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MusicWatch Weekly: generation next

Music by and for young Oregonians highlights this week's concerts

It’s probably too late for the next generations to save our planet from the greed and selfishness of their elders, but at least they’ll have music to console them. Young musicians, like young Americans in general, do give me what little hope remains for our future. This month offers numerous opportunities to hear music by and for young Oregonians.

Metropolitan Youth Symphony plays new and old music this weekend.

• Metropolitan Youth Symphony teams up with Fear No Music’s valuable Young Composers Project in the inaugural performance of its new series of student commissions called “The Authentic Voice,” presented and performed by MYS. Sunday’s concert at Portland’s Arlene Schnitzer Concert Hall features Tone Poem No. 1: Orpheus and Eurydice, a brand new piece composed and conducted by high school senior Jake Safirstein, one of three composers who this year receive supportive training in a series of private lessons and small group workshops led by Fear No Music’s master musicians in addition to orchestral readings with MYS’s Symphony Orchestra. The program also includes Italian-themed music by Rossini, Tchaikovsky and Berlioz, plus music that’s delighted kids for decades when it appeared in Fantasia: Ponchielli’s Dance of the Hours from La Gioconda.

• Portland Youth Philharmonic’s Saturday concert in the same venue offers a rare opportunity to hear music by the dean of African American classical composers, William Grant Still, whose still-appealing music, often drawing on folk traditions, was underplayed in his lifetime because of racism, orchestras’ snobbish disdain for American composers, and mid-century trend-setters’ fear of music that could be enjoyed by broad audiences. That included Still’s 1957 American Scene: Five Suites for Young Americans, one of those worthy but neglected works by African American composers that Damien Geter wrote about in his ArtsWatch story last month. Along with its The Far West section, PYP will play the first movement of Tchaikovsky’s Violin Concerto with soloist 17-year-old violinist Aaron Greene, winner of PYP’s 2018-19 Soloist Competition, and Dvořák’s Symphony No. 6. Next month, we’ll tell you about FNM’s own concert pertaining to children and our future.

Violinist Aaron Greene performs with Portland Youth Philharmonic. Photo: Brian Clark

• We’re getting an early jump on next Wednesday’s BRAVO Youth Orchestras Breaking the Cage, a multi-media event at Portland’s Old Church featuring collective compositions by the young BRAVO musicians (some with personal connections to immigration) responding to the cruel detentions and family separations perpetrated by the government at America’s southwestern border. Along with ashort documentary film about the project, the show also features engaging Portland looping violinist and songwriter Joe Kye.

• Audiences should also look a lot younger than usual at the Oregon Symphony’s Tchaikovsky vs. Drake concert at Schnitzer Thursday night. Guest conductor Steve Hackman, perpetrator of last season’s similarly conceived “Brahms vs. Radiohead” program, this time brings three singers and a rapper to mashup a dozen hits by Drake (whose Scorpion is the year’s biggest album so far) with Tchaikovsky’s Fifth Symphony, with help from Dance West and Pacific Youth Choir.

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Oregon music on record 2015: Worldly and jazzy

New CDs of Northwest jazz and global music

Now that you’ve given to friends, family, and (hint) all those worthy arts nonprofits, how about treating yourself to a gift of Oregon music? We heard only a fraction of the classical, jazz and world music released by Oregon artists this year, but we sure enjoyed a lot of what we did hear. We’re dividing our year-end wrap into three segments this time; this one covers releases of special interest to fans of global sounds and jazz. See our previous posts in this series for Oregon early music and contemporary classical CDs, and don’t forget our past Oregon CD recommendations in 2012, 2013, and 2014.

seffarineDe Fez a Jerez
Seffarine
Oud player/flamenco guitarist Nat Hulskamp is one of Oregon’s most experienced world music stars, playing in various ensembles and venues around town for years. With help from a 2015 Project Grant from Oregon’s Regional Arts and Culture Council, Seffarine, his primary duo with Moroccan singer Lamiae Naki, recorded their ten original compositions with famous flamenco musicians Tomasa “La Macanita,” percussionist Luís de Periquín, and Diego del Mora (Paco de Lucia’s favorite guitarist) in the Jerez, Spain (known for its pervasive Gypsy culture), with further recording sessions in Portland.

Sung in Naki’s native Arabic as well as French and Spanish and accompanied by flamenco guitar, oud, Persian kamancheh and sehtar, bass and percussion, the new album soulfully embraces flamenco, Moroccan, Persian, Malagasy, jazz and Brazilian influences, courtesy of Persian multi-instrumentalist Bobak Salehi (Hulskamp’s partner in the Portland ensemble Shabava) on kamancheh (spike fiddle), sehtar and tar (lutes) and violin, bassist Damian Erskine, Malagasy percussionist Manavihare Fiaindratovo and Indian tabla player Anil Prasad.

Such an extreme range of diverse voices could easily turn into a contrived multicultural mush, but it all feels seamless and natural, tied together by Naki’s plangent vocals and Hulskamp’s flamenco flourishes and their original songwriting voice. Fans of groups like the Gipsy Kings, Oregon, or Portland’s Al-Andalus will find much to enjoy, and this enchanting album deserves international attention.


Nourishment
Gamelan Pacifica
Seattle’s Gamelan Pacifica continues the tradition, established largely by Portland-born American composer Lou Harrison, of making traditional Javanese percussion ensemble music a living multicultural tradition, not an ethnomusicological museum. That’s not surprising, since the ensemble was founded and led by one of Harrison’s earliest proteges, composer and musician Jarrad Powell, who now teaches at Cornish College of the Arts, where the instruments are based. And like Harrison, the composers here are so familiar with traditional Javanese karawitan (gamelan music) that they can fruitfully experiment within its structures.

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