david de lyser

MusicWatch Monthly: the darkling buds of May

Encore shows, season closers, and kickoff concerts showcase visuals, Dutch virtuosi, Japanese drums, and women composers

There’s an old Oregon saying: “April showers bring May showers.” Our famously persnickety springs tend to veer from warm noon-times of glorious blooming sunshine to those long desperate afternoons of deep drizzling gloom that have our S.A.D. souls begging the gods, “when will you make an end?”

Fitting, then, that our Curated Concert Spread for May includes so much rich, loamy music. From fresh rain and frolicking flowers to ominous thunder and deadly lightning, here’s a sample of what’s happening in your merry, mournful town this May.

Weill, Auerbach, Price: Music for Orchestras

Oregon Symphony Orchestra
Arlene Schnitzer Concert Hall, Portland
The Oregon Symphony Orchestra puts on a few different types of concerts, and they end their season with three contrasting varieties spread across the month like a field full of wildflowers and mushrooms.

May 4, Norman Huynh conducts the OSO and guest choirs from Portland State University in a live performance of the award-winning score from Miloš Forman’s 1984 film Amadeus, the music deftly synchronized to the movie, projected on a giant screen above the orchestra. Unlike similar concerts with thoroughly cinematic scores (Star Wars, Batman), this concert doubles as a simple Mozart feast—including more than a little bit of that glorious Requiem, which PSU’s choirs performed in its entirety earlier this year. The music is all ages but the film is rated R, so know your kids or leave ‘em at home.

PEER GYNT from Studio Moto on Vimeo.

May 11-13, Carlos Kalmar conducts Edvard Grieg’s popular Peer Gynt score with visualizations by designer Alexander Polzin. This is the third concert of OSO’s popular SoundSight Series, which brings together visual artists and musicians for delightfully polysensory shows. Previous concerts have featured animation, projection mapping, and all kinds of puppetry. Also on the program: Benjamin Britten’s Les Illuminations, featuring soprano Jane Archibald.

OSO closes its season with a Mahler symphony, the deceptively pretty first, sometimes called the “Titan (it’s the one with the minor-key Freres Jacques). The three concerts May 18-20 also reprise Kurt Weill‘s satirical ballet chanté, The Seven Deadly Sins, with Pink Martini chanteuse Storm Large in the double lead role originated by Lotte Lenya (Anna I and Anna II) and vocal quartet Hudson Shad as The Family. The Mahler symphony is nice and springy—like all Mahler, it’s lusciously orchestrated and therefore absolutely essential Schnitz-listening—but it’s the Weill that’s bringing us in out of the rainshine.

Storm Large rejoins the Oregon Symphony with Hudson Shad in ‘Seven Deadly Sins.’ Photo: John Rudoff.

That vocal quartet is a funny case and deserves a special mention. Hudson Shad is, among other things, a cadre of Seven Deadly Sins specialists who got together specifically to perform this macabre deliciousness with Marianne Faithfull way back in antediluvian 1989, eventually recording it with her in 1997. These four guys have now been singing this music together for three decades. Listeners familiar with Weill from his Threepenny Opera can expect more of the composer’s iconic, sardonic cabaret sound. Meanwhile, here’s a taste of what we can expect from Large.

Auerbach and Martinů
May 5
Portland Youth Philharmonic, Arlene Schnitzer Concert Hall, Portland
PYP routinely handles new and difficult music that belies the age of its membership—think of it not as a group of highly skilled young musicians but as a 95-year-old symphony orchestra playing with vigor, courage, curiosity, and a deep emotional heft rivaling its more grown-up professional counterparts. They earned points with OAW by being one of the only groups in town to celebrate the Bernstein centennial with something other than West Side Story and Candide for the umpteenth time, opting instead to perform Lenny’s first symphony to perfection with Laura Beckel Thoreson in March. (Points also to PSU choirs for their magnificent Chichester Psalms and to Eugene Symphony for performing Bernstein’s second symphony, both last year; there’s also this).

