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Music in Small Spaces

Small-scale series bring new sounds closer to audiences

In the music world, most of the attention goes to the mega-venues: Keller Auditorium, Moda Center, Schnitzer Concert Hall, arena shows. Yet most of the creativity seems to happen in more intimate confines. Maybe it’s something to do with focus or informality or even lower ticket prices, but for me, cozy clubs, chapels, galleries, small auditoriums somehow make it easier to connect to what’s happening onstage.

That’s why I’ve cherished Music in Small Spaces, which for the past six years has presented new and unusual music in Beaverton and other towns on the west side of Portland’s West Hills (Tualatin Mountains), and Third Angle New Music’s Studio Series and Porch Music, which bring mostly new sounds to inner Southeast Portland’s Zoomtopia studios and the front porches of homes in a leafy old Northeast Portland neighborhood.

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Alas, MiSS’s indefatigable majordomo, Judy Castle, has announced that last week’s concert, at Portland’s ironically not-so-small Village Baptist Church, will be the last in the series — a big loss for the West Side and for Oregon music in general. The final two performances, as well as Third Angle’s season-ending (but thankfully not series-ending) show last week show just why these spaces are so valuable. And while it won’t be in a small space, you will have the chance to see a reprise of the final MiSS show this Sunday in downtown Portland.

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Oregon Rites of Spring 1: Drums along the Pacific

Powered by percussion, the West Coast's adventurous musical legacy continues in spring Oregon concerts.

New York has long snagged all the attention as the creative center of American music. But a quintessential New Yorker (from The New Yorker, no less) reminded us recently that much of the impulse for American music’s creativity originated right here on the West Coast. As I explained a few years ago, “a little attention to history reveals that many, if not most, of America’s major postwar musical innovations actually originated here on the West Coast and spread east in a kind of reverse migration that energized NYC, rather than vice versa.”

This spring’s and summer Oregon concert seasons have sparkled with new music by West Coast and other American composers. One of those shows established a context that helps explain West Coast music’s trailblazing creativity, and several others revealed how it’s continuing now in 21st century Oregon. Even as the region suffers from historic drought, its musical wellsprings continue to flow abundantly.

Cascadia Composers percussion concert.

Cascadia Composers percussion concert.

I’ve never seen such a profusion of Oregon music over so long a stretch, so I attended as many concerts as possible (though I missed several that included contemporary Oregon music) to see what this snapshot revealed about contemporary classical music in Oregon 2015. I initially planned to end the survey in April — but the Oregon music just kept pouring forth, as new concerts were announced that also featured works by Oregon composers. That continuing abundance alone is a most welcome sign for anyone who cherishes homegrown music. But it also reveals some neglected areas still in need of exploration.

In this first of a three part series, we’ll look at concerts that perpetuated Harrison and Cage’s West Coast percussion legacy. Part 2 covers concerts that sprinkled Oregon music among sounds that originated elsewhere, and the third installment focuses on concerts devoted to showcasing the work of one Oregon composer, and a wrap up that draws some conclusions based on this rich spring sampling of Oregon contemporary classical music.

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