PDXjazz

Music Notes: Comings, goings, stayings

Year end round up of recent news and moves in Oregon classical and jazz music

Portland Opera has named Sue Dixon the company’s sixth general director, replacing Christopher Mattaliano, who departed in June after 16 years. She’s served the company in other capacities since 2014. PO also temporarily assigned Mattaliano’s artistic direction responsibilities to Palm Beach Opera’s Daniel Biaggi, who’ll serve as interim artistic director until a permanent AD is found. The opera recently announced its return to a September – May schedule, beginning with the 2020/2021 season, and a five-year strategic plan to modernize business practices, augment community engagement, and balance the company’s budget. 

Sue Dixon, Portland Opera's new general director. Photo by Gia Goodrich.
Sue Dixon, Portland Opera’s new general director. Photo by Gia Goodrich.

Portland Piano International has named renowned Russian-American pianist Vladimir Feltsman its next Guest Curator for the 2020 / 2021 season. He will also open the season, performing on October 3 & 4, 2020.

• The Oregon Symphony has appointed Brooklyn-based composer and singer-songwriter Gabriel Kahane to the newly-created post of Creative Chair. “In addition to writing and performing three substantial works over the next three seasons, Kahane will serve as an advisor for contemporary programming on the Classical series … and produce two new concert series: Open Music, a composer-driven chamber series held in smaller Portland venues, and an as yet unnamed indie concert series in which marquee pop artists will collaborate with dynamic composers and orchestrators,” the OSO press release announced.

Gabriel Kahane’s ‘emergency shelter intake form’ featured a “Chorus of Inconvenient Statistics.” From left: Holcombe Waller, Kahane, and Holland Andrews. Photo: Yi Yin.

Kahane’s emergency shelter intake form, co-commissioned by the orchestra, was a highlight of its previous season. In early December he presented the first of his new commissions (the world premiere of Pattern of the Rail, six orchestral settings from his 2018 album Book of Travelers, inspired by a cross country train trip through America following the contentious 2016 presidential election, and the premiere of the full orchestral version of “Empire Liquor Mart (9127 S. Figueroa St.)” from his moving 2014 album, The Ambassador).

• While artistic leaders come and go, the Eugene Symphony announced that its artistic director, Francesco Lecce-Chong, is staying, and has renewed his contract through 2023. In his two seasons at the helm, Lecce-Chong has undertaken a number of initiatives, the most promising being ESO’s First Symphony Project, co-commissioning (with his other orchestra, California’s Santa Rosa Symphony) four American orchestral works to be performed over the next four years, beginning with a new work from New York-based composer Matt Browne in March 2020.

Francesco Lecce-Chong conducting the Eugene Symphony Orchestra at the Hult Center.

• Eugene’s other major classical music institution, the Oregon Bach Festival, parted ways with its controversial executive director, Janelle McCoy, blaming the elimination of her position on university budget cuts. Earlier, the festival reversed her decision to replace the popular artistic director she reportedly chased away, Matthew Halls, with rotating curators and instead embarked on a search for an actual artistic director.

Oregon Mozart Players has appointed a new Executive Director, Daren Fuster. He comes to the Eugene chamber orchestra from Ohio’s Columbus Symphony. Kelly Kuo remains the organization’s Artistic Director.

Siletz Bay Music Festival has named Jain Sekuler, its stage manager and production coordinator for the last three years, as its new Executive Director. Yaacov Bergman continues as Artistic Director, a position he has held for ten years.

Resonance Ensemble board president Dinah Dodds died in September. The longtime Lewis & Clark College professor was a great friend to Oregon music. Resonance has set up the Dinah Dodds Fund for the Creation of New Art in her memory.

• Portland-based jazz legend Dave Frishberg is, happily, still with us, but the 86 year old composer/singer/pianist and his wife April need some help with medical issues, which you can provide here

• Frishberg was the first recipient of PDX Jazz‘s Portland Jazz Master award, in 2011. The organization just named the 2020 winner, the superb singer Rebecca Kilgore, who’s recorded with Frishberg and many other American jazz legends. Already a member of the Oregon Music Hall of Fame and Jazz Society of Oregon Hall of Fame, she’ll be honored during the PDX Jazz Festival’s February 27 event at The Old Church and perform with her trio the next day.

