Micah Fletcher

MusicWatch Weekly: What (else) is going on?

ARCO turns up, Geter turns on, “Kevin” takes the night off

Last week we talked all about how everyone should be making albums right now, and hopefully you all nodded your heads and muttered, “hell yeah!” Okay, good, we’re happy to have you on board. You know what you can do to make that happen? You can support the artists who will make it happen–by supporting what they’re doing right now.

And what are they doing right now? Well, the big news on our desk today is ARCO-PDX performing Beethoven in Pioneer Square at 6:30 this Saturday evening (tomorrow!), playing for–ahem—whoever happens to be downtown just then, all while keeping distant in local artist Bill Will’s Polka Dot Courthouse Square installation.

ARCO says:

Thanks to technological advances, passersby will be able to enjoy the music either from their seats on the semicircular steps, or by weaving their way through the players for a one-of-a-kind immersive experience!

This is clearly the exact right ensemble for Polka Dot Square: among other things, the “amplified” part helps a ton when you’re not only outside but six feet away from the other players, and the “repertory” part helps when the point of the concert is not about building the repertoire but putting it to use.

Continues…

The Sound of Changing Times

ArtsWatch welcomes new music editor; predecessor reflects on Oregon’s blossoming contemporary classical music scene.

A concert is never about only the music. Otherwise we’d just listen to a recording on headphones. At Pyxis Quartet’s Feb 15 concert at Portland’s Old Church, which on that rainy evening felt like the most consequential performance I’ve attended in Portland, the music offered some splendid moments. But there was much more at stake.

The most important was the event that sparked it. The concert was an artistic response to the horrifying homicidal 2017 stabbings on Portland’s Max train. One of the survivors, poet Micah Fletcher, already known around Portland State University as a superlative poet even before he became famous in a way no one wants, performed his original poetry, which also inspired all the compositions on the program, including Nicholas Yandell’s opening Crisis Actor.

Nicholas Yandell and Pyxis Quartet perform at The Old Church in 2018. Photo by Milton Bliss.
Nicholas Yandell and Pyxis Quartet perform at The Old Church in 2018. Photo by Milton Bliss.

Just before the composer intoned Fletcher’s words as part of the performance, the lighting turned blood red. That chilling extra-musical effect (made possible, not incidentally, by contributions to the Old Church that allowed a new lighting system that dramatically enhances the music performed in that essential Oregon arts venue) added a dimension to the performance by evoking the bloody attack that inspired it.

Both poetry and music were commissioned by Pyxis’s parent organization, 45th Parallel Universe. That is: they paid some of Portland’s most accomplished artists to create this artistic response to the terrifying crime against our community — a wholly admirable act of artistic and community vision. They put their money where their morals were. They saw their community attacked — and they responded in the best way artists can, with original creations that directly defied it. Many moments in that concert rose to the occasion, and as a whole, it helped me engage with the still unresolved feelings the killings provoked.

What made that possible was the vision of 45th Parallel founder Greg Ewer, who conceived the concert, composers Yandell, Kenji Bunch, Bonnie Miksch and Texu Kim, supporters like the invaluable and indefatigable Ronnie Lacroute, ticket buyers, and above all poet Fletcher, who insisted on being more than a victim. These committed community members deserve our deepest gratitude.

Continues…

Mousai REMIX & Pyxis Quartet: expanded visions

45th Parallel Universe concerts feature music by Portland and African American composers

When 45th Parallel reached its 10th birthday this season, the Portland classical music organization expanded its name (to 45th Parallel Universe), its ranks, and its artistic vision, becoming a collectively run umbrella organization comprising five ensembles: two string quartets, a woodwind quartet, a percussion duo and a chamber orchestra.(See Matthew Andrews’s ArtsWatch story.)

mousai REMIX

The expansion produced a corresponding broadening of artistic vision, with a season packed with diverse concerts. On Friday, two 45th Parallel ensembles play back-to-back concerts embracing compositions that classical music institutions are often rightly accused of ignoring: music by African American composers, and new music responding to the concerns of here and now rather than there and then.

“Sons of the Soil”

To play classical compositions you need scores, and the lack of available scores by black composers is both a symptom of the racism that long excluded them from the classical canon, and one of many continuing obstacles to redressing that exclusion. When 45th Parallel founder Greg Ewer asked Jennifer Arnold to program a concert of works by African American composers for her string quartet Mousai REMIX, her biggest challenge was obtaining music.

“In my research I realized how many string quartets by black composers were out there,” Arnold recalls, “but finding and buying them was very difficult.” (Stay tuned for Damien Geter’s ArtsWatch story about all the composers on the program.)

mousai REMIX violist Jennifer Arnold

The oldest composer featured on the 7 pm concert, Joseph Bologne, Chevalier de Saint-Georges, wrote dozens of string quartets, but only a few were available for purchase. A renowned violin virtuoso, swordsman and military leader in his time, Bologne “was called the Black Mozart for a reason,” Arnold notes, praising his Classical era-style melodies.

