Ashley William Smith

MusicWatch Monthly: Too many notes

Summer gets all sweaty, with classical and jazz festivals, operas, experimental sound art, and a bit of good old-fashioned NW gonzo punk

Garden wall at Lan Su Chinese Garden. Photo: Gary Ferrington.

La Finta Giardiniera
July 12-27, Newmark Theater
In The Penal Colony
July 26-August 10, Hampton Opera Center

It’s oddly appropriate that Portland Opera is closing its season with summer performances of Mozart and Philip Glass. Both composers are that rare breed: equally adept at performing their own chamber music, writing grand symphonies for orchestra, and collaborating on a variety of comic and tragic operas on themes both timeless and timely.

They have both also been accused, perhaps justly, of writing too many damn notes, and that’s part of why the best way to experience theatrically-inclined composers like Mozart and Glass is in their native habitat: the opera house. That’s really where their music lives best, in live performances rich with grand singing, engaging sets and costumes and lighting and the other “works” which give opera its name—plus the comedic and dramatic intimacy that is live theater’s specialty.

July 12-27, PO stages the lesser-known Mozart opera La Finta Giardiniera, in its second Portland production of the year (PSU Opera put on their own production earlier this year). Lindsay Ohse stars; Chas Rader-Shieber directs.

July 26-August 10, Jerry Mouawad (co-founder of Portland’s Imago Theatre) returns for another modern “pocket opera.” PO specializes in presenting these chamber operas by modern composers, thrilling Portland audiences recently with Laura Kaminsky’s As One and in 2017 with Mouawad’s production of David Lang’s The Difficulty of Crossing a Field and The Little Match Girl Passion. Martin Bakari and Ryan Thorn star in Glass’s adaptation of the terrifying Kafka story.

Jazz and Blues

Waterfront Blues Festival
July 4-7, Waterfront Park

For over three decades, Portland’s iconic blues festival has been a hot, sweaty, messy, crowded, rite of passage. It’s such an undertaking they’ve got a handy little guide for navigating the four-day, four-stage fest sprawled across the west side of the river, wedged between the waves and the construction cranes.

Take a look at the line-up right here. If any of those musical legends and other hot-shit artists sound like you’d want to get into a sweltering, sunscreen-slathered groove with them and a thousand other vibing blues fans down on the sun-baked shore of the Willamette River—then pack yourself a bag full of bottled water, grab a big floppy sun hat, and get your ass down to the water.

Waterfront Blues Festival, July 7, 2018.
Waterfront Blues Festival, July 7, 2018.

Jazz in the Garden
Tuesdays, July 16-August 20, Lan Su Chinese Garden

Across six Tuesdays this summer, Lan Su Chinese Garden in Old Town Portland hosts PDX Jazz’s Summer Music Series, featuring a variety of international and local artists. On July 16th, it’s Malian supergroup BKO Quintet; on July 23, Portland vibraphonist Mike Horsfall pays tribute to Cal Tjader; on July 30, erstwhile Portland saxophonist Hailey Niswanger returns from Brooklyn with her band MAE.SUN. In August, jazz and soul singer China Moses performs on the 6th, pianist Connie Han plays on the 13th, and on the 20th Bobby Torres Ensemble commemorates Woodstock.

The Territory
July 15, Kaul Auditorium, Reed College
July 16, Lincoln Performance Hall, Portland State University

Local superstar jazz composer and pianist Darrell Grant is having a busy year, as usual. His nine-movement suite for jazz ensemble The Territory, premiered at Chamber Music Northwest in 2013, led to the formation of the “Oregon Territory Ensemble,” which has continued performing the landscape-inspired music and recorded it with Grant in 2015.

They’ll perform The Territory here twice in July, and the line-up is pure local A-list: Florestan Trio cellist Hamilton Cheifetz, vocalist Marilyn Keller (From Maxville to Vanport), bass clarinetist Kirt Peterson, multi-instrumentalist John Nastos, trumpeter Thomas Barber, drummer Tyson Stubelek, bassist Eric Gruber, and vibraphonist Mike Horsfall.

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MusicWatch Weekly: clarinets cut loose!

Chamber Music Northwest blows into town with windy festival-within-a-festival. Meanwhile, woe unto thee: you just missed Makrokosmos V.

