Agnieszka Laska Dancers

MusicWatch Weekly: festivalpalooza!

Festivals erupt this week in Oregon with Makrokosmos, Oregon Bach Festival, Astoria Music Festival, Salem World Beat Festival, Chamber Music Northwest, PianoPushPlay and more

Acclaimed piano duo Stephanie & Saar once again return to Northwest Portland’s Vestas building Thursday to collaborate with Portland Percussion Group and other Portland performers in a five-hour marathon show. This time, the Makrokosmos Project 4: Dadapalooza program features one of the mid-20th century’s groundbreaking works: John Cage’s justly celebrated Sonatas and Interludes for Prepared Piano. Even listeners befuddled by Cage’s later detour into aleatoric (chance) music can appreciate the restrained, mysterious beauty the composer conjured from his modifications of the piano’s strings and hammers.

Stephanie & Saar performed with Portland Percussion Group last year at Makrokosmos.

The cheerfully overstuffed extravaganza also includes another 20th century classic: the third Makrokosmos composition by project patron saint and Pulitzer Prize winner George Crumb: Music for a Summer Evening, written in 1974 for two amplified pianos and percussion, plus new music by Gregory Hutter, Karen Tanaka, Portland’s Texu Kim (the Portland composer’s dazzling 300+ MicroVariations on a Bach Theme, one of my favorite local discoveries this year) Wang Jie and more. It’s the kind of event where you can wander in and out as you please, sample food and wine, the better to sample unfamiliar yet often enticing music of our time. Search our site for our extensive previous coverage to get an idea of what it’s like.

A piece that would have fit snugly into Dadapalooza would have been George Antheil’s 1924 Ballet Mecanique, whose sirens, airplane propellers, percussion-laced orchestra player piano, and crazy rhythms — scandalized Paris, sparked riots, delighted surrealists and avant gardists, and made the young American composer’s reputation as the Bad Boy of Music, which became the apt title of his autobiography. After returning to America, he wrote an advice column (!), collaborated with actress Hedy Lamarr on the technology that much later made wi-fi possible (for which he was short-shrifted in last year’s documentary Bombshell) and mostly wrote film music.

But recently, Portland violinist and Antheil scholar Hannah Leland learned about some previously unknown music from the mid-1940s that Antheil wrote for a German-American violinist friend. With her pianist partner Aimee Fincher, their Duo Odéon (named after the Paris street where Antheil, who died in 1959, lived above Sylvia Beach’s famous bookstore) recorded a splendid new Sono Luminus album of that music and more. Their album release party at Portland’s Santé Bar, 411 Northwest Park Avenue, features Antheil’s exuberant, virtuosic mid-century music from their ebullient new recording Specter — think sassy Prokofiev with an American twist. The bar is creating two craft cocktails, the Odéon and Specter, for the occasion.

PianoPushPlay’s annual free kickoff event at the Portland Art museum courtyard brings together ten donated pianos that have been wonderfully weirded out by local artists, and they’re played by various local pianists (classical, jazz, pop) and even random passersby who sign up. They keep them out in the courtyard for anyone to play as they walk by, and at summer’s end they’re auctioned off and donated to local  schools, community centers etc. Paste the name into the OAW search field to read our previous coverage.

Pianopushplay founder Megan McGeorge poses next to a piano she donated to the cause at last summer’s opening event.

Saxophonic Sequels, Festival Fever

“It cries, sighs and dreams,” wrote Berlioz. “It possesses a crescendo and can gradually diminish until it is only an echo of an echo. I know of no other instrument that possesses this particular capacity to reach the outer limits of audible sound.” The French romantic composer was talking about the then-newly invented saxophone. We had an outbreak of sax attacks a couple weeks back and now the saxes return Wednesday night with Chamber Music Northwest’s musical-theatrical show Adolphe Sax and the Creation of the Saxophone at Portland’s Alberta Rose Theatre. The latest in CMNW’s recent run of theater about music, this one features actor Harold Dixon, the dynamic young Kenari Saxophone Quartet, and a story with live music about Sax’s life and instrument.

Kenari Quartet performs at Chamber Music Northwest

Kenari plays recent pieces for sax quartet by Corey Dundee (inspired by the young composer’s struggle with depression) and John Leszczynski plus a viola solo by the great Polish composer Krzysztof Penderecki and a duo by Daniel Temkin (inspired by a childhood memory box) on Friday’s New@Noon concert at PSU, which also has a viola solo and violin duo.

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MusicWatch Weekly: out of the past

Oregon conference and concerts explore historical sounds, and there's new music onstage too

We sometimes imagine the past as a frozen portrait, but the early music movement that began accelerating a couple generations ago has revealed that our understanding of how music was performed and perceived in centuries past is ever evolving, thanks to the hard work of scholars around the world, including at the University of Oregon. Next week, the UO hosts a major recurring conference devoted to the continuing rediscovery of ancient music.

But unlike many such academic confabs, this week’s “Musicking: Cultural Considerations” has plenty to offer non academic music lovers, including concerts, theater showcases, masterclasses, lectures, panel discussions, even a Saturday family event where kids and their families can dress in costume and learn baroque dance basics — all free and open to the public. Unlike the recent American Choral Directors Association conference in Portland that, ArtsWatch’s Bruce Browne noted, missed a tremendous opportunity to bring new and old choral music to its host city by not publicizing its splendid concerts, Musicking provides a splendid example of how academia can connect to and enrich its supporting community.

Thursday’s Musicking concert brings world-renowned early music singer and recorder master Peter Van Heyghen from Belgium to perform early 17th century music from the Netherlands and Belgium with the UO’s own super-scholar/performer, baroque cellist Marc Vanscheeuwijck at the Oregon Bach Festival’s new Tykeson Concert Hall. Van Heyghen will also lead Saturday’s Beall Hall performance of a world premiere version of Mozart’s magnificent Requiem like you’ve never heard it before — because, well, you haven’t. There’s way too much more to chronicle here, so hie thee to the Musicking website and check out all the free music and knowledge emanating all week.

Portland Baroque Orchestra and Trinity Cathedral Choir play Bach Friday and Saturday.

Evolution of performance styles will also be on display in Portland Baroque Orchestra’s performances of J.S. Bach’s Mass in B Minor Friday and Saturday at Portland’s Trinity Episcopal Cathedral. Much-recorded English conductor David Hill leads a masterpiece of human artistic achievement, which the composer made a kind of compendium of some of his finest choral-orchestral music. It wasn’t performed until a century after his death, and even then and for decades later, those performances buried most of its beauty beneath bloated, Romantic-style choirs and orchestras and anachronistic tunings that obscured Bach’s magnificent music.

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