• Opera tenor Marcello Giordani, who made his American debut at Portland Opera in The Pearl Fishers and sang with the company several times under artistic director Robert Bailey before becoming a star at the Metropolitan Opera and Paris Operas and other major companies, has died in Sicily at age 56. 

• After 14 years running Central Oregon’s Sunriver Music Festival, executive director Pam Beezley is retiring at the end of the year, and the festival has launched a search to succeed her. 

•  Richard Lehnert, the respected longtime copyeditor of Stereophile, most recently at the magazine’s Ashland offices, has retired after 34 years, leaving behind a sweet reminiscence of his long tenure at one of the world’s leading music magazines.

Laurels & Shekels

Ethan Sperry conducts an Oregon Repertory Singers rehearsal at Portland State University. Photo by Paige Baker.
Ethan Sperry conducts an Oregon Repertory Singers rehearsal at Portland State University. Photo by Paige Baker.

•  Oregon Repertory Singers has won the 2019 American Prize in Choral Performance in the community chorus division. The major national performing arts prize is the latest earned by choirs directed by Ethan Sperry, the ORS artistic director who has also guided Portland State University’s choral singers to many national and international awards.

• Another Portland chorus, Sing Portland!, was the only adult choir from the US selected to perform at Carnegie Hall at a conference and three-day residency organized by Distinguished Concerts International New York that featured 500 singers from around the world. They’ll be returning in 2021. 

Sing Portland! at Distinguished Concerts International New York. Photo by Kristin Jacobson.
Sing Portland! at Distinguished Concerts International New York. Photo by Kristin Jacobson.

• The University of Oregon Chamber Choir won first place in the chamber choirs/vocal ensemble category at the Grand Prix of Nations in Gothenburg, Sweden, earlier this month, beating out 15 other choirs from around the world at one of Europe’s most prestigious choral competitions.

BRAVO Youth Orchestra trombonist Eric Acosta-Medina was among 100 students from around the country selected to perform in a July concert with the YOLA National Orchestra in Los Angeles’s Walt Disney Concert Hall conducted by Los Angeles Philharmonic Music Director Gustavo Dudamel. BRAVO is performing seven times around Portland in December.

• Portland’s Resonance Ensemble has been awarded a $100,000 grant from Oregon Community Foundation’s Creative Heights Initiative to help fund the world premiere of composer (and ArtsWatch contributor) Damien Geter’s An African American Requiem, which the choir commissioned and will perform with the Oregon Symphony on May 23 at Portland’s Arlene Schnitzer Concert Hall.

• Several music organizations received grants in the Oregon Cultural Trust’s 2020 grants:

Metropolitan Youth Symphony’s Music and Equity Program that addresses barriers to instrumental music for low-income youth;

Ethos Inc.’s rural outreach program Music Across Oregon;

My Voice Music’s artist mentorship after school programs for working families;

Phame Academy’s original rock opera;

Oregon Symphony’s programs for low income students (Kinderkonzerts, Young Peoples Concerts, Link Up, open rehearsals and Prelude Series);

Pacific Youth Choir’s expanded Neighborhood Choir for elementary school students;

Eugene Symphony’s youth music education programs;

Portland Youth Philharmonic’s touring program; 

Eugene-Springfield Youth Orchestras’ introductory strings classes;

Portland Jazz Composers Ensemble’s From Maxville to Vanport program;

Marilyn Keller with PJCE in ‘From Maxville to Vanport.’

Montavilla Jazz Festival’s program expansion;

Third Angle New Music’s upcoming Sanctuaries original chamber opera by Portland composer, arranger, educator and pianist Darrell Grant (last year’s winner of the Portland Jazz Master award that Becky Kilgore just won) with a libretto by two-time National Poetry Slam Champion Anis Mojgani and directed by Alexander Gedeon. Sanctuaries also scored a $25,000 from the New York-based MAP Fund, the only Oregon-based arts group to earn one of the 42 original live performance projects to receive that grant.