Their season closer features PYP alum Max Blair performing Czech composer Bohuslav Martinů‘s 1955 sunny little Concerto for Oboe and Small Orchestra, and the West Coast premiere of contemporary Russian-American composer Lera Auerbach’s Symphony No. 1 “Chimera.”

You’ll enjoy the Martinů concerto, sure but you’re really going to thank us for Auerbach, whose music is exactly the right kind of fresh. It’s punchy and agitated, modernistically morbid, bristlingly bombastic, colorfully dissonant, heroically wistful, and melodically profuse—which, to my ear, places her about halfway between Khachaturian and Elfman.

America’s Florence
May 21
Metropolitan Youth Symphony, Arlene Schnitzer Concert Hall, Portland
Classical music lovers continue waking up to music by U.S. composers of the present and past, and one of the best of the rising old stars is Florence Beatrice Price, the first African-American woman to be recognized as a serious symphonic composer. Following the 2009 discovery of dozens of lost Price scores (discussed here by local singer and Arts Watch correspondent Damien Geter), the classical world has been abuzz over this much-needed new entry into the early U.S. canon, finding ample space for her among the Beaches and Seegerses and Iveses. Stay tuned for ArtsWatch’s concert preview.

MYS—like PYP a fearless and curious band—performs Price’s tasty first symphony and her Americana-as-apple-pie Dances in the Canebrakes, along with the homage Letter to Florence Price, composed by MYS alum Katie Palka, one of the stars of Fear No Music’s Young Composers Project (read Charles Rose’s interview with Palka and three other YCP composers right here). MYS will also give the West Coast Premieres of two works by a pair of eleven-year-old composers, participants in the New York Philharmonic’s Very Young Composers Initiative: Harlem Shake by Camryn Cowan and Boogie Down Uptown by Jordan Millar.

Japan, Netherlands, Florida: Transnational Chamber Musics

“Her Light Escape”
Spire Duo, May 4, Portland house concert.
Superb Eugene soprano Emma Rose Lynn and pianist Andrew T. Pham performing settings of poetry by Emily Dickinson, William Shakespeare, W. H. Auden, Robert Frost and more by 20th and 21st century composers composers such as André Previn, Dominick Argento (both of whom died this year), Benjamin Britten, Ned Rorem, and others.

Portland Taiko rejoins FearNoMusic. Photo: Rich Iwasaki.

Japanarama: The Ongoing Influence of Japanese Culture
May 6
Fear No Music, The Old Church, Portland
Fear No Music’s husband-and-wife leadership team—Artistic Director Kenji Bunch and Executive Director Monica Ohuchi—have spent the past five years making FNM the best kind of Portland hybrid: a classical ensemble with unimpeachable performance credentials, a love for local and contemporary composers, and a mature sense of social justice and responsibility.

This season’s theme, “Worldwide Welcome,” invites international musics and musicians into downtown Portland’s Old Church, and this concert’s special guest is the beloved percussion ensemble Portland Taiko, a jolly and entertaining crew who have collaborated with Bunch on previous concerts and will likely be audible across the river. The Japanese drums—many of them gigantic—were originally designed for communications between villages and within armies, providing a nice counterpoint to Bunch’s quiet, reflective music.

Kendrick Scott Oracle
May 6, Jack London Revue, Portland
After earning his reputation as one of the finest jazz drummers of his generation in his decade anchoring Terence Blanchard’s superb ‘00’s band, Kendrick Scott formed his own band, Oracle, to showcase his considerable compositional chops. He scored a coveted record contract with sainted jazz label Blue Note, which just released one of the best jazz albums of the year so far. A Wall Becomes a Bridge beautifully blends varied textures: Jahi Sundance’s turntable, Mike Moreno’s fluid guitar, John Ellis’s various woodwinds (flute, bass clarinet, horn) and bassist Derrick Hodge’s wordless vocals, plus some vocal samples. Add Scott’s inventive drumming and Tyler Eigsti’s bright electric and acoustic keyboards, and it adds up to a forward-looking amalgam of ‘70s fusion, a dash of modern hip hop, and lyrical contemporary jazz that can charm fans of everyone from Pat Metheny to Scott’s fellow Houston natives Jason Moran and Robert Glasper.

