MUSIC

Emblems Wind Quintet preview: fresh breezes

Young ensemble’s concert brings 21st century music to Eugene

By GARY FERRINGTON

When the Emblems Wind Quintet lands in Eugene for a performance at the University of Oregon School of Music and Dance on June 3, it will be a homecoming for two of its members. Bassoonist Brandon Scott Rumsey and clarinetist Clarissa Osborn are former Eugene and Damascus residents and 2012 and 2013 graduates of the University of Oregon.

Emblems Wind Quintet performs Sunday in Eugene. Photo: Chris O’Brien.

Although Osborn now lives in Portland, the other members come from various corners of the world: Canadian-born flutist Merryl Neille (Monard) grew up in South Africa and, like Rumsey, now lives in Ann Arbor, Michigan, where the ensemble was founded in 2016. Las Vegas resident Alex Hayashi (oboe) has roots in Hawaii. Michigan native Caroline Steiger (horn) now calls San Marcos, Texas home.

When they converge in Oregon, the ensemble will be bringing music written by members of the first generation of mature 21st century composers. “A key component of our mission,” Rumsey notes, “is to share with the world fresh, exciting wind quintet gems that did not have a long life after their first performance or, in the case of commissions, have never been heard before.” That includes works by contemporary composers as well as composers who have been historically overlooked or brushed aside.

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‘Rituals’ review: ambient tension

Contemporary classical music ensemble Sound of Late's dive into ambient sounds achieves incomplete immersion

by TRISTAN BLISS

“Listen closely to the cycles of your breath as you sink deeper into a universe of sound.” As that promotional quote for its May 19 show Rituals at Portland’s N.E.W Expressive Works indicates, Sound of Late invited us to lose ourselves in the spatial and immersive qualities of sound. Unfortunately, while waiting for this “universe of sound” to engulf me, Rituals played out as a fringe avant-garde chamber music concert that I would be cautious about who I invited to. The promised sound world was almost tangible and the show was teetering on something more, if only Sound of Late had believed in the validity of their vision and not sacrificed it to composers’ isolated visions of their scores.

Sound of Late’s ‘Rituals.’ Photo: Carlin Ma Photography.

Sitting in a circle, the audience’s experience centered upon the sound oscillating from inside to outside the circle. The Portland/Seattle new music ensemble performed Sequences by Icelandic composer Anna Thorvaldsdottir, Gjallarhorn by the Oregon electrical engineer/composer Chet Udell, in the speaking silence by Oregonian Andrea Reinkemeyer, and Et Nunc by Brooklyn based Alvin Singleton inside the audience circle. In between each of these pieces, a passage from Thirteen Changes by Pauline Oliveros would be played from outside the audience.

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MusicWatch Weekly: from Maxville to Vanport to here and now

Musical celebration of Oregon’s African American history highlights the week's concert picks

“The struggle of man against power is the struggle of memory against forgetting” ― Milan Kundera, The Book of Laughter and Forgetting

So much of what ails America and Oregon has roots in our history. So much could be prevented or at least healed if we knew and listened to the lessons history teaches. But too many Americans find history boring, or irrelevant or maybe even threatening, and therefore make political choices that history will wind up revealing as dangerous, destructive or worse. It’s a big reason we celebrate Memorial Day this weekend.

Art can bridge that gap between history and action by making the past come alive. And art that reveals hidden but important history by telling the stories of people and communities is even more valuable, not just for what it tells us about yesterday, but about today — and tomorrow.

Marilyn Keller performs in ‘From Maxville to Vanport’ Saturday.

Which is why From Maxville To Vanport: A Celebration of Oregon’s Black History this Saturday night at Portland’s Alberta Rose Theatre promises to be such a valuable as well as entertaining show. Almost 70 years to the day after the Vanport Flood, this is the final performance of Portland Jazz Composers Ensemble’s concert of original songs and film shorts inspired by the stories of the multicultural populations of Oregon’s lost, short-lived predominantly African American communities, Maxville and Vanport, after last month’s shows in La Grande, Enterprise, and Baker City.

Eastern Oregon’s Wallowa County is where Maxville was built in 1923. Many of its loggers, homesteaders and ranchers came to Oregon in the Great Migration, when African Americans headed north seeking opportunity and equality denied them in the Jim Crow South. Unfortunately, the Oregon they encountered turned out to host its own white racist refugees, who frustrated, too often violently, their aspirations for decades. As has become obvious in recent years, their hateful legacy lingers.

But along with the challenges, including the losses entailed by pulling up roots and moving far from their families, churches and other nurturing institutions, Maxville’s residents also registered triumphs and created their own vital community before the town was shut down in 1933.

