Beall Concert Hall

MusicWatch Weekly: Look before you leap day

A weekend of concerts and a Portland Weird undectet

Fry Day

As usual, we’d like to start by bringing you last minute news of a few shows happening tonight, tonight, tonight. As you read this, Mike Dillon and Band are packing up their road bags, leaving Eugene (where they played at Whirled Pies last night), and trekking up I-5 to Portland, where they’ll head straight down to the Jack London Revue subterraenan social club for an evening of what we can only call “gonzo punk jazz.”

See, from a technique perspective these dudes are all basically just avant-garde jazz musicians (bandleader Dillon is in wide demand as a vibraphonist and all-around killer percussionist), but–like so many others over this last half-century of escalating strangeness–they’ve found the grittiest, truest expression of both “avant-garde” and “jazz” not in the relatively staid traditional world of characters like Henry Threadgill and Branford Marsalis (who are, of course, total badasses and not to be trifled with except for purposes of this strained comparison), but instead have seen the true face of “jazz” and “avant-garde” in the wooly realm of punk, metal, and other folk musicks of the rough and ragged variety. If that’s your bag, dear reader, get on it!

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Bach Fest: an ace in the mule

A pair of historically informed concerts from the Big Names of the Concert Hall display the stubborn pleasures of keeping things elemental

EUGENE – I once spent a day at the mule races. They were a lot like the horse races, except more … eccentric. A mule race, I discovered to my delight, is a singularly unforgettable experience, unpredictable and unrepeatable in its essence: like snowflakes, no two mule races can ever be alike. The animals seem comical, but in a serious way, with a strength and power and sheer cussedness all their own. A nobility, too: a mule is a mule, and not an imitation horse, and it’s here to make sure you know it. A mule is happy to go where you want to go, as long as where you want to go is where it wants to go, too, and that makes the task of jockeying one of these sturdy contrarians seem like an attempt to tame an intransigent force with a flexible straw. It can be a major accomplishment simply to get the mule pointed in the right direction and focused on actually crossing the finish line. When you manage it with speed and style as well, it’s a triumph.

The memory came galloping back on Sunday afternoon as I was watching and listening to Andrew Clark’s mastery of his own particular mule at the Oregon Bach Festival in Eugene. Clark, an Englishman who is now principal horn with the Vancouver Island Symphony in British Columbia, was straddling a cantankerous coil of brass in a program of Beethoven and Mozart, including Beethoven’s 1800 Sonata in F Major for Horn and Piano, Op. 17. Even the modern horn is a touchy beast, fully capable of untoward surprises. Clark was playing a valveless period instrument, the kind that Mozart and Beethoven would have been familiar with, where embouchure is everything and you change keys by adding or subtracting a section of tubing. The sound is soft and burnished and impetuous, a wayward gambol through the woods on the back of a beast that is insistent on making its independence known, and if it sometimes nods its head toward the side of the path, Clark’s quiet and mellifluous command of it constituted both an adventure and a triumph.

Pianoforte virtuoso Robert Levin and Berwick Academy director Rachel Podger. Photos courtesy Oregon Bach Festival

Pianoforte virtuoso Robert Levin and Berwick Academy director Rachel Podger. Photos courtesy Oregon Bach Festival

The program, in the comfortably classical and resonant Beall Concert Hall on the University of Oregon campus, was called Viennese Masters III: Quintets for Piano and Winds, and it featured in addition to Clark some fellow masters of period instruments: Debra Nagy on oboe, Eric Hoeprich on clarinet, bassoonist Marc Vallon, and fortepianist Robert Levin. The sound they produced was winsome, balanced, light, and quick, with the fluid deliberation of the late 18th and early 19th centuries. Throughout the performance, too, was the visual evidence of the sheer amount of labor it takes to keep these antique-style sound vessels going: Clark tapping his horn and disengaging sections for the occasional shakedown of spittle; Hoeprich elegantly running a cloth through the length of his clarinet to clean it out. Occasional pauses between movements made it possible to perform these instrumental ablutions with a minimum of disruption. We’re so used to the larger sound of the late Romantic and modern eras (let alone the plugged-in decibels of contemporary popular music) that the woodier, breathier, more organic, intimate and delicately balanced sound of period instruments can surprise us and shift our expectations in fascinating ways even decades after the period performance movement began.

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Fall Season: Live from Beall Hall

University of Oregon's renowned concert hall webcasts new music events this autumn.

by GARY FERRINGTON

Eugene, for many Oregonians, is a weekend destination for Duck football and other athletic events. Few venture to Oregon’s second largest city for weekday dance, theater, and music performances, which is unfortunate given the diversity of outstanding cultural events scheduled throughout the year.

University of Oregon's Beall Hall is renowned for its unparalleled acoustics. Photo: Gary Ferrington

University of Oregon’s Beall Hall is renowned for its unparalleled acoustics. Photo: Gary Ferrington

This fall, Internet webcasts make it possible for online viewers to experience, from wherever they may be, a number of exciting musical events “live” from the University of Oregon’s venerable Beall Concert Hall.

The following concerts can be viewed on the School of Music and Dance’s multi-camera live-stream network. Check the SOMD events calendar for additional programs that may be scheduled throughout November and December as well as published program notes. (Read more about webcasts in my earlier ArtsWatch story, Islands in the Stream: UO Live Streaming Brings New Music to Oregon.)

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