Classical Musicians of Holland bring Portland a Dutch treat.

“Classical Musicians of Holland”
May 7
Portland Dutch Society, The Old Church
We here at Oregon Arts Watch have an almost jingoistic attitude toward classical music: local composers, local performers, local poets, local rainstorms. We’re locavores and we’re not ashamed of it. Some might even call us musical terroirists. But we do occasionally get wind of travelling shows blowing in under the radar, something to remind us life beyond the Willamette Valley.

On May 7, Portland Dutch Society hosts three young musicians, the most recent winners of Holland’s Prinses Christina Concours (Princess Christina Competition): violinist Yente Lottman, trombonist Niels Jacobs, and pianist-composer Maxim Heijmerink. The concert program features a lot of pretty familiar stuff—Rachmaninoff, Tchaikovsky, Chopin—and it will all no doubt be played superbly (we’re especially excited to hear that delicate Rachmaninoff vocalise on trombone). But this concert’s blossoms are the works by less-known composers: Alexandre Guilmant, Joseph Jongen, Peter Kiesewetter, and Heijmerink himself.

Mozart’s Clarinet
Delgani String Quartet
May 12 & 14, Temple Beth Israel, Eugene
May 18, Christian Science Church, Salem
May 19, The Old Church, Portland
Maybe you just can’t wait until June to hear Mozart’s clarinet quintet at Chamber Music Northwest’s opening night. Or maybe you just want to hear UO clarinet professor Wonkak Kim play the foundational work with a basset clarinet and an amazing regional string quartet. Delgani also hails from Eugene, and we’ve admired the spry, sensitive quartet ever since hearing them pair György Ligeti’s first string quartet with Lou Harrison’s early last year at Spontaneous Combustion New Music Festival (another worthy out-of-towner that gusted through Portland and blew most of us away).

But it’s not Mozart’s quintet (Brahms’s is better) or Kim’s basset clarinet that interests us. No, what we really want is to hear something—anything—by the criminally underappreciated Florida-based composer Ellen Taaffe Zwilich, whose miraculous Septet for Piano Trio and String Quartet was our personal “best-in-show” of CMNW 2017.

One Heart: Music for Voices

Lost | Found
Big Mouth Society
May 3, The Hallowed Halls, 4420 SE 64th Avenue, Portland
The ensemble founded and led by early music specialist and singer Emily Lau also has big talent, and big ears. This show includes vocal and instrumental chamber music by anonymous 14th-century Sephardic Jewish women, 15th century Burgundian master of melody Guillaume de Binchois, 16th century choral music paragon Palestrina, 17th century Italian pioneer Claudio Monteverdi (one of the first Baroque and opera composers), the greatest composer of the 18th century (J.S. Bach), 19th century Brit Edward Elgar, contemporary American composers Emma Lou Diemer and Eric Whitacre, and even Lau herself.

Portland State University’s Queer Opera Project returns May 7. Photo: Byisabel.

Queer Opera Kickoff Concert
May 7
PSU Queer Opera, Lincoln Recital Hall, Portland
Last year, PSU collaborative piano professor Chuck Dillard introduced us to Queer Opera with two of the season’s most entertaining recitals (three, if you count Poulenc’s Les mamelles, which was the best show this exhausted reviewer attended all year). This is what we had to say about Queer Opera’s debut concerts at the time.

QO is a summer program, so they kick off their season just as other groups are ending theirs. On May 7th, community members join PSU students and faculty in a concert featuring some of the songs that thrilled us last year, along with selections from West Side Story and Jake Heggie’s song cycle Here and Gone, sung by Daniel Mobbs and ArtsWatch contributor Damien Geter.