Chamber Music Northwest’s 50th anniversary season’s community outreach activities for resident ensembles;

Fear No Music’s “The F Word” concert;

In Mulieribus’s October concert commemorating the 400th anniversary of the birth of composer Barbara Strozzi;

and operational support for Portland Baroque Orchestra, Portland Columbia Symphony, Southern Oregon Repertory Singers, Eugene Opera, and Shedd Institute for the Arts.

Composer Jake Runestad discusses his new orchestral work World On Fire, commissioned by the Oregon Coast Music Festival, and inspired by the massive fires that swept over Oregon in 2017. It premiered in July at Coos Bay’s Marshfield High School Auditorium. 

Positive Developments

All Classical Portland announced a new Music Heals initiative, a comprehensive radio, web, and social media campaign designed to raise awareness of local organizations that are using music to heal and help connect community members to those resources. It follows on the public radio station’s 2017-18 Music Feeds campaign, which provided 53,538 meals to those in need in Oregon and SW Washington.

Portland’5 Centers for the Arts has partnered with KultureCity to make Arlene Schnitzer Concert Hall, Keller Auditorium, Newmark Theatre, Winningstad Theatre, and Brunish Theatre, and all of the programs and events that they host, to be sensory inclusive. Portland’5 staff received training and equipment to improve the listening experience for customers with autism, dementia, PTSD and other similar conditions.

Classical Music ain’t dead yet! If you have more news about Oregon music you’d like us to consider for these occasional roundups, or for other OAW coverage, please let us know at music@orartswatch.org.

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Carrington-Coltrane-Spalding: Celebrating Geri Allen

PDXJazz concert summons the generous spirit of the late pianist

by PATRICK McCULLEY

The February 22 PDX Jazz Festival concert at Portland’s Newmark Theatre was originally intended to showcase the music of the ACS Trio. But because of the untimely death of pianist Geri Allen (the “A” in ACS, Allen-Carrington-Spalding) the previous summer, the concert turned from showcase to musical memorial. The result was a worthy celebration of the life and music of an inspiring human being.

The night opened quietly and subtly with improvisations on jazz standards and popular songs by Portland pianist Darrell Grant, who collaborated with Allen during a performance at Reed College in 2009. Before playing, Grant took time to praise Allen’s bold voice, openness, and encouragement of “finding my own voice” in his playing. Before each song, Grant gently read lyrics to songs he was about to play, to provide the audience with a verbal connection to an otherwise instrumental medium, and then turned to the piano and began. The first song, Duke Ellington’s “Single Petal of a Rose,” set a nostalgic and beautiful tone for much of the rest of Grant’s set. Particularly poignant was his improvisation on James Taylor’s (by way of John Denver) “Fire and Rain” with particular stress on the melody of “but I always thought I’d see you again.”

Pianist, professor and composer Darrell Grant.

There was something particularly enchanting about Darrell Grant’s playing that night. His improvisations, even during their wilder moments, seemed to have a hypnotically calming effect on the audience. Perhaps too calming, because it was at about this point in the set I could hear an audience member close to me snoring. The only thing surprising about that was how long it took for his friends to wake him up.

Audience etiquette, guys. It goes a long way.

The highlight of the set was an original composition, “The Compass,” that Grant said reminded him of the way Allen’s music “danced.” Opening with a deep, grooving, insatiable bass line played in the left hand, and a bluesy, spiritual accompaniment in the right, as the song continued, the bassline became a frame for an increasingly complex spiral of colorful, and chromatic improvisations that built and intensified until the melody’s eventual return.

When the trio of Ravi Coltrane (soprano and tenor saxophones), Terri Lyne Carrington (drums), and Esperanza Spalding (bass), began their set it was without grief, without a sense of mourning or hesitation, but with celebration. Their first song was rhythmically complex and fast, with a playful and punchy melody sung by soprano sax. The saxophone melody transitioned to a solo and afterwards an energetic interplay of bass and drums, and then a spitfire drum solo.

