by JEFF WINSLOW
“Clearing” is such a paradoxical word. It refers to the absence of something – storm, forest, piles of stuff – but at the same time invites contemplation of what comes to life in the cleared space. What first struck me about Portland Piano International’s three day, four evening festival of nominally contemporary piano music, “The Clearing,” the long weekend after the election was what was absent: American composers, aside from Elliott Carter, a composer with a long lifetime of ties to Europe.
Also, much of the repertory was not at all new: pre-World War II works by Arnold Schoenberg and Anton Webern, and music written immediately after the war by Pierre Boulez, Olivier Messiaen and György Ligeti, who with Boulez’s passing just this year at the age of 90 are all gone now. These works were included primarily for historical perspective, and the narrow Eurocentrism of the repertory turned out to be only natural: PPI had appointed Serbian pianist Tamara Stefanovich to curate the festival, and she along with Pierre-Laurent Aimard make up what may be Europe’s reigning power couple of contemporary piano. And so the festival, held at Portland State University’s Lincoln Hall, turned out to be a lively and fascinating window into the world of European art music from the mid 20th century on, in all its uncertain glory.