orchestra next

Safe Distance Sounds, Part 2: Chamber terroir

Recent recordings by Oregon composers offer sonic solace in troubled times

With live performances temporarily out of the picture, I’ve been fulfilling my jones for homegrown sounds by listening to recent releases from Oregon-based or -born musicians that caught my ear. Many listed below offer atmospheric, even ambient sounds that offer a kind of sonic solace in a turbulent  time. With so many spring and summer concerts and festivals canceled or postponed, this roundup offers a chance to continue exploring Oregon sounds remotely. Most of this music is available to sample in whole or in part online; click the links. 

It’s also a chance to sustain Oregon musicians. Time was when recordings were the end, and touring the means to sell them. This century’s shift to online content has reversed that formula, as most musicians use recordings (usually found free or cheap online) to entice fans to pay for tickets to their live performances. And with the latter now suspended, that puts musicians in a pickle, and shifts the focus back to their recorded artifacts. 

We’re looking here primarily at music available on CD or through paid downloads, though you can often listen to many of those listed here for free at least once. If you like what you hear, buy the music from the artists themselves or their record companies, which right now is even more important to sustaining their music making ability. On the first Fridays of June, and July, in fact, the streaming platform Bandcamp, home of several of the recordings below, is again waiving its fee, meaning that the Oregon artists whose music you buy there on those days will receive every penny of your purchase price.

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DanceWatch: a big yes to November

As a new season settles in, Oregon's dance calendar overflows with opportunities

“No fruits, no flowers, no leaves, no birds! – November!” This line begins the chapter on November in my favorite childhood book, A Time to Keep, the Tasha Tudor Book of Holidays, and is also the last line of a poem by poet and humorist Thomas Hood (1799 -1845) called NO!

The story line of  A Time to Keep is prompted by a little girl asking her mother, “What was it like when mommy was me?” Tudor lovingly illustrates each month of the year and that family’s holidays and traditions for each of them.

Tudor (1915-2008) was an American author and illustrator whose stories and beautifully detailed illustrations created whimsical, magical worlds for children of all ages to enter. 

I particularly liked November in A Time to Keep, because it describes a family coming together from all around and celebrating the holiday with food and impromptu performances as entertainment. I like to imagine that this is what we are doing here in Portland in the winter, gathering together in warm, cozy spaces, eating, drinking, and watching dance.

And this November has no shortage of dance: twenty performances, from a few Halloween carryovers to important anniversary celebration performances, circus performances with a social justice bent, Shakespeare, ballet, and much more. Scroll down to see it all! 

Dance Performances in November

Week 1: November 1-3

Members of the cast of Redwood by Playwright Brittany K. Allen that runs November 1-17 at Portland Center Stage at The Armory.
Photo by Russell J. Young/Courtesy of Portland Center Stage.

Redwood (World Premiere)
Playwright Brittany K. Allen 
Directed by Chip Miller
Choreography by Darrell Grand Moultrie
November 1-17
Portland Center Stage at The Armory, 128 N.W. 11th Ave.

A young Black woman’s relationship with her white boyfriend is upended when her uncle’s exploration of their family’s lineage reveals that her ancestors were enslaved by her boyfriend’s ancestors. Guided by a hip-hop dance class chorus, choreographed by Darrell Grand Moultrie (choreographer of Instinctual Confidence and Fluidity Of Steel for Oregon Ballet Theater), this American family learns to live and love in a present that’s overpopulated with ghosts.

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Orchestra Next and Eugene Ballet: Creating the total dance experience

Orchestra brings live music to dance, training to musicians, a complete experience to audiences.

By GARY FERRINGTON

When the Eugene Ballet Company performs Sergey Prokofiev’s 1944 ballet Cinderella at Eugene’s Hult Center next weekend, it will do so with live music provided by Orchestra Next, a Eugene-based ensemble founded by UO associate professor of music Brian McWhorter.

The Grand Ball with Yoshie Oshima as Cinderella, Brian Ruiz as Prince Charming. A guest (Isaac Jones) and stepsister Clarinda (Beth Maslinoff) look on. Photo: Toni Pimble.

Live music performances with the Eugene Ballet started three years ago when McWhorter learned from EBC Managing Director Riley Grannan that the 2012 production of Tchaikovsky’s The Nutcracker would use pre-recorded music as it had in past seasons. McWhorter proposed that he organize an orchestra to perform live with the ballet during its two-day run. Grannan and Artistic Director Toni Pimble agreed and the idea for the orchestra was born.

“We had to put things together very quickly — I think about three months or so,” McWhorter recalls. “There were all sorts of challenges that included getting all the principals on board, auditioning for the student positions, getting the website up and running, generating a buzz, making sure we had all the sheet music, getting insurance, arranging rehearsals, and, of course, raising all the money to pay everyone. The administrative team was just myself and (general manager) Sarah Viens … who continues to be an invaluable asset for the orchestra.”

McWhorter saw an opportunity to both benefit the ballet company by bringing its listeners live music, and to benefit local musicians by creating a long-needed training ensemble that bridges the experiential gap between student and professional musician. “The most iconic examples of training orchestras are the Civic Orchestra of Chicago and New World Symphony — but even these orchestras don’t provide the students the chance to regularly sit next to professionals,” McWhorter explains. “Orchestra Next does. And I think our collaboration with the Eugene Ballet makes us all the more unique.”

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