blue cranes

MusicWatch Weekly: A song and a dance

Irish songs, Latinx bienestar, Balkan Brass, Viking musicians, and the return of Federale

As the great Pacific singer, dancer, composer, percussionist, instrument builder, and calligraphist Lou Harrison loved reminding us, “music is basically a song and a dance.” This week’s selections might be all over the genre map–cumbia psicodélica; twisty Balkan brass; rowdy cinematic rock and other local uncategorizables; clarinets and percussion and laptops; songs from Ireland and World War I; a siege catapult’s worth of jazz–but all of it hews to this basic formula. Sing. Dance. Repeat.

You’re probably going to get snowed in with the cats and the chessboard next week, so now’s your chance to clear your throat, lace up your red shoes, and get into some music.

Tonight, tonight, tonight

We already talked about Blue Cranes and the Portland Jazz Composers Ensemble in November’s monthly column, so hopefully you’ve already bought tickets and hired a babysitter. In case you haven’t, this is your reminder that their Siege of Cranes concert, featuring the tight-knit BC quintet and PJCE’s eight-piece horn section, is happening tonight at Holocene. Get on it, Portland.

You could go up to T.C. O’Leary’s on Northeast Alberta to hear Irish folk songs–and even sing along if the mood strikes you–every month. But the special guests on tonight’s Oíche na namhrán (“night of song”) deserve a mention: Uilleann piper Preston Howard Wilde and harpist Elizabeth Nicholson will join regular host Michael Steen-Orr for tonight’s shindig. No doubt the harp in question is the lovely diatonic variety used by Taliesen and Dolphin Midwives, and that’ll be sweet–but it’s those pipes we’re curious about. You’re probably picturing the noisy bagpipes of countless cheap jokes, but these are different; sweeter, gentler, more Irish. Have a listen to Wilde right now and tell me you don’t want to go order up a Jameson’s and sing along.

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MusicWatch Monthly: A harvest feast

Stay warm with a smorgasbord of chamber music, choral music and art songs, and orchestras aplenty

Music for chambers

This weekend, Sunday the 3rd, local cellist Diane Chaplin brings her solo show Il Violoncello Capriccioso to Weisenbloom House, a lovely little salon in Southeast Portland. The present author first encountered Chaplin in 2011, when she joined Lewis & Clark gamelan Venerable Showers of Beauty for a performance of Lou Harrison’s deliriously melodic hybrid masterpiece Double Concerto for Violin, Cello, and Javanese Gamelan. Chaplin spends most of her time playing with Portland Cello Project and The Unpresidented Brass Band, but she just got back from a summer in Italy and she’s ready to show off her evening of cappricios by Klengel, Piatti, and Cambini, along with Ernest Bloch’s Suite No. 3 and works by Alan Chaplin, Michal Stahel, and Aaron Minsky.

Local classical organization Friends of Chamber Music, as their name implies, specializes in inviting established chamber ensembles and soloists to perform in Portland. Last month, it was Swedish soprano Anne Sofie von Otter, and you can read Katie Taylor’s take on that fine performance right here.

This month, FOCM brings the Danish String Quartet to Portland State’s Lincoln Performance Hall for two evenings of Bach, Beethoven, Schnittke, Shostakovich, and Webern on November 4th & 5th. Despite the lack of contemporary composers, that’s a pretty nice program: miscellaneous Bach (including a Well-Tempered Clavier arrangement done by Mozart in a fit of enthusiastic reverence) and two rather Bachish late Beethoven quartets (127 and 135) provide the traditionalist foundation; Webern’s austere and terrifying pre-serial quartet of 1905 and Schnittke’s thorny, polystilistic third quartet provide contrarian modernist counterpoint. Snuggled morbidly between them, Shosty’s moribund final quartet.

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MusicWatch Monthly: Hot music in the cold city

Warm up your fall with saxophones, film and classical music, international virtuosi, and metallized Metroids

Are you cold yet? Have your fingers and toes and hearts and guts frozen as Winter creeps closer and you face down the end of the world? Are you ready to put on a sweater and a balaclava and drown out the chaos with frosty music and a fire in the belly?

Good! Here’s your prescription for October.

