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MusicWatch Monthly: Fabulous February

Composers, composers, composers! ...and a jazz festival

Classical weekend

This weekend, you can take your pick of classical music concerts: choral, chamber, or orchestral (or all three, if you have the stamina). On the 7th and 8th, Portland Lesbian Choir celebrates the ratification of the 19th Amendment (guaranteeing women’s right to vote) with their “Born to Celebrate” concert at Central Lutheran Church in Northeast Portland. The most exciting thing about this concert: a premiere of a new 19th Amendment-themed work commissioned by PLC from Portland composer Joan Szymko, whose music has been a highlight of recent Resonance Ensemble and Oregon Repertory Singers concerts.

Also on the 7th and 8th, at local theater company Bag & Baggage’s cozy Hillsboro venue The Vault, Northwest Piano Trio performs Shostakovich’s second piano trio as the live score for playwright Emily Gregory’s intimate end-of-life play The Undertaking. In this unique collaboration with B&B and director Jessica Wallenfels’ Many Hats Productions, the trio will be onstage with the actors. On the 8th at Portland State University, PSU violin-piano duo Tomas Cotik and Chuck Dillard will perform Mozart, Schubert, and Piazzolla–three of the four composers Cotik specializes in (the other, of course, is Bach). And if you already have tickets to Portland Opera’s An American Quartet, don’t forget that it opens this weekend–and if you don’t have tickets yet, you’d better hurry!

Also this weekend, the Oregon Symphony relegates two more living composers to the Fanfare Zone. Their “Pictures at an Exhibition” program (concerts Friday in Salem and Saturday-Monday in Portland) manages to make room for twelve minutes of Missy Mazzoli and thirteen minutes of Gabriella Smith between the half-hour blocks of decomposers Mussorgsky and Paganini. I get that we’re supposed to be grateful to OSO for playing anything at all by living composers and women composers, and we really are grateful that they commissioned a new work from Smith: living composers need to eat! But we’ll never tire of complaining about the Fanfare Zone, and we won’t stop until the ratios are reversed and decomposers have to compete for their token opening spot on concerts dominated by Zwilich concerti and Tower tone poems.

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MusicWatch Weekly: passions and improvisations

A pair of new American Passions, an explosion of improvisation and other Oregon musical highlights 

J.S. Bach’s two surviving Passions (St. Matthew and St. John) remain pinnacles of Western music, more than a quarter millennium after he constructed them. Neither is on the program at this year’s Oregon Bach Festival, but this summer, Oregon does offer a pair of new Passions inspired by Bach’s mighty masterworks.

Harlem Quartet performs with Imani Winds at Chamber Music Northwest.

On Thursday at Reed College’s Kaul Auditorium, Chamber Music Northwest brings the premiere of Jeff Scott’s ambitious “Passion for Bach and Coltrane” an hour-long work for wind quintet, string quartet, piano, double bass, percussion, and orator. The Imani Winds hornist and composer, who’s performed plenty of both classical and jazz music, finds musical common ground between two musical deities separated by centuries, culture, race and style — but united by virtuosity and spirituality. JS Bach’s masterpiece Goldberg Variations and John Coltrane’s landmark A Love Supreme provide points of departure, and leading African American poet and jazz writer A.B. Spellman’s poems provide the text — with Spellman (who happens to be the father of Imani oboist Toyin Spellman-Diaz) on hand to narrate in this performance with two of my very favorite ensembles in the world: CMNW’s artists in residence, Imani Winds, and the fabulous, Grammy-winning Harlem Quartet. The attention given last week’s release of a lost Coltrane session recorded a couple years before Love Supreme, and another new release documenting his final tour with Miles Davis’s ensemble a few years before that, shows that Trane’s music still matters, just as Bach’s does, and both still inspire listeners and other artists alike.

The two ensembles’ Saturday and Sunday CMNW performances at, respectively, Reed and PSU include more most welcome new music by Scott and Imani’s other excellent composer, flutist Valerie Coleman — a world premiere tribute to Muhammad Ali, who grew up just blocks from Coleman’s childhood home in West Louisville. The shows also sport a 1987 composition about New Orleans by the great film composer Lalo Schifrin, arrangements of the most famous music by Antonio Carlos Jobim, Dizzy Gillespie and Billy Strayhorn, and more.

CMNW’s Monday and Tuesday shows also include new music by an erstwhile Northwest composer. Pulitzer Prize winner John Luther Adams splits his time between Mexico’s Sonoran desert and New York City now — both about as far removed as possible, in different directions, from his longtime Alaskan abode — but he still channels his environment into music. His gentle, even delicate 2016 septet “There is no one, not even the wind comes directly from my experience of the space and solitude, the stillness and light of the desert,” Adams says. CMNW’s excellent lineup will also play a JS Bach trio sonata and a Dvorak string quartet.

Oregon’s other big new Passion is Sunday’s world premiere of The Passion of Yeshua, by American composer Richard Danielpour, whose music has been performed by Yo-Yo Ma, Dawn Upshaw, Emerson String Quartet, New York Philharmonic, and other notables. Commissioned by the Oregon Bach Festival, and led by acclaimed conductor JoAnn Falletta, the oratorio recounts the myth of Jesus’s last day on earth from the perspective of female voices traditionally silenced in the Biblical tale — Mary and Mary Magdalene.

It’s a real treat to see today’s American composers infuse this ancient musical form with today’s, well, passions, and especially exciting to see two of our state’s major music institutions providing the commitment and cash to make them possible. But I hope next time, they or another Oregon institution will commission one of Oregon’s own composers (rather than a couple of New Yorkers, however accomplished) to perpetrate a passion even more relevant to our own time and place.

Rich Halley Quartet performed at the 2017 Improvisation Summit of Portland.

You can hear just such homegrown music at the Creative Music Guild’s annual Improvisation Summit of Portland Friday and Saturday at Portland’s Disjecta Contemporary Art Center, 8371 N Interstate. This year’s edition features veteran CMG improvisers who also draw from the modern classical music tradition like Matt Carlson, Lie Very Still (fab flutist John Savage, drummer Ken Ollis, guitarist Mike Gamble), and Dana Reason’s An Apple for my Teacher (with Gamble, Andrews, Savage, Gillet and more). The summit also includes LA-based koto/dobro duo Caspar Sonnett and non musical improvisers — comedy, DJs, a midnight variety hour that mixes dancers, filmmakers, and sound artists) and much more. And yes, there’s first-rate jazz too: Rich Halley Trio, Ian Christensen Quartet; Belgium-born, New Orleans based cellist/composer/singer Helen Gillet, and a tribute to one of the state’s true jazz legends, the great bassist Andre St. James, who died suddenly this year.

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