ensemble primo seicento

MusicWatch Weekly: centennial celebration

Symphonic tributes to composer/conductor/crossover king Leonard Bernstein and other American sounds highlight this week's Oregon music scene

Has any musician ever had a year like Leonard Bernstein did between November 1943 and December 1944? The 25-year-old wunderkind won national fame for fill-in conducting the New York Philharmonic on short notice in a nationally broadcast concert from Carnegie Hall, conducted the premiere of his first symphony and the recording of his scintillating first ballet, Fancy Free (which the New York City Ballet premiered that year and which Eugene Symphony performs in November), wrote a hit for Billie Holiday, and saw his first musical open on Broadway. Whew!

That debut musical, On the Town, is best known for “New York, New York, a hell of a town,” but the rest of the score sparkles just as brightly. On Thursday at Eugene’s Hult Center, its dance episodes open Eugene Symphony’s season-long celebration of Bernstein’s centenary, which orchestras and ensembles throughout Oregon and the world are also honoring this year.

Leonard Bernstein

The rest of the program is equally compelling. Shostakovich’s magnificent fifth symphony was a Bernstein fave he did much to popularize in the West, and Lenny recorded Ernest Bloch’s popular cello concerto Schelomo (King Solomon) twice. The Swiss-born composer wrote his “Hebraic rhapsody” in 1916, just before he moved to the US (where it premiered), long before he settled in Agate Beach in 1941. (He died in Portland in 1959.) Soloist Julie Albers stars.

The Vancouver Symphony’s opening concerts Saturday and Sunday at Skyview Concert Hall also laud Lenny with excerpts from his great stage scores Candide and West Side Story. Tchaikovsky Competition gold medalist Mayuko Kamio stars in another American masterwork, Samuel Barber’s vibrant Violin Concerto. The show opens with a low-blowing new piece the orchestra commendably commissioned from a local composer: one of its bassoonists, Nicole Buetti.

Inon Barnatan performs with the Oregon Symphony

This weekend’s Oregon Symphony concerts at Arlene Schnitzer Concert Hall feature the world premiere of 27-year-old Katherine Balch’s whispery Chamber Music, which deploys a variety of percussion instruments along with the usual strings and winds to create, she says, “a very intimate, intricate music intended for close listening and made among friends.” One of Joseph Haydn’s popular “Paris” symphonies, nicknamed “The Hen” because of some clucked-up first movement violins, offers another chance to hear the orchestra excel in the magnificent music of a composer whose symphonies have become one of its specialities. Aaron Copland’s Jazz Age Piano Concerto followed Gershwin’s Rhapsody in Blue and Piano Concerto into then-sketchy (for symphony orchestras) jazzy territory. Nearly a century later, it sounds like a lot of fun, and a sleek vehicle for excellent Israeli-born pianist Inon Barnatan before the concert arrives at its final destination: Brahms’s mighty fourth symphony.

A highlight of last week’s OSO concerts was a new work by one of America’s most appealing living composers, Kevin Puts. His Beethovenian 2007 Trio-Sinfonia highlights Saturday’s Chamber Music @ Beall performance by the excellent Eroica Trio at the University of Oregon’s Beall Concert Hall. They’ll also play Bach’s famous “Chaconne” from Partita in d Minor; the equally famous Adagio in g minor by 20th-century musicologist Remo Giazotto still infuriatingly and falsely attributed to Tomaso Albinoni by record companies, program writers and classical music announcers who should know better by now, and Mendelssohn’s c minor Trio.

Earlier that day and not far away, at their free show at Eugene’s Hope Abbey Mausoleum, Ensemble Primo Seicento (three singers and historically informed instrumentalists on harpsichord, viola da gamba, and cornetto) sings and plays music by Sigismondo D’India, Legrenzi, Sances, Riccio, Benedetti, Barbarino, Corradini, Merula, Hume, Cima and of course Monteverdi himself.

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MusicWatch Weekly: spanning the centuries

Music ranging from the Renaissance to today highlights Oregon performances this week

Pick a century, and there’s an Oregon concert to suit your taste this week. Working backward from contemporary to ancient, Saturday’s southeast Portland house concert by Ashland based duo Caballito Negro features flutist Tessa Brinckman and percussionist Terry Longshore playing music by David Lang, the West Coast premiere of rising American composer Wally Gunn’s Bare White Bones, a charming composition for toy piano and percussion by Christopher Adler, and new pieces by Brinckman and Longshore themselves that variously involve Baroque flute, hybrid flute, tabla, waterphone, and various electronic doodads.

Caballito Negro performs Saturday night in Portland.

Chamber Music Amici’s Monday concert at The Shedd presents a welcome mix of new and old sounds, by composers of African heritage. The excellent Eugene ensemble performs American composer Jonathan Bailey Holland’s 2016 String Quartet No. 2, Forged Sanctuaries, which celebrates the 100th anniversary of the National Park Service, whose mission is endangered today by our current rulers catering to greedy private interests. Holland has also addressed current topics like Black Lives Matter in other works. The enticing program also includes music by one of the finest 20th century American composers, William Grant Still’s lovely Lyric Quartette. And the band also plays a pair of chamber works by 18th century rock star Joseph Boulogne, Chevalier de Saint-George, the first composer of African ancestry to rock the classical world. Also a dashing fencer, soldier, violinist, conductor and more, his fascinating story and music are finally being rediscovered, but it’s a rare treat to hear his chamber music hereabouts.

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