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Choral Arts Ensemble: celebrating past, present, and future

Portland choir's winter concert focuses on 20th and 21st century seasonal sounds, including new music by Northwest composers

By BRUCE BROWNE and DARYL BROWNE

Portland’s Choral Arts Ensemble is celebrating its 50th season. Congratulations to the organization. It’s a milestone that prompts reflection and appreciation. This past weekend’s concert, the second of CAE’s four-concert season, wound a long garland around songs of the winter season and the holiday, reigniting for their audience the memories of holidays past and suggesting those yet to come.

Dr. David De Lyser offered pieces written or arranged within the years of our living families. Our grandparents might have sung Britten’s newly composed Ceremony of Carols at Christmas in the 1940s. Our friends had sung the music of Stephen Chapman and Morten Lauridsen, in particular, in college. And our children might well perform in years to come the music of two of the Northwest resident Cascadia Composers on the program, Lisa Neher and William Whitley.

Choral Arts Ensemble of Portland

A sweet and gentle arrangement of an English melody “A Winter Carol” opened the program and was immediately followed by two well-known choruses from Britten’s A Ceremony of Carols, “There Is No Rose” and “This Little Babe.” The first was very well done and allowed the serenity of the season to settle over the audience. The second, a driving, very close set canon, was disadvantaged rhythmically because of the distance between the soprano and alto sections. (Sopranos were in row four, altos in row one.) The program then continued to the great mystery of Christmas.

Morten Lauridsen’s O Magnum Mysterium was a 1994 commission from the Los Angeles Master Chorale. Programmed often, including in several previous CAE performances, it is deceptively challenging in keeping the intervals of the 4th tuned against open held notes. Dr. De Lyser conducted a sensitive performance. The phrases were elastic, with growth through each, all building to the intimate climax so expertly scored by Lauridsen, a Northwest native who grew up in the Beaverton area.

Born in the 1980s, Jake Runestad (given a full concert by CAE last year) and Joshua Shank are contemporaries, both composing primarily for voices (chorus, opera and choral orchestral). Their “Sleep Little Babe, Sleep” and “Gabriel’s Message,” respectively, rounded out the first half.

But a little elfish humor snuck in right before the intermission with “The Sleigh” (a La Russe) of “Woody Woodpecker” cartoon fame (yes, as in Walter Lantz). It’s a favorite CAE holiday offering. Woody and choir exit stage left.

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Choral Arts Ensemble at 50: intimacy and approachability

As it celebrates its 50th anniversary season, the Portland choir builds on its legacy of singing diverse repertoire and creating a comfortable, inviting experience

Interview by AARON RICHARDSON

David De Lyser is artistic director of Portland’s Choral Arts Ensemble, a chamber choir now celebrating its 50th anniversary season. This weekend, CAE teams up with Cascadia Composers in a concert that includes new seasonal works by local Northwest composers Lisa Neher and Bill Whitley, as well as holiday and seasonal favorites from years gone by, including hymns, carols and works by Ola Gjeilo, Benjamin Britten, Ralph Vaughan Williams, Beaverton native Morten Lauridsen, Arvo Pärt and others.

Choral Arts Ensemble opened its 50th anniversary season in October.

Now in his seventh season directing CAE, De Lyser spoke to Portland choral singer Aaron Richardson about the choir’s origins and evolution into one of the city’s top vocal ensembles. The interview has been edited for clarity and brevity.

Origins

The Choral Arts Ensemble started in 1969 and it was started like a lot of groups, by a small group of people that just wanted the opportunity to sing together.  There were only about 16 or so at that first rehearsal, but that’s how the group started.  I came to the University of Portland in 1999 to [study for] my Masters of Music degree. [Roger Doyle, who headed the choir for 34 years] was one of my professors, and he invited me to sing with the Choral Arts Ensemble and I joined and was in the group for one year before I moved away for additional graduate studies.  I was just very impressed with how he interacted with the singers and nurtured them, and how much they all seemed to enjoy singing with each other.  He was always full of life at every rehearsal and had a lot of energy.

