jay derderian

Fear No Music: music of migration and more

New music ensemble demonstrates dedication to diversity and development

by MATTHEW ANDREWS

Portland contemporary classical music organization Fear No Music is a civic treasure. It cultivates audiences, artists, and composers through outreach and education programs. It keeps the classical tradition alive, performing select works from the contemporary classical canon while spending most of their energy on the next generation of composers. FNM’s ongoing efforts to diversify the repertoire have done more than just make the group socially relevant in a town that doesn’t always live up to its progressive values — it’s also commissioned and performed more living and contemporary composers than probably any other classical group in Portland (except, of course, for Cascadia Composers). And, with a stable of Oregon Symphony players in their ranks and Portland’s most popular composer at the helm, FNM generally puts on one hell of concert.

FNM opened its 2018-19 season with a pair of September shows collectively titled Shared Paths: The Music of Migration. The first was something of a teaser, a solo piano recital at Steel Gallery in Northwest Portland, the second a full concert the next day at their familiar haunt, The Old Church down by Portland State University, featuring the usual FNM crew.

FearNoMusic

This season’s title, Worldwide Welcome, a quote from the oh-so-right-now Lazarus poem (“From her beacon-hand / Glows world-wide welcome”) makes it clear that FNM intends to continue developing the themes they’d already explored so thoroughly in last season’s dozen-odd Hope in the Dark concert. It shows dedication, for one thing, a hot commodity in an age of distraction and disintegration.

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MusicWatch Weekly: time of the season

As autumn approaches, Oregon orchestras and ensembles play seasonal sounds and more

Yes, the Zombies no doubt played their iconic 1967 hit at Monday’s show at Revolution Hall, but there’s more seasonal music in the air this week. One of those iconic Portland fall traditions is to bring the family and some blankets and marvel at the annual cyclonic return of the migratory Vaux’s Swifts to that chimney at Northwest Portland’s Chapman Elementary School. In their season-opening Song of the Swifts shows, FearNoMusic brings one of New York’s best known new music pianists, Kathleen Supové to play music that touches on themes of migration — and not just by birds.

Kathleen Supové.

Musicians and other artists have joined the response to Republican politicization of immigration, which turned human suffering into human tragedy. For the last year or so, the Portland new music ensemble has been programming contemporary classical music that squarely or obliquely addresses some of today’s most pressing social issues. This time it’s migration. Supové, who grew up in Portland, plays three world premieres (by Portland’s own Jay Derderian, her partner and well known composer Randall Woolf, and Paula Matthusen), composed for Sunday’s pop up concert, which happens a few blocks from the Chapman School chimney that has long been a gathering place for the birds, and for Portlanders who love watching them circle, cavort and finally take the plunge. The performance also features video and visual art.

Those three premieres repeat at Monday’s concert at the Old Church, which also pairs Supové with FNM musicians in migration and/or bird-related music by young Portland composer Katie Palka, the great Finnish composer Kaija Saariaho, Michi Wiancko, and Takashi Yoshimatsu.

Tomas Cotik performs with Portland Chamber Orchestra.

• As we head into fall, Portland Chamber Orchestra combines the most famous Four Seasons (Vivaldi’s familiar violin concertos) with an equally colorful 20th century successor. In The Eight Seasons, Portland State prof and Astor Piazzolla expert Tomas Cotik joins the ensemble in his fellow Argentine’s The Four Seasons of Buenos Aires, which uses Vivaldi’s model and Piazzolla’s own pulsating nuevo tango music to paint a vibrant musical portrait of his bustling hometown. The Sunday afternoon show at Lewis & Clark College’s Agnes Flanagan Chapel also features longtime Oregon coast resident Ernest Bloch’s moving Prayer for Cello and Strings (with more Bloch coming next week) and Edvard Grieg’s Two Elegiac Melodies.

• The Oregon Symphony opens its classical season Sunday with maybe the world’s starriest soprano, Renée Fleming, and it’s a credit to both that instead of the usual familiar arias, the concert presents an attractive, substantive program of 20th century classical and theater music along with Richard Strauss’s 1888 tone poem Don Juan. The big news is Kevin Puts’s orchestral song cycle, Letters from Georgia, composed for Fleming in 2016. Puts, a Pulitzer Prize winner who’s one of the most listener friendly of contemporary classical composers, sets five letters the great American painter Georgia O’Keeffe wrote to her future husband Alfred Stieglitz or her close friend Anita Politzer that describe New Mexican desert beauty, her own feelings about love and music, and more. What I’ve heard would certainly appeal to Aaron Copland fans, and there’s actual Copland (tunes from his opera The Tender Land) on the program too, as well as a pair of stirring American overtures: Samuel Barber’s 1931 overture to The School for Scandal, and Leonard Bernstein’s inevitable, and irresistible, Candide overture, plus show tunes from Sting, Kander & Ebb, Meredith Willson, Stephen Sondheim, and more — that rare star program that would be almost as appealing even without the star’s celebrity name and talent.

Renée Fleming and Oregon Symphony conductor Carlos Kalmar take their bows.

• While the Oregon Symphony goes mostly American, Portland Columbia Symphony trends Russian in its Friday and Sunday shows at Portland’s First United Methodist Church and Gresham’s Mt. Hood Community College Theater. There’s yet another seasonal number, “Autumn” from Glazunov’s The Seasons, Rachmaninoff’s big second piano concerto starring Robert Henry, and a suite from Stravinsky’s enchanting The Firebird ballet score.

• Rachmaninoff takes center stage — or is that altar? — at this weekend’s Cappella Romana concerts Saturday night and Sunday afternoon at Portland’s St. Mary’s Cathedral and Trinity Episcopal Cathedral, respectively. The superb choir sings one of the 20th century’s choral masterpieces, All-Night Vigil, (sometimes called Vespers) along with psalms and hymn settings by Rachmaninoff’s Russian predecessors, placing the composer’s music in the context of a more complete Orthodox Vigil.

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