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MusicWatch Weekly: no leftovers

This week's Oregon concerts, with trimmings

MusicWatch has a confession to make: it seriously overindulged at last week’s holiday table. In truth, MusicWatch has been putting on the preview poundage (the freshman 1500?) quite a bit since leaving parental supervision for its own place, so ArtsWatch paterfamilias Barry Johnson staged a needed intervention, placing MusicWatch on a strict 800-word limit (and eventually 500, but we can’t go, uh, cold turkey right off the bat) until it slims down to the concision of  A.L Adams’s svelte DramaWatch or achieves the noble balanced proportions Jamuna Chiarini’s ample DanceWatch. If you want to add your own garnishes, please do so in the comments section, where they won’t count against the word limit or MusicWatch’s waistline.

Legends of the Celtic Harp
Patrick Ball, Lisa Lynne and Aryeh Frankfurter combine Celtic and English seasonal music (using three Celtic Harps, Swedish nyckelharpa, fiddle, bandura, bouzouki) and stories including A Child’s Christmas in Wales, a chapter from The Wind in the Willows, and passages from Shakespeare, Yeats, and Thomas Hardy.
Friday, Cerimon House, Portland.

Portland Gay Men’s Chorus performs its holiday show this weekend.

Portland Gay Men’s Chorus
Christmas, Hanukkah, Kwanzaa, Winter Solstice and other seasonal songs.
Friday-Sunday, Newmark Theater, Portland.

Cinderella
Portland State’s acclaimed opera program presents a piano quartet operetta of the classic fairy tale concocted from vintage German and French songs. Stay turned for Angela Allen’s ArtsWatch review.
Friday-Dec. 17, PSU Studio Theater, Lincoln Hall, Portland State University.

Oregon Symphony and Andre Watts
Scandinavian sounds by Grieg, Nielsen, Sibelius, and fellow Finn Joonas Kokkonen.
Friday, Smith Auditorium, Willamette University, Salem, and Saturday-Monday, Arlene Schnitzer Concert Hall, Portland.

Andre Watts performs with the Oregon Symphony.

Soror Mystica
ParaTheatrical ReSearch PDX’s latest ritual music/ theater/ dance/film/performance art creation (See Mitch Ritter’s ArtsWatch review of the company’s earlier Bardoville.) Friday-Sunday, Performance Works NW, Portland.

ISing
The annual free concert (with donations benefiting a good cause) features familiar carols with 80 voice choir, a brass octet, taiko drums, kotos and massive organ.
Friday and Sunday, Bethel Congregational United Church of Christ 5150 SW Watson, Beaverton, and Saturday,
St. Peter Catholic Church, 8623 SE Woodstock Blvd, Portland.

Beaverton’s iSing chorus used video in its winter 2013 concert.

“Singin’ in the Rain”
Peg Major directs, Robert Ashens conducts and Caitlin Christopher choreographed The Shedd’s original production of Betty Comden and Adolph Green’s 1985 stage adaptation of their classic film comedy about 1920s silent film stars making the turbulent transition to talkies.
Friday-Dec. 17, The Shedd, Eugene.

“Amahl and the Night Visitors”
For decades beginning in 1951, American composer Gian Carlo Menotti’s beloved one-act opera was a perennial holiday treat on NBC television. Thanks to Menotti’s appealing score and story about three kings, a family, and a series of miracles, Amahl is still the most frequently produced opera in the world — a family friendly holiday performance presented by one of Oregon’s finest chamber vocal groups, The Ensemble of Oregon, composed of top singers from the city’s big choirs.
Saturday-Sunday, First Christian Church, 1314 SW Park Avenue, Portland.

Christina & Michelle Naughton
Along with European classics by Debussy and Ravel (his enchanting child-inspired Mother Goose music), Mozart, Chopin, Schubert, and Tchaikovsky, the award-winning sibling duo pianists play 20th century American music, including delights by wild card Conlon Nancarrow, John Adams’s Hallelujah Junction, and Paul Schoenfield’s Five Days from the Life of a Manic Depressive.
Saturday & Sunday, Portland State University, Lincoln Hall.