Saxomaphones

Now that you’re all sweatered up, it’s time for some hot sax. Tuesday, October 2nd–tonight!–it’s the zany trio Too Many Zooz at Crystal Ballroom, wherein baritone saxophonist Leo Pellegrino, trumpeter Matt Doe, and drummer David “King of Sludge” play their stompy dancey “brass house” music. If that’s not zany enough for you, wait until tomorrow and check out skronky Skerik at Goodfoot Lounge on the 3rd. Then, at 4 in the afternoon on the 5th, head over to the Midland Library on Southeast 122nd for the Portland Jazz Composers Ensemble’s tribute to Portland’s Native American saxophonist Jim Pepper. Or wait all the way until next week and dig local diy jazz quintet Blue Cranes at The 1905 on Sunday the 13th.

Oregon Symphony Orchestra

After a cancelled zoo concert and a weekend of Empire, the OSO’s symphonic season is officially underway. We heard from composer Oscar Bettison last week, and you’ll hear all about his rewilded music (performed last weekend alongside Mozart and Brahms) from Charles Rose soon enough. This month, the oldest orchestra west of the Mississippi continues into full fall mode with concerts of music all over the “classical” map, from film music to Stravinsky to Coldfuckingplay.

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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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MusicWatch Weekly: human voices

Choral and vocal concerts take center stage this week in Oregon music

Portland’s big choirs once again present fans of choral music with some difficult choices. As happens too often — there’s a choral calendar that you’d think might help prevent this — several have scheduled shows on the same weekend, making it impossible to see more than a couple of shows, assuming your weekly music budget will stretch even that far. They’re all recommendable, and all feature contemporary as well as classic sounds. I just wish we didn’t have to choose.

Cappella Romana performed at St. Mary’s Cathedral in April.

• Best known for performances of ancient Byzantine music, Cappella Romana goes ultra-modern in Heaven and Earth: A Song of Creation Saturday at St. Mary’s Cathedral, 1716 N.W. Davis, and Sunday at St. Stephen’s Catholic Church, 1112 S.E. 41st Ave. The concert features the premiere of a new setting of an ancient Orthodox psalm by six Orthodox composers — including Portland’s own John Boyer, the choir’s new associate music director, who’ll lead the performances. Read more about the new Psalm 103 project, and how the new piece connects to the recent discovery of the Higgs boson, here. I wish more groups originally devoted to being exclusively museums of old music by dead composers would open contemporary wings like this one and apply their historically informed insights to new music.

• That’s exactly what one of Portland’s most promising new musical additions, Big Mouth Society, does in Saturday and Sunday’s Portland premiere of The Gonzales Cantata at Mercy Corps Action Center, 28 SW 1st Ave. When Australian-America composer Melissa Dunphy cooked up her neo-baroque cantata (scored for choir with soloists, string orchestra and harpsichord) back in 2009, she couldn’t have imagined the even more operatic, scandalous senatorial outrage we’ve all just endured. It’s based on the 2007 Senate Judiciary Committee hearings of former Attorney General Alberto Gonzales, which disclosed improprieties that ultimately forced his resignation in disgrace (though somehow didn’t disqualify him from becoming an NPR commentator and law school dean). The senators (including Dianne Feinstein, Patrick Leahy, Orrin Hatch et al) are portrayed by reverse-gendered singers from Curious Voices, and performers include students from Willamette University and Reed College. During performances, Big Mouth Society will host Oregonians United Against Profiling, a coalition opposing Measure 105, which would repeal Oregon’s anti-racial profiling law and allow local law enforcement resources to be diverted to federal action against immigrants.

David DeLyser leads Choral Arts Ensemble.

• In Everlasting Voices, Saturday and Sunday at Rose City Park United Methodist Church, 5830 NE Alameda St., Choral Arts Ensemble celebrates its 50th anniversary season with a retrospective that looks both backward (classical composers like Bach, Brahms, Schubert, Copland) and forward, with some of the 21st century’s hottest young choral composers, including Ēriks Ešenvalds and Jake Runestad.

Gil Seeley at Oregon Repertory Singers concert

• Oregon Repertory Singers opens its 45th season with a new CD and a concert. Shadows on the Stars features one of America’s most-performed composers, Beaverton-born Morten Lauridsen, who splits his time between his teaching duties at the University of Southern California and Waldron Island. On Saturday and Sunday afternoons at Portland’s First United Methodist Church, 1838 SW Jefferson St. He returns to accompany the 100-voice choir’s performances of his compositions Sure on this Shining Night and Ya Eres Mía. Accompanist Naomi LaViolette takes the keyboard in Lauridsen’s Mid-Winter Songs, which sets poems by Robert Graves. The second half features another venerated choral master, this one from Estonia. Oregon Repertory Singers was the first American choir to bring Veljo Tormis, who died last year at age 86, to the United States. ORS emeritus conductor Gilbert Seeley returns to lead Tormis’s moving music.

