crazy jane

10th anniversary season-closing concert offers clues to organization’s success

by MARIA CHOBAN

Guess where I am.

A lemon yellow wading pool, aluminum bowls spin bump chime on its blue sparkly surface, kids clang big silver balls at them.

Nope, I’m not sitting in a friend’s backyard.

A drone dancing with a human robot.

Nope, I’m not at Burning Man.

A cider balanced on my belly, lying on floor pillows, watching a wizard wave Wii wands, warding off ghosts.

Nope, I’m not high.

Give up?

Photo: Luciana Pina

I was at Cascadia Composers’ All Wired Up micro-festival of electronic music at downtown Portland’s Old Church Concert Hall on the deliberately chosen date — 4/20. 

Concocted by a Western classical music consortium, I expected . . . well, what do you expect when you read “micro-festival of electronic music?” Instead, It turned out to be the funnest fringe festival I’ve attended in Portland.

We obey Cascadia’s unflappable third president, the forward-looking Ted Clifford, and four more Cascadians wielding hand percussion instruments. The Pied Percussionists lead us outdoors into the bright sun where the gamelan is set up . . .  next to the lemon yellow wading pool . . . delighting even the pedestrians strolling down SW Clay.

Gangstas of Gamelan

Cascadia Composers, with 86 members, mostly from the Pacific Northwest, thrives when breaking classical music’s archaic ‘rules’ with unconventional events and offerings. For example, All Wired Up micro-fest of electronic music included a piece for Balinese gamelan (Indonesian percussion) and no electronics: ArtsWatch editor Matthew Andrews’s Because I Could Not Stop For Death

In May, I attended Cascadia’s monthly presentation (open to all) and spoke to a 30-something composer who recently moved from Dallas, Texas, ninth largest city in the US. His reason for moving to the 29th largest city? Dallas doesn’t support the ideas of burgeoning creators. When he asked a music mentor in Dallas where in Portland he should plug in, the response was Cascadia Composers and Classical Revolution PDX

How did Cascadia gain this notoriety? How did it turn a well behaved niche art enjoyed by a niche few into the rollicking frolic for young and old, newbies and insiders evidenced at All Wired Up? I’ll dust for fingerprints all over this festival. Let’s follow the clues and solve this crime.

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Oregon contemporary classical music: Golden age?

Fall concerts offer an unprecedented bounty of homegrown sounds by Oregon composers

We may be entering a golden age for Oregon contemporary classical music. This past fall might have brought Oregon music lovers more new music by Oregon classical composers than any season in history. While some culturally insecure institutions and presenters cling to the old thinking that the only worthwhile new art comes from points east (Europe, New York), more and more presenters and performers are realizing that Oregon is a cultural leader, not a follower — and Oregon composers are delivering music that speaks to us here and now. Here’s a glimpse at some of them (click the links for videos of the Crazy Jane and Cascadia concerts), followed by a look ahead at many more Oregon composer shows approaching, so you can hear homegrown music for yourself.

McCulley, Petak and Olson performed at Cascadia Composers' fall concert.

McCulley, Petak and Olson performed at Cascadia Composers’ fall concert.

Cascadia Composers

The star of the regional composers’ organization’s fall concert, at the University of Portland’s Mago Hunt recital hall, turned out to be saxophonist Patrick McCulley, who gave an astonishingly expressive solo performance of Jack Gabel’s winding Still Dog after All These Years, and joined another Cascadia composer, Jennifer Wright, as comic narrators in Susan Alexjander’s 1990 e. e. Cummings setting Buffalo Bill’s Defunct, another brief delight that was one of my favorite pieces and performances of the night.

McCulley next teamed with pianist Benjamin Milstein in Greg Bartholomew’s protracted In the Language of Meditation, navigating its straightforward and neo-Romantic style (very different from most of the other music on the program) with equal aplomb. McCulley’s spirited alto occasionally overshadowed singer Catherine Olson’s atypically restrained delivery of Elizabeth Blachly-Dyson’s link clever Howl: Etiquette for Artists and Other Social Misfits. The tiny soprano’s confinement behind a music stand somewhat inhibited her often riveting theatrical chops.

Kate Petak played harp in that piece and in Greg Steinke’s One by One, using koto-like textures as she and another saxophonist, Sean Fredenburg, engaged in a kind of chase of melodic wisps. Petak also joined violist Grace Young and flutist Gail Gillespie in Homesick, which Linda Woody wrote for a concert in remembrance of the 70th anniversary of World War II. The beguiling trio of instruments, pioneered by Claude Debussy, made an effective vehicle for the nostalgic moods — by turn wistful, tranquil, and playful — that suited its original inspiration. The combo needed a little more rehearsal to capture all the beauty in the prettiest piece on the program, David Drexler’s 2012 scattered flurries, whose attractive, intricate patterned melodies demanded more precise and assertive playing than offered here.

Milstein, Olson, violinist Casey Bozell and clarinetist Christopher Cox captured the quirky charm of Gary Noland’s engagingly off-center 1994 setting of Jonathan Swift poems, Women Who Cry Apples, the musical equivalent of John Tenniel’s famous Alice in Wonderland illustrations. Bozell in turn joined in an oddball combination of accordion (Kiran Moorty) and vibraphone (Florian Conzetti) in Nicholas Yandell’s intermittently poignant Eventide’s Lament. One reason we mightn’t have heard that combo too often is that it proved hard to balance the sonorities, particularly in louder sections, but despite a couple of stalls, it was one of the more intriguing pieces on a strong program. The concert ended with the sturdiest, Michael Johanson’s potent Toccata, whose opening aggressive stuttering rhythms briefly calmed, like the eye of a hurricane passing over, before concluding with rapid fire fury.

Even with a few rough patches, this was one of the most successful and entertaining concerts I’ve heard from Cascadia Composers, offering a wider variety of musical styles than any other concert in Oregon that week. With quality of both compositions and performances steadily increasing, the group is really on a roll.

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