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ArtsWatch Weekly: Great Graham

Revisiting Martha Graham's potent power of the past; a Wanderlust Mother's Day; Michael Curry's "Perséphone" with the Symphony; Brett Campbell's music picks

Martha Graham created her legendary American modern dance company in 1926, and it’s difficult to imagine, more than 90 years later, just how earth-shattering her early works must have seemed. Graham carved legends out of time and space: intense, pristine, pared to the bone. She created a hyper-expressionist, essentially American style of dance, built on the works of Denishawn and other pioneers but reimagined in the movement possibilities and theatrical impulses of her own body.

She collaborated with many of the great composers and visual artists of her time, which was long and artistically fertile: born in 1894, she created her final dance in 1990, the year before she died at age 96. Her bold, emphatic approach to dance can seem overstated to contemporary audiences. Yet it carries the intensity and hyper-expressionism of the great silent movies, and if you just give it a chance, something of the pure rawness of her glory years comes through, as if it were new all over again.

Martha Graham in “Dark Meadow,” 1946. Reproduced with permission of Martha Graham Resources, a division of The Martha Graham Center of Contemporary Dance, www.marthagraham.org. Library of Congress.

No company built by a daringly original dancemaker – not Graham’s, or Balanchine’s, or Alvin Ailey’s, or José Limón’s – can survive on memories of its founder alone, and it can be a tricky business to balance the tradition of what was once radical with the need to remain in the contemporary swim of things. The Graham company, under current artistic director Janet Eilber, mixes things up boldly. When the company performs Wednesday evening in Portland’s Arlene Schnitzer Concert Hall as part of the White Bird dance season the program will include works by a couple of high-profile contemporary dancemakers: the Spanish choreographer Nacho Duato, who now runs the Berlin State Ballet, and the Belgian choreographer Sidi Larbi Cherkaoui. But the core of the program will be two of Graham’s own works, 1948’s Diversion of Angels and Dark Meadow Suite, a distillation of an ambitious 1946 work that ran 50 minutes in its original form (the suite is much shorter).

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Anat Cohen and Eliane Elias previews: double dose of Brazilian jazz

Two PDXJazz concerts this week showcase fruitful combinations of Brazilian and American music

By ANGELA ALLEN 

Fifty-seven years after the birth of bossa nova, Brazilian music continues to stir up listeners with its danceable rhythms, beguiling melodies, and sweet soft Portuguese lyrics. In less than a week, Portlanders will have the chance to hear radically different styles of buoyant Brazilian jazz from two popular artists.

Eliane Elias. Photo: Daniel Azoulay.

Anat Cohen and Eliane Elias are as versatile as their music is varied. Elias sings and plays piano; Cohen plays clarinet and saxophone, though the clarinet will take the lead for this concert. Composers and arrangers as well as performers, both artists are admired for their energetic and appealing stage presences; they usually have audiences on their feet, begging for more.

Both sell out their concerts when they visit Portland (and Elias anywhere she goes, including Japan and London). Cohen plays with Trio Brasileiro May 4 at the Old Church, and Elias performs May 9 at Winningstad Theatre, a venue she filled in 2016 at the PDX Jazz Festival. Both shows are nearly sold out.

Expect to hear lots of cuts from their new releases, including Cohen’s Outra Coisa: The Music of Moacir Santos with guitarist Marcello Goncalves and Rosa Dos Ventos (Wind Rose), recorded with Trio Brasileiro, whom she’ll play with at the Portland gig. Elias’s latest album, Dance of Time, released earlier this spring, is a tribute to the samba.

Anat Cohen: Beguiled by Brazil

Named Clarinetist of the Year for nine straight years by the Jazz Journalist Association, virtuosa clarinetist Cohen lives in New York and grew up in Israel with her musician brothers, saxophonist Yuval and trumpeter Avishai. In the last several years, Brazilian choro music stole her heart. “I disappear inside choro,” Cohen said from New York City earlier this spring. “I am completely in love with it.”

