a teenager: Max Bruch’s Violin Concerto No. 1, and shimmering performances of Florence Price’s two Violin Concertos, with the Philadelphia Orchestra and Yannick Nézet-Séguin. There’s also a wonderful arrangement of Price’s piece, Adoration, arranged especially for the Philadelphia string section.
Their conversation delves into the challenges of playing a work like the Bruch, which is so familiar and enters a field that is plum with earlier interpretations, and sheds light on the concertos of Florence Price which are fast becoming favorites of audiences and performers. Randall also shares a wonderful and revealing story from his first serious encounter with the Bruch concerto, which he studied with violinist Philippe Quint.
Hear John’s conversation with Randall Goosby, along with highlights from the new album:
Sunday Brunch host Suzanne Nance loves to gather with friends and family around the brunch table, sharing food, music, and memories. This Sunday, November 5, she’s joined on Sunday Brunch by Portland Baroque Orchestra’s Artistic Director Julian Perkins, and Julian has a special treat he would love to share with YOU!
We are delighted to pass on Julian’s recipe for Sticky Fried Goo-Goo. Similar to Rice Krispies Treats, this dessert is an Oxford birthday celebration favorite. Bon appétit!
Download the full recipe here, and be sure to tune in to Sunday Brunch every Sunday from 10:00 AM – 12:00 PM PT. There’s always room at the brunch table!
Suzanne Nance & Julian Perkins cooking
Sticky Fried Goo-Goo
Ingredients:
10.5 Tbsp unsalted butter
14 oz. marshmallows
6.5 oz. dairy-free toffee
1 Tbsp golden syrup
3.5 cups Rice Krispies (you can judge it by eye)
3 full-sized mars bars
3 Tbsp of double cream
Line a 9x13in (or similar-sized) baking dish with plastic wrap.
In a large saucepan over a low heat, add the butter, marshmallows, toffee, and golden syrup. Gently melt everything down and mix well. When all the ingredients have melted and are evenly blended, add the rice krispies. As gently as you can so as not to crush too many rice krispies, mix everything with a large metal spoon so that the rice krispies are covered well with the marshmallow mixture. It will be very sticky! When judging how many rice krispies you will need, you do not want the finished mixture to be too runny. If so, add more. Ideally, you want the marshmallow mixture to just cover the rice krispies, not swamp them.
Tip everything into the prepared baking tray and flatten the krispies mixture out using the back of the spoon. Pop in the fridge for a good twenty minutes.
While the ‘sticky fried goo goo’ is chilling, put the mars bars and cream into a small pan and gently melt down. Take the goo goo out of the fridge and pour the melted mars bars over the top. Put back into the fridge and leave for a good two hours to set. Cut into squares and enjoy!
Plínio Fernandes is a London-based Brazilian guitarist who has just released his second album. Bacheando explores the long-established influence of Bach’s music on Brazilian composers. Chief among them is Heitor Villa-Lobos (1887-1959), whose series titled Bachianas Brazileiras fuse the Baroque-age forms of Bach with the rhythm and styles of Brazilian music.
He recently spoke to All Classical Radio host John Pitman about his latest album, Bacheando.
Fernandes performs examples of these, but also shares further explorations, such as Bachianinha 1 & 2 by Paulinho Nogueira; and an almost direct “answer” to Bach’s Prelude, Fugue and Allegro, in a work by Sérgio Assad, who has been a mentor to Fernandes for many years.
John chats with this remarkable guitarist about the music, the people who have been an inspiration, and on reconnecting with Brazilian culture while living in London:
As we continue to celebrate our exciting 40th anniversary, we are proud to announce a brand new All Classical Radio exhibit is now open at the Oregon Historical Society (OHS)! This vibrant display takes visitors on a journey through our rich history, showcasing pivotal moments and the creative individuals who have made All Classical what it is today.
As we reflect on our past four decades, we’re filled with gratitude for your support. We look forward to many more years of celebrating classical music and the arts with you, on the radio and in the community.
ABOUT
Broadcast for the first time in 1983, All Classical has touched the lives of millions of radio listeners over the last 40 years through the power of music and the arts. With listeners across the USA and streaming from over 100 countries, All Classical Radio has grown from our humble beginnings: All Classical is now the highest ranked classical radio station for market share in the country (Nielsen Audio).
With this exhibit, we invite you to revisit the station’s history and all who made it possible and to celebrate the beloved radio hosts, unique musical programs, and groundbreaking outreach initiatives that have made this region’s classical music radio station a leader in the classical music and public radio industries, and a cornerstone of our regional creative community.