Samuel Coleridge-Taylor’s Fantasy Pieces aren’t in print, so the group is playing from a downloaded database score. “If you like (William) Walton, (Ralph) Vaughan Williams and other British Romantic music, you’ll love Coleridge-Taylor. He was highly regarded by them.”

Admirers of the folk-inspired Romantic music that the 19th-century Czech composer Antonin Dvorak wrote during his American sojourn will appreciate 20th-century American composer Florence Price’s Five Folksongs in Counterpoint, Arnold says. She says the program’s sole contemporary composer, Daniel Bernard Roumain, is “really great at crossing genres.” His fifth string quartet, Rosa Parks, offers a mix of contemporary “electronic-sounding things played on acoustic instruments. It’s not typical classical music,” she says. “Anyone who likes a groove can relate to it.”

Continues…

45th Parallel: expanding universe

Under new cooperative leadership, Portland organization kicks off ambitious 10th anniversary season this weekend with new ensembles and diverse programming

by MATTHEW ANDREWS

This year, 45th Parallel goes through a double shift, as the Portland-based classical music organization enters its 10th season and adds “Universe” to its appellation, reflecting a broadening of its roster and repertoire. This happens just as founder and long-time artistic director Greg Ewer passes the reins to his old pal and fellow Oregon Symphony violinist, former Third Angle artistic director Ron Blessinger, now 45th Parallel interim executive director.

The Universe comprises four distinct chamber groups—two string quartets, a wind quintet, and a percussion duo—who come together as a fifth group, the conductorless chamber orchestra Helios Camerata. They are, for now, all Oregon Symphony players. The Gemini Project is nothing more, nothing less, than OSO’s principal and co-principal timpanists; the five players of the Arcturus Quintet are likewise drawn from the OSO’s stellar wind sections, all of them principals or assistant principals.

The expanded 45th Parallel

Mousai ReMix (not to be confused with a similarly named Portland winds and piano ensemble) has, for the last six seasons, specialized in mostly conventional string quartet literature: Mendelssohn, Mozart, Prokofiev, Debussy, and Ravel, plus gobs of the perennial B&S Team (Beethoven, Brahms, Bartok, Schubert, Shostakovich, Schumann). The other string quartet in 45th’s constellation, Pyxis Quartet, is well familiar to Arts Watch readers: it’s the former Third Angle String Quartet, the same crew who have given us such loving performances of Glass and Reich and so on over the last few years, now riding a different parallel since first violinist Blessinger’s migration.

This season’s musical selections are, as always, all over the place, a feature microcosmically exemplified by Friday’s season opening Big Bang concert. Mousai ReMix will play a bit of middle-period Beethoven and Arcturus Quintet will play some early Carter, both good examples of embracing tradition while challenging it. Gemini Project will perform a duet composed by Robert Marino for himself and his drum corps bass buddy, a perfectly twinsy showcase for OSO pals Jon Greeney and Sergio Carreno. Pyxis will play a bit of dance music by Aaron Jay Kernis, the “Double Triple Gigue Fugue” finale from his second quartet. The second half showcases the fourteen-member Helios Camerata, an “experiment in democratic music making” composed of the members of all four groups, coalescing to play old music by Haydn and Rossini alongside newer works by Britten and Peruvian composer Jimmy López (best known for his Renee Fleming Initiative commissioned opera Bel Canto).

The whole season is like that: music from all across space and time, sometimes unified by theme but mainly unified by the organization’s democratic curatorial process and the findings of Ewer’s “musical laboratory.” The four smaller groups star in a pair of double concerts at The Old Church in southwest Portland, one in November and another in February. The binary concerts are a nice touch, I think: hour-long shows, back-to-back in the same venue with a half-hour break between. In November, Arcturus will perform works by Barber, Higdon, and Irving Fine; later that evening, Gemini will perform duos by Reich, Akiho, Peter Klatzow, and Fredrick Andersson, plus a new work by Carreno (on the event page hilariously titled “Serge piece”).

Mousai ReMix

In February, Mousai ReMix celebrates Black History Month with works by Chevalier de Saint-Georges, Coleridge-Taylor, Florence Beatrice Price, and Daniel Bernard Roumain. Pyxis Quartet will premiere I Spat in the Eye of Hate and Lived, an evening of commissioned works by local composers Kenji Bunch, Texu Kim, Bonnie Miksch, and Nicholas Yandell accompanying new poetry by percussionist Micah Fletcher, survivor of last year’s infamous TriMet stabbing incident. Helios closes the season at Trinity Episcopal Church with an evening of Richard Strauss, a program Blessinger characterized as “a lot of German food.”

ArtsWatch spoke with Blessinger and Ewer by phone. Their answers have been edited and condensed for clarity.

Continues…