Repertoire: a History of Diversity, an Emphasis on the Contemporary

What I hope is that people will come to our concerts for the diversity of repertoire and the quality with which it is performed. The hallmark of this group and its 50-year history is that diversity of repertoire, not limited by time period or style. There is so much amazing music to explore!

[Since De Lyser arrived] the group is a little more focused on contemporary choral composers. There are just a lot of young, passionate composers writing amazing music that deserves to be heard — a lot of them are looking around at the world and are writing really impactful lyrics and using texts that are relevant to what’s going on in the world. They’re looking at societal problems and issues through music and it just lends an emotional power that just words alone can’t do.

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Choral Arts Ensemble & Cappella Romana: many ways of being many 

Portland choirs sing music programmed and created by diverse and unified voices

Portland’s choral scene is so abundant it has its own calendar. With such an bounty of choirs, it’s no surprise that they represent many different ways of singing together. Two concerts in October—Choral Arts Ensemble’s season opener on October 13 at Rose City Park United Methodist Church, Cappella Romana’s Heaven and Earth on October 14 at St. Stephen Catholic Church—showcased two quite distinct approaches to creating choral music.

For CAE, it was their varied assortment of choral works, chosen collaboratively from their vast repertoire as a celebration of the ensemble’s long history of singing together; most of the selections, from Bach and Brahms to Ēriks Ešenvalds and Randall Thompson, were comfortably familiar, in a Western classical sort of way.

Cappella Romana performed ‘Heaven & Earth’ at Portland’s St. Mary’s Cathedral.

For Cappella Romana, on the other hand, the collaborative element was a matter of composers and singers working together within a unique and unified spiritual musical tradition—Orthodox Christianity and Byzantine Chant, traditions which are neither overly familiar (at least to Westerners) nor especially comfortable. Both approaches are valid, of course, but more importantly both demonstrate a crucial sense of unity-in-diversity, spiritual-musical solidarity, e pluribus unum, many voices coming together as one voice, seeking spiritual solace and satisfaction.

Choral Arts Ensemble: Fifty Years of Singing Together

In the opening performance of the the first concert of their fiftieth season, I was immediately struck by Choral Arts Ensemble’s brilliant tuning of even the simplest chords. This would emerge as their forte, a vertical sense of intonation, melodies and chords integrated in a way totally distinct from, say, Franco-Flemish Renaissance polyphony. It’s easy to hear a connection between the group’s democratic vibe and their approach to style, tuning, repertoire, and tradition. It probably wouldn’t be going too far to call it a distinctly Protestant attitude.

Choral Arts Ensemble of Portland opened its 50th anniversary season with a concert at Rose City Park United Methodist Church.

That big, resonant, vertical sound carried all through the concert, from the opening work—Schubert’s Gloria, its reverberant opening cadences turning on finely-tuned leading-tones—down through the full sound of English composer Colin Mawby’s 1995 Ave Verum. On Joshua Shank’s 2007 Sleeping out Full Moon, on a text by poet and WWI veteran Rupert Brooke, colorful Whitacrey harmony illuminated the lines “to all glory, to all gladness, to the infinite height.”

The chords got all melty and romantic on Josef Rheinberger’s 1855 Abendlied (Evening Song), and although their handful of Brahms Liebeslieder Waltzer (Love Song Waltzes) were perhaps not as lucid in this full choir setting as the quartet version we heard from The Ensemble a few seasons back, they were instead all lush and brimming with sehnsucht. In Ēriks Ešenvalds’s Only in Sleep, on a text by the Pulitzer-winning American poet Sara Teasdale, choir and soloists sang major thirds to make your eyes water. Offsetting Ešenvalds and Teasdale’s melancholy, the choir brought out a bright, poppy, Swingle Singers sound for Jake Runestad’s jolly John Muir song, Come to the Woods.

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Out & About: voices rising

A peek behind the scenes as choral rock star Jake Runestad rehearses Choral Arts Ensemble's singers for a concert of his own music

In 2016 I was commissioned by the North Coast Chorale to create piece-specific art to be projected in the concert hall during their performance of Karl Jenkin’s The Armed Man – A Mass for Peace – 13 montages in total, one for each movement. While working on them I listened to the choral work over and over until I practically knew it by heart. Even though it probably now counts as one of the war horses of choral music, it was a glorious experience.

