MYS

MusicWatch Weekly: Welcome to Digital Heaven

Hermit like a champ with Oregon’s virtualocal superstars

These days we’re toggling between two extremes: on the one hand, digitally mediated mass socialization via zoom, youtube, social media, and all the rest of the burgeoning digital (after)life; on the other hand, some truly next-level hermit action in the form of baking, yoga, quilting, meditation, prayer, journaling, self-reflection, self-recording, and the simple joy of sitting and catching up on all those books you’ve been meaning to read since, like, the eighties.

Of course, most of us are splitting the difference one way or another–for instance, we know dozens of musicians who are spending their quarantine listening to and sharing their favorite albums, a perfect example of how a fundamentally isolated endeavor can be transmuted into an eminently social experience. Same goes, mutatis mutandis, for book clubs and TV show binge-watching parties (let me know if I can spoil Battlestar Galactica for you).

We’ll be talking in some depth about this nascent digital afterlife starting next week, when we’ll discuss: 45th Parallel Universe’s new friend Kevin; defunct Portland cyberpunk indie trio Menomena; recent and timely Matrixy entertainment like Devs, Westworld, and Upload; and media guru Douglas Rushkoff’s “Ten Commands for a Digital Age.” That’s all in the first of several new series we schemers at ArtsWatch have planned for your next few months of quarantined music reading. Stay tuned.

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MusicWatch Weekly: The Apocalypse will be livestreamed

As world ends in slow motion, musicians struggle in solidarity

First of all, how are you? Eating enough? Staying inside and entertained? Called your friends and/or family lately? Good.

Let’s start by collectively admitting that we’re Not Doing Alright. It’s been a busy two weeks since last we spoke, dear reader: schools closed, concerts canceled, tours derailed, musicians laid off, stay-home orders issued, force majeure clauses invoked. We’ve been comparing notes with our fellow Gen X-ers and other overthirties, folks who experienced 9/11 and its aftermath as adults, and we’ve all reached the same conclusion–this is weirder by far.

Nobody knows what the hell is going to happen next, and as we scramble to make sense of it all we find ourselves grasping for new definitions of “musical activity” in general and “music journalism” in particular. We’d like to quote words from Oregon ArtsWatch Executive Editor Barry Johnson’s Mission Statement, which have recently comforted us:

The arts remind us that we are in this together. That we aren’t alone in our particular thoughts and feelings. That things can be made right and whole, if just for a moment. They remind us that the individual can do great things, and so can individuals acting together. And somehow, they resolve the great tension of American life, that between the rightful autonomy of the individual and the responsibilities that come with belonging to a group. We can’t imagine a good outcome to our dire problems—as a community, a nation, a planet—without the complex lessons the arts teach us.

We believe that the processes of discovery, explanation and discussion of journalism have an important role to play in all of this. An “informed citizenry” extends to cultural matters, and that is the mission of Oregon ArtsWatch—to help those of us in this particular culture share support and create arts and culture that respond to our needs.

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Living Traditions, Part One: American symphonica

Keeping the American orchestra alive with Portland Youth Philharmonic, Metropolitan Youth Symphony, and Portland Columbia Symphony Orchestra

A couple years back, during the Bernstein Centennial, Portland Youth Philharmonic conductor David Hattner said something that stuck with us: “if American orchestras don’t play music by American composers, no one will.” He meant it, too; that concert, with a deeply moving performance of Bernstein’s Jeremiah Symphony as its centerpiece, was one of only two really worthwhile Bernstein concerts that season (the other was PSU Chamber Choir’s Chichester Psalms). Jeremiah soloist Laura Beckel Thoreson, plus superb performances of Jacob Avshalomov’s The Taking of T’ung Kuan and Ernst Bloch’s Schelomo (with dazzling solo cello from Kira Wang), only sweetened the deal.

We’ve noticed that PYP, Metropolitan Youth Symphony, and Portland Columbia Symphony Orchestra all do their fair share to keep the American Symphonic Tradition alive in Portland. In fact, from an aesthetic point of view they often do better than bigger institutions like the Oregon Symphony. (The same holds true, mutatis mutandis, for the contrasting American composer relations of the conservative but modern-friendly Portland Opera and the living-composer-obsessed Opera Theater Oregon–which is, to be fair, co-directed by a living, local, American composer).

This month, all three orchestras have concerts that enrich and enliven the American Symphonic Tradition: PYP and MYS this weekend, PCSO the following. We’ve been to most of these three orchestras’ recent concerts, and each one was a perfectly flawed contribution to the tradition’s vitality. That is, they were enjoyable as symphonic concerts and laudable as concerts of music by American composers, but each made (lucky for this music critic) a few critical mistakes.

