Dr. Doris B. Powers – Teacher, Violinist, Violist, Musicologist,
Writer
Following a lifetime passion for music, Doris finds satisfaction
through numerous avenues. Since arriving in Chapel Hill in August, 1983, she has maintained a teaching studio for 26 years (in addition to some 30 years previously teaching in Seattle, WA, and Kansas), and takes keen enjoyment in seeing young people learn and grow musically. It was a special privilege to run
her own booking business, Evergreen, for 11 years, which furnished small ensembles and solos, including strolling, for many people as they celebrated their important social events.
Dr. Powers has been a member of Duke Chapel’s Orchestra Pro Cantores for about 20 years, a member of Carolina Baroque in Salisbury, NC, and has also performed with members of the Ciompi Quartet. 
As an author, Dr. Powers has researched and published Carl
Philipp Emanuel Bach: A Guide to Research (New York: Routledge, 2002) and
C.P.E. Bach’s Keyboard Trios I,
II/3.1 (Los Altos, California, The Packard Humanities Institute, 2011), an
edition of the violin and keyboard works in the series Carl Philipp Emanual Bach: Complete Works. She also wrote a monthly column about music, “Classical Themes,” for the Chapel Hill News from 2000 to 2004.
Currently, Dr. Powers reviews concerts for the online arts journal in North Carolina, Classical Voice of North
Carolina. 
She sat on the board of the Raleigh Chamber Music Guild from 2002 to 2008, participating in the committees handling the Master’s Series, initiating the September Prelude Festival, and organizing for the first time
 the master classes for young chamber musicians conducted by the visiting artists. Doris was associated with UNC’s Chamber Music Workshop for Adults for about 20 years, coaching and later assisting its artistic director, Donald L. Oehler, as director of the Introductory Chamber Music Program for adults. 
Dr. Powers received a B.A. in Music Education (University of Washington), M.M. in Violin Performance (with a specialty in baroque performance practices), and a Ph.D. in Eighteenth-century Musicology, University of North Carolina, Chapel Hill (with areas of expertise in north German intellectual history, including rhetoric, and late eighteenth-century performance practices).


 

Laura was born and raised in Chapel Hill—that’s right, a true native. She began her
violin studies at age 10 with Susan Black and became a bonafide Tarheel by
attending UNC-­‐CH, studying with Richard Luby and Ann Woodward, and earning
a Bachelor’s degree in Psychology. A curiosity about the greenness of other
grasses led her to Wichita, Kansas where she continued her violin studies with
Andrzej Grabiec and Nancy Luttrell, winning a position with the Wichita Symphony
in 1988. Realizing she wanted to raise her children on her native soil, Laura
and family moved back to Chapel Hill in 1998, much to the delight of her
parents. Over the years in NC, Laura has enjoyed playing with the Durham,
Raleigh, Wilmington, Greensboro and North Carolina Symphonies, and is a member
of the recently formed Carolina International Orchestra. She’s thrilled to be
entering her seventh year with the Chamber Orchestra of the Triangle and feels
fortunate to be a part of the vibrant freelance community here that gives her
opportunities to play opera, ballet, choral, chamber, wedding music and so much
more. In addition to serving as concertmaster of the Tchaikovsky Virtuosi and
the Masterworks Reading Orchestra, Laura is a founding member of The BarHop
String Quartet, specializing in non-­‐classical arrangements of jazz, rock,
and alternative music. Her latest venture as a member of the band, Hindugrass
has been a wild journey into a fusion of Indian and Bluegrass music that has
been both challenging and exciting. Laura also enjoys many recording gigs,
spanning a wide spectrum of musical styles. Along with her husband and two
children, Laura lives in the same neighborhood where she was raised. 
 

Here is a summary written by long-time member cellist, Richard Clark.