The same goes for Vanport, whose ultimate fate, if not necessarily its rich history, is likely more familiar to more Oregonians. In its six-year existence before it was destroyed by the horrific Memorial Day flood of 1948, the city (briefly Oregon’s second-largest) harbored a thriving community of shipyard workers who helped build the warships that helped win World War II.

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‘Outset’ and ‘Confluence’ series: improvisation institutions

Creative Music Guild series bring both local and touring creative improv performers to Oregon audiences

Story and photos by PATRICK McCULLEY

Coffee shop/vintage clothing/used record store by day, and bar and music venue by night, Northeast Portland’s Turn Turn Turn has become a host, laboratory, and hub for the city’s small but thriving improvised and non-traditional music scene.

“Local” is the operative word here. The Creative Music Guild, which creates and promote concerts for improvised and/or experimental music throughout Portland, uses its Outset Series to showcase local talent every first and third Wednesday.

Outset showcases the local scene’s diversity. Last December, in a nod to their round robin duo performances from the Improvisation Summit of Portland, the CMG put together an ad-hoc improv night that randomly selects from a pool of musicians four ensembles which take the stage in turn to bring to life, to improvise, twenty minutes worth of completely new music.

Dead Death killed it at the Outset Series.

The first band of the night, with Blue Cranes saxophonist Reed Wallsmith, Derek Monypeny on guitar, and TJ Thompson on drums, sizzled, spat, and shimmered with the noise of free improvisation in the beginning of their set. But the feeling soon changed as Thompson’s driving, tom-heavy groove began to drive the band in a more rhythmically structured direction, with minor-key melodies from guitar and saxophone fluttering on top. After several minutes their intensity dissolved into an arrhythmic, nebulous, bright wavering of tone, dominated by distorted guitar and and shimmering cymbals.

The following band, with Andy Raybourn on bass clarinet, Tim DuRoche on drumset, Blue Crane Joe Cunningham on tenor saxophone and slide whistle, struck a more humorous tone. Rayborn’s bass clarinet melodies flapped and wandered like some kind of zany forest creature between DuRoche’s sporadic snare and cymbal hits. Cunningham added another zoological element to the music with the bird-like utterances of his slide whistle. As the set progressed, however, and Cunningham’s saxophone joined the fray, our musical jungle soon echoed with plaintive wails and screams of large, extinct creatures, as well as a strangely appropriate melodic fragment from Thelonious Monk’s “Round Midnight.” And oddly enough, although I doubt it was intentional, the set ended with a similar exchange of melodies and utterances with which it began.

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‘Rigoletto’ review: toxic masculinity in high office

Portland Opera’s production of Verdi’s classic captures the composer’s critique of misogynistic leaders

By BRUCE BROWNE

Giuseppe Verdi’s Rigoletto may be a popular classic today. But a beleaguered, thin-skinned political leader tried to strangle it at birth for daring to depict a ruler who would abuse the women around him. And who would do that in this day and age?

POA chose to open its 2018 season with one of the great works to be plucked from Verdi’s middle period (late 1840s to mid-1850s), which also included La Traviata and Il Trovatore. The 30-something-year-old composer was successful enough (and financially comfortable) at this time to select his own subject matter — and to break with musical convention.

Portland Opera’s ‘Rigoletto.’ Photo: Cory Weaver.

Verdi and his librettist Francesco Maria Piave chose Victor Hugo’s Le roi s’amuse, a play that had been banned in France after opening night in 1832. French censors claimed the play’s misogynistic royal was a reference to the then-current King Louis-Philippe. (Hugo was to have his say about the reign of Louis-Philippe three decades later in Les Miserables).

The Verdi/Piave blueblood, the Duke of Mantua, is the poster boy for misogyny, displaying his attitude with great elan in the beginning of the show with the aria ‘Quest o Quella” (this [woman] or that one), and he’s already seduced a vast number of the female courtiers including wives and daughters of his own henchmen.

The “revolting morality and obscene triviality of the libretto” (Life of Verdi, John Roselli, Cambridge University Press, 2000) was only one of the elements that, according to the letter from the Imperial and Royal Central Director to the composer, precluded Verdi from opening the show. In fact, it’s more likely that Italy’s real King, Louis-Napoleon Bonaparte (Napoleon III) felt, in these tumultuous times, more than a hint of criticism coming his way, and wanted none of it.

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Portland Wind Symphony review: free is a very good price

Growing orchestra's strong performance gave the audience greater value than many paid concerts

by MARIA CHOBAN

Musician: Oh my gosh, it’s been too long since we last saw each other! I’m retired!!

Me: That’s fantastic! You must be filling up all your time with playing.