• Portland Symphonic Choir also opens its season this weekend with exciting news: the world premiere of a new spiritual by Portland composer Judy Rose, I’ve Found Me a River. Saturday’s well-rounded concert at Portland’s Tiffany Center also includes Brahms’s Love Song Waltzes and Eric Whitacre’s popular 2001 composition Leonardo Dreams of His Flying Machine.

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ArtsWatch Weekly: and all that jazz

Portland Jazz Festival joins the parade of arts festivals in town; a new "Swan Lake" flies at Oregon Ballet

If it’s Tuesday, this must be Festival Town. (And Valentine’s Day. Don’t forget Valentine’s Day.) Three film celebrations – the Portland Black Film Festival, the Cascadia Festival of African Films, and the big-kahuna 40th annual Portland International Film Festival – are still spooling out stories on screens around town.

And on Thursday the PDX Jazz Festival 2017 roars into action with a packed program through February 26 arranged loosely around an homage to jazz centurions Dizzy Gillespie, Thelonious Monk, and Buddy Rich, each born in 1917. Things kick off Thursday with a blast of Branford Marsalis, a thump of bass virtuoso Thundercat, and more, and the festival continues with the likes of the fabulous Heath Brothers, The Yellowjackets, and more. It’s not all old-style and it’s not all new, but a healthy-looking blend of tradition and exploration.

ArtsWatch’s Brett Campbell offers tips for this week’s shows, beginning with Thursday’s Marsalis quartet appearance “with the great jazz singer Kurt Elling, Maria Schneider’s orchestra and Ralph Peterson’s trio in separate shows Friday, the hip jazz-rock fusion band Kneebody and the old-school all-star band The Cookers on Saturday. On Sunday, you have a choice of pop jazzers the Yellowjackets with Mike Stern, avant jazz guitar deity James ‘Blood’ Ulmer, or rising piano star Aminca Claudine Myers (or see all three!).”

2017 PDX Jazz Fest honoree Dizzy Gillespie, at Deauville, France, July 1991. Photo: Roland Godefroy/Wikimedia Commons

In his preview PDX Jazz Festival: Signs of Life, Campbell sets the table more completely, talking about the state of jazz in Portland and internationally. Here’s just a taste of what he has to say:

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Battle Trance/Blue Cranes review: Maximal music

Saxophone quartet’s innovative music blends the visceral with the spiritual 

by PATRICK MCCULLEY

Every once in awhile, musicians are fortunate enough to have experiences that make us ask some serious questions about what we thought we had already answered. Like, for example, what sounds can be musical? What instrumentation is necessary for an ensemble to convey those sounds? Are clearly delineated structure and form necessary to communicate musical ideas? And, as always the looming existential question in the back of our minds: what is the point of music with these conditions?

Finally: Can spitting into one’s instrument be musical?

Battle Trance performed at Portland’s Mississippi Studios. Photo: Patrick McCulley.

These were the questions I came away with after tenor saxophone quartet Battle Trance’s January 25 show at Portland’s Mississippi Studios. People use the term “genre defying” loosely these days when reviewing new music but Battle Trance is much closer to deserving that description than any ensemble I’ve recently come across. They could, of course, be thrown under the umbrella term “experimental” but that doesn’t seem to properly communicate the full import of what I witnessed.

Certainly they experiment. The saxophonists — Patrick Breiner, Matt Nelson, Jeremy Viner, and quartet founder Travis Laplante — seem to have taken a great deal of care to search out every single extended technique a saxophone is capable of and include it in their compositions. Over the course of their 45-minute performance, they played multiphonics that sounded like four giant dogs barking, descending harmonic slurs reminiscent of the sounds of fighter planes in old war movies, and soft, nasally, ethereal singing through their instruments. At times their saxophones would growl, honk, and squeak. In several thoroughly surprising instances, performers began to aggressively spit air through the mouthpieces of their instruments to create sound. You could actually see spit flying out of their mouths and across the stage!

Battle Trance’s extended techniques create a visceral atmosphere in their music.  The idea that the deeply physical can be translated into sound isn’t new, but the quartet capitalizes on the idea in new, thought-provoking ways. This, I suspect, is the foundation for the physio-spiritual band name and the concept behind the title of their new release Blade of Love.

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