“Good afternoon! I’m David Shifrin, and I play the clarinet!” A big roomful of laughing clarinetists goes “woooo!” and welcomes the Chamber Music Northwest Artistic Director to Portland State University’s Lincoln Performance Hall for the first of the festival’s five New@Noon concerts. It’s the last Friday in June, it’s breezy and just uncomfortably warm enough, and we’re up here in the Performance Hall—instead of down in the recital hall by the statue in the basement, where the New@Noon shows are usually held—because of that roomful of clarinetists. “We have a hundred clarinetists here,” Shifrin said, a gigantic smile on his face, “and it’s a joyous occasion.”

David Shifrin and Ralston String Quartet play Mozart. Photo by Jonathan Lange.
David Shifrin and Ralston String Quartet play Mozart. Photo by Jonathan Lange.

Earlier that week

Last Friday, I told you all about the lovely afternoon and evening you could have down at Reed College the following Monday. CMNW’s all-Mozart opening concert was as purply as promised: a warm breezy day, a cool evening, and all the Mozart you could stand—culminating in the delirious birdsong laden romp through the countryside which was Shifrin and Protégé Project Artists Rolston String Quartet ripping through the majory-as-cherry-pie Clarinet Quintet in A Major.

The best music of the evening, though, didn’t feature clarinets much at all: the Notturni for Soprano, Mezzo-Soprano, Baritone, and Three Basset Horns. This combination, when it held steady (two of the basset hornists occasionally switched to plain vanilla Bb clarinets), was so extraordinarily luscious it made me want to hear everything arranged this way. Nottorni, cantatas, arias, art songs, requiems, whole operas, all of it.

Extra points to soprano Vanessa Isiguen and mezzo Hannah Penn (the latter fresh off two runs of Laura Kaminsky’s As One) for supporting both each other and baritone Zachary Lenox, all while blending with the weirdo horns, selling the hell out of Mozart’s sweet, smeary, summery harmonies, and just generally kicking ass.

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Column Zero: Summer comes alive

Chamber Music Northwest blows its clarinets, Storm Large sings about craziness, Makrokosmos gets nightmarish

We here at Oregon Arts Watch tend to pay a lot of attention to Oregon composers. In a sense, our job is made easier by the problem outlined yesterday by Senior Editor Brett Campbell: we like local composers, living or recent, diverse in gender and age and race and genre. That’s exactly who is often underrepresented in the largest institutions, and—lucky us!—that means we have a journalistic obligation to write about exactly the artists we’d want to write about anyways.

Wolfie

But never mind that for a moment—I want to talk to you about Mozart. We’ll come back to Kenji Bunch and Storm Large and George Crumb and Tōru Takemitsu and all the rest, but for right now I want to take the somewhat contrary position that we should absolutely be happy about hearing Mozart’s clarinet music at Chamber Music Northwest this week.

The pair of opening concerts (Reed College June 24, PSU June 25) are a handy confluence of musical meanings. Outgoing CMNW Artistic Director David Shifrin is, of course, a very fine clarinetist himself, and in past years has dazzled and transported us with gorgeous renditions of everything from Bach and Mozart to Messiaen and Akiho. This season—his second-to-last before handing the reins to Gloria Chien and Soovin Kim for the 2020/21 season—thus fittingly concludes with a whole lot of clarinet music. And, because this is CMNW, the concerts stretch all the way back to the instrument’s first great composer and all the way forward to recent and newly commissioned works by those beloved modern composers we talked about earlier.

But they’ll have to wait a little longer while I justify Mozart to the kids.

Chamber Music Northwest Artistic Director David Shifrin

You probably learned in music history class or here on internet that Mozart was pals with pioneering Viennese clarinetist Anton Stadler, an early virtuoso who sold Mozart on the new instrument’s charms. It’s a pretty weird instrument, essentially three instruments in one body, its lower chalumeau register stretching almost to the bottom of the cello’s range, its upper clarion and altissimo registers covering the violin’s entire range. Its tone is unlike any other woodwind instrument, a “long purply sound” in Berio’s phrase, somewhere between a human voice and a bowed string instrument.Mozart ended up composing plenty of really good music featuring clarinets and their sibling basset horns, and the best of it pairs the Frankenstein instrument with voices and/or strings—an ideal blend of sound colors and expressive possibilities.

Mozart ended up composing plenty of really good music featuring clarinets and their sibling basset horns, and the best of it pairs the Frankenstein instrument with voices and/or strings—an ideal blend of sound colors and expressive possibilities.

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