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MusicWatch Monthly: Second winter descends

Hymns, films, saxophones, French music, Local music

Oregon has two winters as well as two summers. We’ve just wrapped up First Winter: the time when it hasn’t gotten too terribly cold and miserable, holiday cheer is in the air, and everybody’s all excited for the solstice and the new year. Now that all that busyness is behind us, it’s time to hunker down for the rest of winter, the long cold dreary late morning of the soul, a grim season that seems to grind on forever and promises only the occasional snow day in compensation.

But we’re in luck: we get to ring in the Coming of Second Winter with a month of pleasantly undemanding concerts of medieval hymns, saxophone ensembles, live film music, and classical chamber music by a variety of French and Local composers. It all starts this weekend with Cappella Romana and the Hymns of Kassianë.

This weekend: nuns, saxes, oboe, and movies

“With a golden apple in his hand, Emperor Theophilos slowly walked between two lines of contending beauties; His eye was detained by the charms of Kassia, and, in the awkwardness of a first declaration the prince said that in this world, women had been the occasion of much evil,” from Eve on down. “And surely, Sir,” Kassia pertly replied, “they have likewise been the occasion of much good,” including Mary, who birthed Jesus.

Kassia’s impudence at a medieval beauty contest aimed at finding a bride for the ruler of Medieval Europe’s Eastern Empire may have cost the composer (born 810 in the Byzantine capitol Constantinople) her chance to become Byzantine empress. But it might have also sparked her to overcome the barriers female artists faced in her time—some of which remain. Kassia subsequently left the royal court, earned fame as a poet, philosopher, and activist who endured beatings and other persecution. And, like the later, more famous female medieval composer Hildegard of Bingen–she became abbess of her own convent. The Orthodox church later beatified her as St. Kassianë.

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Price’s compelling musical world

Metropolitan Youth Symphony debuts Florence Price in Arlene Schnitzer Concert Hall, Europe

By DAMIEN GETER

“I have two handicaps—those of sex and race,” wrote American composer Florence Price to Boston Symphony Orchestra music director Serge Koussevitzky. “I am a woman; and I have some Negro blood in my veins.”

Composer Florence Price.

In 1943, Price, who was trying to get more of her orchestral music performed, wrote Koussevitzky, a champion of promising American composers. As a result of winning the Rodman Wanamaker Competition in 1932, Price’s Symphony No. 1 in E minor garnered the attention of Frederick Stock, conductor of the Chicago Symphony Orchestra, who premiered the work in June 1933–making it the first piece by an African American woman to be played by a major symphony orchestra.

On May 21, 86 years after that performance, Portland’s Metropolitan Youth Symphony (MYS) debuted what was believed to be the West Coast premiere of Price’s Symphony No. 1 on a program that also featured her Dances in the Canebrakes, orchestrated by William Grant Still.

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MusicWatch Monthly: the darkling buds of May

Encore shows, season closers, and kickoff concerts showcase visuals, Dutch virtuosi, Japanese drums, and women composers

There’s an old Oregon saying: “April showers bring May showers.” Our famously persnickety springs tend to veer from warm noon-times of glorious blooming sunshine to those long desperate afternoons of deep drizzling gloom that have our S.A.D. souls begging the gods, “when will you make an end?”

Fitting, then, that our Curated Concert Spread for May includes so much rich, loamy music. From fresh rain and frolicking flowers to ominous thunder and deadly lightning, here’s a sample of what’s happening in your merry, mournful town this May.

Weill, Auerbach, Price: Music for Orchestras

Oregon Symphony Orchestra
Arlene Schnitzer Concert Hall, Portland
The Oregon Symphony Orchestra puts on a few different types of concerts, and they end their season with three contrasting varieties spread across the month like a field full of wildflowers and mushrooms.

May 4, Norman Huynh conducts the OSO and guest choirs from Portland State University in a live performance of the award-winning score from Miloš Forman’s 1984 film Amadeus, the music deftly synchronized to the movie, projected on a giant screen above the orchestra. Unlike similar concerts with thoroughly cinematic scores (Star Wars, Batman), this concert doubles as a simple Mozart feast—including more than a little bit of that glorious Requiem, which PSU’s choirs performed in its entirety earlier this year. The music is all ages but the film is rated R, so know your kids or leave ‘em at home.

PEER GYNT from Studio Moto on Vimeo.

May 11-13, Carlos Kalmar conducts Edvard Grieg’s popular Peer Gynt score with visualizations by designer Alexander Polzin. This is the third concert of OSO’s popular SoundSight Series, which brings together visual artists and musicians for delightfully polysensory shows. Previous concerts have featured animation, projection mapping, and all kinds of puppetry. Also on the program: Benjamin Britten’s Les Illuminations, featuring soprano Jane Archibald.