The Chapel Hill Philharmonia: the first twenty-five years

 In early 1983 Joel Carter, retired choral director at UNC-Chapel Hill, and Ed 
 Jackson, an amateur French horn player, with the encouragement of other Chapel 
 Hill instrumentalists, including Susan Strobel and Jerry and Barbara Hulka, 
 organized a community-based recreational reading orchestra. From the beginning 
 the Village Orchestra was a model of positive town/gown interaction -- in fact 
 the bass player was Mayor Ken Broun. The orchestra's first conductor was George 
 Taylor, violist of Duke's Ciompi Quartet. Thursday evening rehearsals in Hill 
 Hall were special times for the approximately fifty founding members, primarily 
 amateur musicians from Chapel Hill and Durham. Many had not been able to play 
 regularly in the Triangle, and the opportunity to play orchestral music
together  in friendly atmosphere under professional leadership was highly
motivating. With  Taylor's imminent departure to the Eastman School of Music,
the baton passed to  the husband and wife team of Brent Wissick, UNC faculty
cellist, and Ruth  Johnson, professional violinist and Suzuki teacher. Brent and
Ruth emphasized  the recreational aspects of the musical experience. They
established the  tradition of twice yearly performances, termed "open dress
rehearsals" or  informal "publick actes," avoiding the stressful "C word"
(concert). Small but  enthusiastic audiences in Hill Hall auditorium consisted
almost entirely of  close friends and family members. Programs were dominated by
short, light works  and occasional excerpts from symphonies, followed by
receptions.

In the spring of 1989, Edgar Alden, retired UNC violin professor and Music 
Department chair, became conductor. His wife Dorothy, also a fine professional 
violinist, became principal second violin. The Village Orchestra grew and for 
the first time tackled entire symphonies. Performances were now called "Musical 
Evenings" and the orchestra began to attract attention beyond the confines of 
the "Village" of Chapel Hill. Membership, as it does today, consisted almost 
entirely of amateur musicians with widely varying levels of expertise. Players 
range in age from teens to octogenarians, and their day jobs reflect the unique 
academic community in which we live. Membership is open without audition to all 
who love to play their instruments, and are willing to donate a modest sum each 
semester to help pay the conductor and cover music costs.

Since 1993 the orchestra has been directed by Professor Donald Oehler, UNC-CH 
faculty clarinetist and a devoted supporter of amateur musicians. Under his 
enthusiastic "can do" leadership, the orchestra's repertoire has become more 
ambitious. Recent concerts have included commissioned works and premieres by 
local composers and orchestra members. We no longer avoid the "C word." This 
season we performed four concerts, including one for a young audience. Our 
winter concert usually features amateur soloists from the orchestra's 
increasingly experienced membership of over 80 instrumentalists.

A satisfying function of the orchestra since its inception has been the 
sponsorship of an annual concerto contest for local pre-college musicians. 
Winners receive cash awards and, more importantly, the opportunity to perform
in  the orchestra's spring concert. Many of our previous winners are now 
accomplished professional musicians or students at nationally ranked 
conservatories. In keeping with the amicable town/gown relationship fostered by 
the founders, the Music Department continues to graciously provide practice and 
performance spaces in Hill Hall, and to make available sheet music, stands, and 
percussion instruments. The orchestra in turn encourages select UNC students to 
participate and schedules an annual "Diva Fest", affording UNC voice students a 
chance to rehearse arias with a live orchestra. We also contribute each year to 
a Music Department scholarship and donate new sheet music to the university 
library.

In 2002 the Board decided to adopt our present name -- the Chapel Hill 
Philharmonia. Our informal and undisciplined small reading orchestra of 25
years  ago has morphed into the larger, more sophisticated community cultural
resource  that you hear today, and can learn more about at our web site (www.chapelhillphilharmonia.org).  However, we
remain unique in the Triangle as a non-auditioned amateur group that  "pays to
play," and our concerts are still free! We are now a tax-exempt  organization
and receive financial help from an increasing list of patrons and  charitable
organizations. We look forward to what the next twenty-five years may  bring and
appreciate the continued support of our community and UNC-CH.