Anat Cohen & Trio Brasileiro perform at Portland Old Church Thursday.

Choro, translated as “cry” or “lament,” is considered the first urban music of Brazil, originating in Rio de Janeiro in the late 19th century. The music usually has a fast upbeat tempo and leaves plenty of room for improvisation. “As a clarinetist, I can be the soloist or join in the counterpoint with the 7-string guitar,” she explains. “As with the style of early New Orleans jazz, choro functions on group polyphony where everyone has a role yet it’s open and free-spirited, with simultaneous melodies happening. It can be groove-oriented like a party, or it can be full of saudade, of longing. It can be demanding and require virtuosity. It is a perfect mix of classical music and jazz, where it demands precision” though each musician can add interpretation.

Now that she has caught the Brazil bug, Cohen visits the country often, performing, recording and jamming. “I fell in love with the Brazilian way of life,” she says. “I feel alive there. When I first went to Brazil, I immediately felt that music there doesn’t just belong to musicians but to everyone, as part of their daily lives. Some people play, some sing, some dance, some clap along. It’s part of the social fabric. I like that.”

Trio Brasileiro (Dudu Maia on bandolim, the Brazilian mandolin, and two brothers, 7-string guitarist Douglas Lora and percussionist Alexandre Lora) met Cohen in Port Townsend, Wash. at the Centrum workshops, a choro-music hotspot. Formed in 2011, Trio Brasileiro is dedicated to performing traditional choro music as well as their own contemporary choro compositions. For their latest album, Rosa Dos Ventos, the four musicians lived together in Brazil for a week, composing arranging and recording.

But the music, wherever played, “is inseparable from the culture,” Cohen insists. “In Brazil, boom, you’re there and the music starts. A little mandolin, a bit of guitar, then the clarinet. You’re just hanging out, having some beers, and someone’s going to take the instruments out and the listeners are going to become part of the scene.”

Eliane Elias: Total immersion 

Eliane Elias has lived in the Big Apple since 1981, but her roots are Brazilian. Born in Sao Paulo, she studied piano as a child. At 17 she worked with singer/songwriter Toquinho and with Antonio Carlos Jobim’s lyricist, poet Vinicius Moraes. Considered one of Jobim’s best interpreters, she will be joined in Portland by her trio with Brazilians Rubens de La Corte on guitar and drummer Rafael Barata. Bassist Marc Johnson doubles as Elias’ husband and business partner.

Elias has been making albums since 1984. On her first, Amanda, she collaborated with her former husband, trumpeter Randy Brecker; they named the album for their daughter, also a musician. She has seven Grammy nominations and in 2016 won a Grammy in the Best Latin Jazz Album category for Made in Brazil.

Her creative process often trumps the details of everyday life. When called for this interview at her New York City apartment after a trip to Europe, where she sold out numerous concerts, she was in the midst of a arranging and composing. Totally immersed in the music, she’d forgotten to eat dinner, among other things.

“The creative process is a great joy of mine,” Elias explains. “And there’s the discipline. When I was young, everyone else was going to the beach or to parties when I was at the piano. I’m no lazybones. Success is is a combination of talent, a strong will to do things, and hard work.”

Her silky, sultry alto has ripened and lowered as she has aged, giving her greater range.“Being born in Brazil, I was classically trained and became an improviser and composer at a young age,” she recalls. “I always have done a variety of music. I’m never bored.”

Neither are her many fans. With more than 2 million album sales, Elias is wildly popular in Europe and Japan, perhaps more so than in the U.S. She has no intention of slowing down on stage or off, she says. “The music is the motivation for everything I do.”

PDX Jazz presents Anat Cohen & Trio Brasileiro, 7:30 p.m. May 4, The Old Church, 1422 S.W. 11th Ave., and Eliane Elias, 7:30 p.m. May 9, Winningstad Theatre, 1111 S.W. Broadway, Portland. Tickets information online  or call 503-228-5299.

Angela Allen lives in Portland and writes about the arts. She is a published poet and photographer and teaches creative and journalistic writing to Portland-area students. Her web site is angelaallenwrites.com.