OSO closes its season with a Mahler symphony, the deceptively pretty first, sometimes called the “Titan (it’s the one with the minor-key Freres Jacques). The three concerts May 18-20 also reprise Kurt Weill‘s satirical ballet chanté, The Seven Deadly Sins, with Pink Martini chanteuse Storm Large in the double lead role originated by Lotte Lenya (Anna I and Anna II) and vocal quartet Hudson Shad as The Family. The Mahler symphony is nice and springy—like all Mahler, it’s lusciously orchestrated and therefore absolutely essential Schnitz-listening—but it’s the Weill that’s bringing us in out of the rainshine.

Storm Large rejoins the Oregon Symphony with Hudson Shad in ‘Seven Deadly Sins.’ Photo: John Rudoff.

That vocal quartet is a funny case and deserves a special mention. Hudson Shad is, among other things, a cadre of Seven Deadly Sins specialists who got together specifically to perform this macabre deliciousness with Marianne Faithfull way back in antediluvian 1989, eventually recording it with her in 1997. These four guys have now been singing this music together for three decades. Listeners familiar with Weill from his Threepenny Opera can expect more of the composer’s iconic, sardonic cabaret sound. Meanwhile, here’s a taste of what we can expect from Large.

Auerbach and Martinů
May 5
Portland Youth Philharmonic, Arlene Schnitzer Concert Hall, Portland
PYP routinely handles new and difficult music that belies the age of its membership—think of it not as a group of highly skilled young musicians but as a 95-year-old symphony orchestra playing with vigor, courage, curiosity, and a deep emotional heft rivaling its more grown-up professional counterparts. They earned points with OAW by being one of the only groups in town to celebrate the Bernstein centennial with something other than West Side Story and Candide for the umpteenth time, opting instead to perform Lenny’s first symphony to perfection with Laura Beckel Thoreson in March. (Points also to PSU choirs for their magnificent Chichester Psalms and to Eugene Symphony for performing Bernstein’s second symphony, both last year; there’s also this).

Their season closer features PYP alum Max Blair performing Czech composer Bohuslav Martinů‘s 1955 sunny little Concerto for Oboe and Small Orchestra, and the West Coast premiere of contemporary Russian-American composer Lera Auerbach’s Symphony No. 1 “Chimera.”

You’ll enjoy the Martinů concerto, sure but you’re really going to thank us for Auerbach, whose music is exactly the right kind of fresh. It’s punchy and agitated, modernistically morbid, bristlingly bombastic, colorfully dissonant, heroically wistful, and melodically profuse—which, to my ear, places her about halfway between Khachaturian and Elfman.

America’s Florence
May 21
Metropolitan Youth Symphony, Arlene Schnitzer Concert Hall, Portland
Classical music lovers continue waking up to music by U.S. composers of the present and past, and one of the best of the rising old stars is Florence Beatrice Price, the first African-American woman to be recognized as a serious symphonic composer. Following the 2009 discovery of dozens of lost Price scores (discussed here by local singer and Arts Watch correspondent Damien Geter), the classical world has been abuzz over this much-needed new entry into the early U.S. canon, finding ample space for her among the Beaches and Seegerses and Iveses. Stay tuned for ArtsWatch’s concert preview.

MYS—like PYP a fearless and curious band—performs Price’s tasty first symphony and her Americana-as-apple-pie Dances in the Canebrakes, along with the homage Letter to Florence Price, composed by MYS alum Katie Palka, one of the stars of Fear No Music’s Young Composers Project (read Charles Rose’s interview with Palka and three other YCP composers right here). MYS will also give the West Coast Premieres of two works by a pair of eleven-year-old composers, participants in the New York Philharmonic’s Very Young Composers Initiative: Harlem Shake by Camryn Cowan and Boogie Down Uptown by Jordan Millar.

Japan, Netherlands, Florida: Transnational Chamber Musics

“Her Light Escape”
Spire Duo, May 4, Portland house concert.
Superb Eugene soprano Emma Rose Lynn and pianist Andrew T. Pham performing settings of poetry by Emily Dickinson, William Shakespeare, W. H. Auden, Robert Frost and more by 20th and 21st century composers composers such as André Previn, Dominick Argento (both of whom died this year), Benjamin Britten, Ned Rorem, and others.

Portland Taiko rejoins FearNoMusic. Photo: Rich Iwasaki.

Japanarama: The Ongoing Influence of Japanese Culture
May 6
Fear No Music, The Old Church, Portland
Fear No Music’s husband-and-wife leadership team—Artistic Director Kenji Bunch and Executive Director Monica Ohuchi—have spent the past five years making FNM the best kind of Portland hybrid: a classical ensemble with unimpeachable performance credentials, a love for local and contemporary composers, and a mature sense of social justice and responsibility.

This season’s theme, “Worldwide Welcome,” invites international musics and musicians into downtown Portland’s Old Church, and this concert’s special guest is the beloved percussion ensemble Portland Taiko, a jolly and entertaining crew who have collaborated with Bunch on previous concerts and will likely be audible across the river. The Japanese drums—many of them gigantic—were originally designed for communications between villages and within armies, providing a nice counterpoint to Bunch’s quiet, reflective music.