This week I was invited to a different, equally exciting occasion: to listen to and photograph composer Jake Runestad, from Minnesota, directing his own choral work in preparation for a concert on Saturday, The Hope of Loving, with the Choral Arts Ensemble of Portland.

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Cascadia Composers reviews: Lights, poetry, music

Concerts seek meaning beyond music through complementary art forms

One of the oldest questions in music — right after “what the hell is music, anyways?” — is how music expresses meaning. We normally think of meaning as a semantic thing, something that can be explained in words and symbols. We can, of course, regard music as a kind of language…but when we think of meaning in music we normally go outside the music itself to something more overtly linguistic. Usually that means lyrics, libretti, and programmatic music based on poems or stories. We also tend to think of musical meaning as being something non- or extra-auditory — paintings, religious iconography, or the physical appearances of performers, conductors, and composers. In the past few months, Cascadia Composers has put on two concerts dealing with these strategies for meaning-making in music: one visual, one linguistic.

Visual Meaning: Desire for the Sacred

January’s Desire for the Sacred concert, hosted at Lewis & Clark College’s sylvan Agnes Flanagan Chapel, was as much light show as concert: performers on several compositions played up in the organ loft while the audience sat enveloped in the colored lights projected all over the chapel’s gorgeous modernist wooden ceiling and its Casavant organ, the world’s only circular pipe organ, its pipes suspended from the chapel’s ceiling in a dense spiral.

The organ in Agnes Flanagan Chapel.

The light show was run by Nicholas Yandell, whose music began each half of the concert. In the opening Dilate; Elucidate, slowly evolving pastels emulated the holy glow of the rising sun and reflected the yearning arpeggiations and pedal notes of the Pacific Northwest’s resident organ god, Dan Miller. After intermission, Yandell’s Hymn of Daybreak resurrected the solar theme, this time with Cheryl Young at the manuals and the sweet longing of Kurt Heichelheim’s distant horn imbuing the chapel with numinous charms.

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Portland’s contemporary choral ecosystem

Spring performances by The Ensemble, Choral Arts Ensemble, and Portland State choirs demonstrate the city's emerging, multi-level 21st century choral music scene

A few specialist performers does not a scene make; when they’re gone, what happens to the music? A vital new music scene requires a whole ecosystem — performers, composers, audiences, venues, often donors. Think Tin Pan Alley, Broadway, Classical-era Vienna, 19th century Italian opera, ‘70s LA, ‘80s downtown NYC, Austin, Nashville in their glory days.

One such scene may be a-borning in Portland. Well known as a choral music capital, and justly renowned for its developing contemporary and indie classical music scene, the city has recently seen too little intersection between them. While some major cities have a top professional vocal ensemble or two that specializes in contemporary music — San Francisco’s Chanticleer, Seattle’s The Esoterics or Roomful of Teeth and Conspirare (nominally based in New York and Austin, respectively, but in fact drawing singers from around the country) — Portland currently lacks a choir that sings primarily music of our time, like the late lamented Portland Vocal Consort and Choral Cross Ties. Here as elsewhere, most choirs cling to the classics.

Although the city’s top choirs such as Resonance Ensemble, Portland Symphonic and Oregon Repertory Singers sometimes sing new music, they mostly perform music by dead — sometimes long-dead — composers. Nothing wrong with that — as we’ve long argued here, mixing old and new music in concert probably broadens the audience for both. But this season they’ve all focused mostly on music from the last century or earlier.

Sterling Roberts conducted singers onstage and off at Portland State University.

Sterling Roberts conducted singers onstage and off at Portland State University.

Yet Portland choirs seem to be adding more and more new music to the mix, perhaps signaling a broader commitment to new choral music than just confining it to one or two specialty groups. Several of this spring’s concerts demonstrate the breadth of the city’s growing contemporary choral music scene.

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