The Oregon Historical Society is dedicated to making Oregon’s long, rich history visible and accessible to all. For more than a century, OHS has served as the state’s collective memory, gathering and preserving a vast collection of artifacts, photographs, films, manuscripts, books, and oral histories. OHS exists because history is powerful, and because a history as deep and rich as Oregon’s cannot be contained within a single story or point of view.
Composer Carlos Simon has received numerous awards and nominations for works such as 2021’s Requiem for the Enslaved. He recently spoke to All Classical Radio host John Pitman about his latest album Together, a 10-track project that came about from the desire to simply make music with friends and colleagues, after the long period of separation during the pandemic.
Among these friends is soprano J’Nai Bridges, who sings Simon’s arrangement of the hymn Near the Cross, as well as the opening track, Prayer. Carlos tells John “because…always begin with a prayer.”), Violinist Randall Goosby joins the composer in Simon’s achingly beautiful rendition of Amazing Grace.
Hear John’s full interview with Carlos Simon, woven with music excerpts from Together:
Together by Carlos Simon is available now on Decca Classics. Purchase the album and learn more at carlossimonmusic.com.
Since 1983 this station has provided a constant source of music, inspiration, and joy for listeners in Portland, OR, and around the world. As we celebrate 40 years of community-minded, community-funded service, we are proud to reintroduce ourselves as All Classical Radio. With a bold new look and logo, and exciting initiatives on the horizon, we remain committed to sharing outstanding music and cultural programming in the years ahead.
All Classical Radio is your station. We are proud to be the Pacific Northwest’s most accessible and wide-reaching resource for outstanding music, arts, and cultural programs, and we will continue to serve as a trusted source for classical music enthusiasts, a beacon for community connection, and a platform for talented musicians and artists of all ages. For forty years, listener support has built and sustained this service. Together with our community, we continue to build together, and the future is bright!
ABOUT THE NEW LOOK
A vibrant visual universe for a vibrant radio station
All Classical Radio’s refreshed brand represents an exciting alignment with the station’s expansive geographic reach and impact, and our commitment to serving all listeners. The new logo and accompanying visual universe were inspired by the 20th Century Orphic Cubism Art movement, which sees art as the unification of sensation and color.
The logo is a joyful, minimalist representation of everything that makes All Classical Radio so unique. In the “C”, you may see sound waves, a record, an audience, a concert hall, a spotlight shining on our artists–and we hope you will see yourself, the community of listeners who support this service and make everything we do possible.
All Classical Radio’s President and CEO, Suzanne Nance, shares, “We are honored to be recognized as a leader in public media, for high rankings in listenership as well as our innovative programming on the air and in the community. This brand alignment reflects our flourishing global reach and our welcoming hometown touch, and positions the station to improve its accessibility and visual recognition, especially in the digital media landscape.”
“We remain committed to enhancing lives and breaking down barriers to classical music; welcoming all people and all communities to experience the power of the arts on All Classical. It’s the same wonderful station listeners have grown to love over the past four decades, with a new vibrant look!”
All Classical Radio’s new logo and look were developed in partnership with boutique creative consultancy – Hyper Beau.
Join All Classical Radio in recognizing our 40th anniversary this year, and watch this space to learn more about exciting initiatives on the horizon, including: a comprehensive website redesign (fall 2023), a retrospective exhibit to be displayed at the Oregon Historical Society (beginning October 2023), and All Classical Radio’s move to our new headquarters at the KOIN Tower in downtown Portland (early 2024). Learn more about our relocation or make a contribution to the capital campaign.
Thank you for supporting this service of music, companionship, kindness, and joy.
All Classical Radio: Frequently Asked Questions
Why are you All Classical Radio now? Why do you have a new logo?
There are many reasons we decided to refresh our look, and realign our brand, including:
The name… – We want to make sure that people know what we do. We’re a radio station, and want to celebrate our core service. – For years, people have called us “All Classical Radio” – and we are always listening and adapting.
The logo… – We want to visually reflect the joyful, vibrant service we provide to listeners, locally and around the world. – We want to ensure that All Classical is visible, accessible, and a standout in the highly competitive digital media landscape.
All Classical Radio is proud to be based in Portland, Oregon, broadcasting from the heart of the Pacific Northwest. Over 98% of the programs you hear every day are produced locally, and we remain committed to uplifting and celebrating our region.