Kendrick Scott Oracle
May 6, Jack London Revue, Portland
After earning his reputation as one of the finest jazz drummers of his generation in his decade anchoring Terence Blanchard’s superb ‘00’s band, Kendrick Scott formed his own band, Oracle, to showcase his considerable compositional chops. He scored a coveted record contract with sainted jazz label Blue Note, which just released one of the best jazz albums of the year so far. A Wall Becomes a Bridge beautifully blends varied textures: Jahi Sundance’s turntable, Mike Moreno’s fluid guitar, John Ellis’s various woodwinds (flute, bass clarinet, horn) and bassist Derrick Hodge’s wordless vocals, plus some vocal samples. Add Scott’s inventive drumming and Tyler Eigsti’s bright electric and acoustic keyboards, and it adds up to a forward-looking amalgam of ‘70s fusion, a dash of modern hip hop, and lyrical contemporary jazz that can charm fans of everyone from Pat Metheny to Scott’s fellow Houston natives Jason Moran and Robert Glasper.

Classical Musicians of Holland bring Portland a Dutch treat.

“Classical Musicians of Holland”
May 7
Portland Dutch Society, The Old Church
We here at Oregon Arts Watch have an almost jingoistic attitude toward classical music: local composers, local performers, local poets, local rainstorms. We’re locavores and we’re not ashamed of it. Some might even call us musical terroirists. But we do occasionally get wind of travelling shows blowing in under the radar, something to remind us life beyond the Willamette Valley.

On May 7, Portland Dutch Society hosts three young musicians, the most recent winners of Holland’s Prinses Christina Concours (Princess Christina Competition): violinist Yente Lottman, trombonist Niels Jacobs, and pianist-composer Maxim Heijmerink. The concert program features a lot of pretty familiar stuff—Rachmaninoff, Tchaikovsky, Chopin—and it will all no doubt be played superbly (we’re especially excited to hear that delicate Rachmaninoff vocalise on trombone). But this concert’s blossoms are the works by less-known composers: Alexandre Guilmant, Joseph Jongen, Peter Kiesewetter, and Heijmerink himself.

Mozart’s Clarinet
Delgani String Quartet
May 12 & 14, Temple Beth Israel, Eugene
May 18, Christian Science Church, Salem
May 19, The Old Church, Portland
Maybe you just can’t wait until June to hear Mozart’s clarinet quintet at Chamber Music Northwest’s opening night. Or maybe you just want to hear UO clarinet professor Wonkak Kim play the foundational work with a basset clarinet and an amazing regional string quartet. Delgani also hails from Eugene, and we’ve admired the spry, sensitive quartet ever since hearing them pair György Ligeti’s first string quartet with Lou Harrison’s early last year at Spontaneous Combustion New Music Festival (another worthy out-of-towner that gusted through Portland and blew most of us away).

But it’s not Mozart’s quintet (Brahms’s is better) or Kim’s basset clarinet that interests us. No, what we really want is to hear something—anything—by the criminally underappreciated Florida-based composer Ellen Taaffe Zwilich, whose miraculous Septet for Piano Trio and String Quartet was our personal “best-in-show” of CMNW 2017.

One Heart: Music for Voices

Lost | Found
Big Mouth Society
May 3, The Hallowed Halls, 4420 SE 64th Avenue, Portland
The ensemble founded and led by early music specialist and singer Emily Lau also has big talent, and big ears. This show includes vocal and instrumental chamber music by anonymous 14th-century Sephardic Jewish women, 15th century Burgundian master of melody Guillaume de Binchois, 16th century choral music paragon Palestrina, 17th century Italian pioneer Claudio Monteverdi (one of the first Baroque and opera composers), the greatest composer of the 18th century (J.S. Bach), 19th century Brit Edward Elgar, contemporary American composers Emma Lou Diemer and Eric Whitacre, and even Lau herself.

Portland State University’s Queer Opera Project returns May 7. Photo: Byisabel.

Queer Opera Kickoff Concert
May 7
PSU Queer Opera, Lincoln Recital Hall, Portland
Last year, PSU collaborative piano professor Chuck Dillard introduced us to Queer Opera with two of the season’s most entertaining recitals (three, if you count Poulenc’s Les mamelles, which was the best show this exhausted reviewer attended all year). This is what we had to say about Queer Opera’s debut concerts at the time.

QO is a summer program, so they kick off their season just as other groups are ending theirs. On May 7th, community members join PSU students and faculty in a concert featuring some of the songs that thrilled us last year, along with selections from West Side Story and Jake Heggie’s song cycle Here and Gone, sung by Daniel Mobbs and ArtsWatch contributor Damien Geter.

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