Oregonians love nature as much as they love music, so to celebrate the 100th anniversary of the National Park Service, Third Angle New Music artistic director Ron Blessinger commissioned three Oregon composers to write solo pieces for members of the ensemble. “I told them that the subject was nature,” he says, “and they could take that word and run with it in any direction they wanted.”
A hallmark of nature is its diversity, so it’s appropriate that for Third Angle’s “Solo Hikes” concerts Thursday and Friday, the trio chose divergent paths. Portland composer Christina Rusnak, who has participated in various programs that put composers into national parks and other natural spaces, might equip her backpack with staff paper or a digital recorder to help her recall sounds she encounters on a hike. But rather than directly imitating the crackle of a campfire, she’s likelier to write music that conveys “the feeling of the fire… more like the sound of the experience” rather than the fire itself,” she explains. “As artists, we interpret the landscape.” Read Rusnak’s ArtsWatch story on landscape music.
Rusnak’s Glacier Blue opens by evoking the feeling of approaching the mountains of Glacier National Park earlier this year, “a trip I’ve been wanting to take for at least 10 years, so there’s a lot of anticipation in the first movement,” she explains. The second movement uses plucked strings to suggest twinkling stars in the night sky over the mountains. Her composition’s emphasis on the highest and lowest ranges of the cello, performed by Marilyn de Oliveira, reflects the mountains’ soaring heights and the depths of the park’s waters.
The common element, she later realized: “the idea that mountains look blue, glacial ice looks blue, the waters can be teal or aquamarine.” When she would visit Oregon from Texas, Rusnak noticed that “Most places don’t have skies this blue. And in Glacier, they’re even bluer. So I decided to write about the night sky.”
Two nocturnal movements from Mahler’s seventh symphony proved inspirational, as did advice from a cellist friend in Pennsylvania — and substantial input from Third Angle’s cellist herself. “I told her, ‘Make it your own.’ How you communicate the feeling, the essence of the piece to the audience is more important than getting that dotted eight note perfect. It’s been great to work with her. She’s a tremendous musician.”
Weaving a Web
Even before he left Portland for graduate study in 2008, Matt Marble’s music followed an ancient tradition of music influenced by nature’s patterns, drawing inspiration from botany (such as the ways leaves grow on stems), geometry, crystallography, village design, and Western esoteric traditions like alchemy.
“A lot of the music I was doing before I left here was so rooted in Portland’s natural environment,” like using natural objects for instruments and performing outdoors, recalls Marble, who, like Rusnak, has contributed to ArtsWatch. “I stopped doing that once I got to Princeton. As soon as I moved back here last year, I was drawn to doing that again,” as well as frequenting Mount Tabor and other Oregon natural spaces. “It’s been great to reunite with that.”