Our refreshed look helps improve our visual recognition and representation, especially in digital spaces as we expand our content on the airwaves, online, and in the community. All Classical Radio is a leader in the public radio industry, with high listenership and ratings and innovative programs—and we want to be sure that we are seen! With a hometown touch and an international reach, All Classical Radio continues to strengthen our unique service, and this refreshed visual language more fully aligns with our well-known and well-loved programs and identity.
As we celebrate four decades of service, and look forward to the next forty years and beyond, All Classical Radio continues to broadcast the music and programs you love, and remains your station. Thank you for choosing this service of inspiration and joy.
If you have additional questions, please get in touch at support@allclassical.org or call 503-943-5828.
With the new look and logo, and relocation, does that mean your programming is changing, too?
All Classical Radio’s programming is not changing!
Our new logo reflects the joyful, vibrant service we provide to listeners, locally and around the world. Over 98% of the programs you hear on All Classical Radio are produced locally, in Portland, Oregon, and that is not changing. As a leader in the public radio industry, with high listenership and ratings and innovative programs, we want to be sure that we are seen! Our refreshed look helps improve our visual recognition and representation, especially in digital spaces as we expand our content on the airwaves, online, and in the community.
All Classical Radio’s relocation to KOIN tower (2024) is an exciting strategic move that will allow the station to continue providing the beautiful music and high-quality programming you’ve come to rely on, while creating opportunities for us to expand our programming and community-focused initiatives. We are proudly based in the heart of the Pacific Northwest, and are leading arts-based urban rejuvenation with our upcoming relocation to downtown Portland.
All Classical Radio remains your station. Our 24/7 service remains available on FM and HD radio in the Pacific Northwest, via mobile app, on your smart speaker, and worldwide at allclassical.org.
If you have additional questions, please get in touch at support@allclassical.org or call 503-943-5828.
Has the structure or ownership of the station changed?
All Classical Radio’s business model has not changed! We are an independent and community-funded 501(c)(3) nonprofit organization (federal tax ID 93-1042868). Contributions to All Classical Radio are an investment in a listener-supported service based in the heart of the Pacific Northwest since 1983. Approximately 90% of the revenue needed to operate this service comes from listener contributions. Additional support is provided by community-minded business, grantmaking agencies, and the Corporation for Public Broadcasting. You can learn more about our funding at allclassical.org/support.
Over 98% of the programs you hear on All Classical Radio are produced locally, in Portland, Oregon, and that has not changed. As a leader in the public radio industry, with high listenership and ratings and innovative programs, we want to be sure that we are seen! Our refreshed look helps improve our visual recognition and representation, especially in digital spaces as we expand our content on the airwaves, online, and in the community.
If you have additional questions, please get in touch at support@allclassical.org or call 503-943-5828.
Are you leaving Portland?
All Classical Radio is not leaving Portland! We are proud to broadcast our 24/7 radio service from the heart of Portland, and our location remains an essential part of our identity. We are not only committed to our regional identity—we are investing in the city, and leaning into it deeply in 2024 with our planned relocation to an updated facility at KOIN Tower in the heart of downtown Portland.
Bringing the word “radio” into our name and logo honors our core service: a radio station that uniquely uplifts our community, providing responsive, curated service to our listeners. Having “radio” in our title allows people to immediately know what it is that we do. In a world of growing automation, we want to amplify the uniqueness of radio and our ability to connect our listeners, near and far, live and in real-time thanks to our kind and warm radio hosts.
The change also allows us to represent and connect with our listeners in Oregon and SW Washington, beyond the city of Portland—those tuning in from Hood River, Salem, the Oregon Coast, Wine Country, Vancouver and beyond (with rapidly growing listenership across the USA and around the world).
All Classical Radio continue to celebrate and uplift the artists, organizations, and cultural economy of our city, and share the spirit of the Pacific Northwest in our region and beyond. We are proud to be leading arts-based urban rejuvenation with our upcoming move, and invite you to learn more about our relocation at allclassical.org/a-new-home-in-2024.
If you have additional questions, please get in touch at support@allclassical.org or call 503-943-5828.
What about the International Children’s Arts Network (ICAN)?
The International Children’s Arts Network (ICAN) remains a unique addition to All Classical Radio’s service, and one of our most exciting and innovative youth-centered initiatives. ICAN’s programming, available 24/7 on HD-2 locally and worldwide at icanradio.org, is not changing!
With All Classical Radio’s updated look and feel, ICAN’s logo has also been refreshed. Centering on joyful colors, and two variations of the contemporary and approachable “C” symbol, both logos represent many things: classical music, community, curriculum, and the children we celebrate and serve.