Musician: (Sheepishly) Yeah, but it’s all free stuff now.

Me: Why are you apologizing?! This free concert is better than the last ten concerts I attended that charged admission!

Free is a very good price. But a free concert might also come with reservations. The show might not be quite ready for prime time, right? When I recommend a show or a band, I’m aware of how little free time folks have. I am just as likely to answer the uninitiated who ask for my recommendation with “No! Do not go to this overpriced under-rehearsed show” as I am to shepherd them away from many free and reasonably priced events — because it’s not just about money anymore. Is it worth their most precious commodity — time?

Chris Chapman leading Portland Wind Symphony. Photo: Phil Pasteris.

What particularly thrills me, though, is when I can exuberantly recommend a great free show like the one last week, where the above conversation took place at intermission of a concert of the Portland Wind Symphony at Portland State University’s Lincoln Hall.

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MusicWatch Weekly: Mahlerian May

Mega-symphonies and more resound in Oregon concerts this week

Mahler’s symphonies seem like a closing chapter, a culmination of big, Romantic orchestral music. So large (and expensive!) are the forces required, that orchestras often save them for the end of the season. On Thursday, Francesco Lecce-Chong concludes his debut season with the Eugene Symphony with Symphony #5, along with Haydn’s delightful Symphony #88, still one of his most popular. Mahler wanted to pack a world into each of his symphonies, and this 1902 colossus traverses an astonishing emotional range, veering from funereal to violent to inebriated to anxious to ardent to a demented orchestral punch line.

Gustav Mahler.

In Portland, the Oregon Symphony closes its season this weekend at Arlene Schnitzer Concert Hall with Mahler’s relatively infrequently played 1905 seventh symphony (“A Lotta Night Music”), which does not need more cowbell. And next Tuesday, Corvallis OSU Symphony Orchestra plays his massive, summery third symphony at Oregon State University’s LaSells Stewart Center.

The excellent Delgani String Quartet also goes big in its season-ender Sunday afternoon and Tuesday night at Eugene’s Temple Beth Israel, and Monday night at Portland’s Old Church, adding a second violist (Elizabeth Freivogel of the award-winning Jupiter Quartet) so they can play a pair of too rarely heard (because they require that “extra” player) classical masterpieces: Mozart’s G Minor quintet and Brahms’s G major quintet.

Delgani Quartet adds a guest for its performances in Portland and Eugene.

In “Rituals” Friday night at N.E.W. Expressive Works, Portland/Seattle new music ensemble Sound of Late, one of the freshest additions to the Northwest’s burgeoning contemporary classical music scene, offers a pair of Portland premieres by Alvin Singleton and acclaimed Icelandic composer Anna Thorvaldsdottir, a composition by Chet Udell that uses motion-sensor electronics and horn, a 20th century classic by the late pioneering composer Pauline Oliveros, and the world premiere of a lament by promising Oregon composer Andrea Reinkemeyer, who just scored a major national award for emerging women composers.

Sophiko Simsive performs in Portland, Salem, and Hood River.

Speaking of Oregon composers, Portland’s Kenji Bunch contributed a new piece to Sophiko Simsive’s performances at Portland Piano Company (Wednesday), Salem Library (Thursday), and Hood River Middle School (Friday afternoon). The award-winning Georgian pianist’s free recital, part of Portland Piano International’s admirable Rising Star program that pairs new music by Oregon composers with emerging young touring pianists, also features sonatas by Mozart and Scriabin and Ravel’s marvelously modernized reinvention of an old dance form, The Waltz (La Valse) — which in turn inspired Bunch’s new Discothèque.

Speaking of Bunch, his father Ralph wrote the libretto for another new piece by still another Portland composer, John Vergin, which the latter will perform on piano with singers Alexis Hamilton and Brian Tierney Sunday night at Reed College’s Eliot Hall Chapel. Their song cycle Eleanora Andreevna takes its title from the name of Bunch’s Soviet-born wife, who escaped German bombing during World War II and grew up to become one of the nation’s top female computer scientists and to save Ralph’s life. They married when both were in their late 50s and she died in 2012.

Frank Martin didn’t even publish his 1922 Mass for 40 years, considering the devotional music too personal. But choirs have increasingly taken it up, including recent performances by Oregon Repertory Singers, Cantores in Ecclesia and now these Portland Symphonic Choir performances Friday and Saturday at Trinity Episcopal Cathedral led by PSC music director candidate Richard Sparks. When Sparks was with a Canadian choir, he also commissioned the other work on the program, Canadian composer Allan Bevan’s 2005 Good Friday meditation Nou goth sonne under wode, and now he’s bringing it here for its Portland premiere.

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