Streaming 24/7 at icanradio.org, ICAN continues to be a dedicated safe space for children to celebrate the joy of being a child, explore other cultures, and enhance their learning inside and outside the classroom.
Thank you for supporting All Classical Radio and ICAN as we continue to broadcast the music, stories, and educational content you love. If you have additional questions, please get in touch at support@allclassical.org or call 503-943-5828.
Who designed the new logo and look?
All Classical Radio’s updated visual language has been designed in partnership with boutique creative consultancy – Hyper Beau.
Founded and led by Sarah Blackman, Hyper Beau is a multi-disciplinary collective of creative thinkers, academics, artists, and designers. They have over 25 years of experience in global branding working with brands including L’Oreal, Chanel, Virgin Atlantic, The Guardian, and even the French Ministry of Culture. You can learn more at hyperbeau.london.
Thank you for supporting All Classical Radio as we continue to broadcast the music and programs you love. If you have additional questions, please get in touch at support@allclassical.org or call 503-943-5828.
What was the inspiration behind the logo? What does it represent?
The initial inspiration for All Classical Radio’s new logo came from an art movement which began in France in the early 1900s, known as the Orphic Cubism Art movement. This artistic style celebrates color—seeing art as the unification of color and sensation, emphasizing minimalism, abstraction, and vibrant colors. Orphic Cubism was co-founded by the visionary artists Robert and Sonia Delaunay. Born in Odessa (now, Odesa, Ukraine) to Jewish parents, Sonia (maiden name Stern) studied art in Germany and Paris, where she met Robert Delaunay in 1908, just as he approached the prime of his artistic career. Sonia has been quoted as saying, about her future husband, “In Robert Delaunay I found a poet. A poet who wrote not with words but with colours.”
Orphic Cubism, and the creative vision of its founders and contributing artists, was a pivotal source inspiration in the development process for All Classical Radio’s logo.
With the new look and logo, All Classical Radio seeks to represent everything that makes the station so unique in an elegant, accessible, and unique visual universe. In the “C” shape, you may see sound waves, an orchestra, a concert hall, a spotlight, a record player, or a stand-in for the words classical, culture, or community. The dynamic interplay between this symbolism and joyful, unexpected color is intended to spark passion, and to allow the viewer to also see themselves in the image.
How did All Classical Radio pay for its new logo and look?
The creation of All Classical Radio’s new logo and look was funded by the Board of Directors’ designated fund. Listener donations made to All Classical Radio directly support the station’s radio and community programs, and the music we broadcast on the radio 24/7 regionally and worldwide.
Can I still play All Classical Radio with my smart speaker?
Thank you for listening to All Classical! Yes, you can still play All Classical from your smart speaker, and the way to do this has not changed. Simply ask your device to “Play All Classical Portland.”
We will provide information if there are any changes to how you can access All Classical Radio on your smart speaker.
Please don’t hesitate to reach out if you experience any difficulties in listening to our live stream or have any additional questions. You can get in touch at support@allclassical.org or call 503-943-5828.
When can I get gift shop merchandise with your new logo?
There are new products on the horizon—stay tuned!
All Classical Radio is currently designing merchandise featuring the updated logo, so you can represent your favorite radio station in your home and in the community. We will announce our new items as soon as they are available, on the radio, via email newsletter, and on social media. Subscribe to our newsletter and follow us using the links below to be the first to know!
In the meantime, you can shop our anniversary sale and find limited-edition items (with limited inventory!) available for sale at deep discounts. View our apparel, glassware, and more at shop.allclassical.org.
Thank you for choosing this service of inspiration and joy. If you have additional questions, please get in touch at support@allclassical.org or call 503-943-5828.
Andrew Brownell is a pianist and former Portlander who, in the mid-1990s would occasionally stop by the All Classical studios for an interview with John Pitman. Often, Andrew would play something on the piano, or accompany violinist Nicholas Crosa (now part of Pink Martini), for an upcoming recital.
Brownell recently stopped by for a chat with John about his latest album, “Shades of Night,” available now on Divine Art. The pianist explores a time when the night was an antithesis to the clarity of an illumined day. In the especially fertile imaginations of the 19th- century Romantic composers, this was a time when the world gave itself over to mystery and magic. Brownell shares insight into his choices of repertoire, and the careful arrangement of them on the album, and how the pairings reveal secrets otherwise hidden, as though shielded from the light of the moon or campfire.
