Phil Taylor

Composing on this side of complexity

Third Angle “Homecomings” program showcases Oregon-connected composers--but takes too few risks

By DANIEL HEILA

Contemporary classical music composers–whom we might define as “those who look to the classical canon as root”–are frequently self-conscious about the historical and perennial shortcomings of modern art music (“that which seeks to transcend the history of western music”–again, my definition). Hyper abstract structures, gratuitous dissonance, obfuscated rhythmicality, and self-indulgent conceptualism can all alienate the audience and performers–although minus the adjectives these approaches are all fertile ground when used objectively. So it is understandable that a goodly portion of the genre’s repertoire is in opposition to a perceived aesthetic toxicity.

Many composers seek to traverse the morass of complexity to access an elegant simplicity on the far side (tip of the hat to Oliver Wendell Holmes, Jr.). This journey is deceptively arduous and involves coming to terms with the very complexity to be transcended. Third Angle New Music’s concert Homecomings of October 17th and 18th, held in Studio 2 of New Expressive Works (N.E.W.), evidenced varying degrees of success in this endeavor, with a program of work by composers who have come up in Oregon and then gone out into the world (or stayed local in two cases) to establish themselves in professional careers.

Percussion and audience at Third Angle's "Homecomings" concert at New Expressive Works, October 2017. Photo by Kenton Waltz.
Percussion and audience await Third Angle’s “Homecomings” concert at New Expressive Works, October 2017. Photo by Kenton Waltz.

Over the lengthy, single act evening I became aware of two prominent features of the music. One was a tendency toward reliable structures on which hung thin forms (the shape of the music that fills out the structure) which were in some cases almost anemic. The other feature was, for lack of a deeper analysis, the presence of the above-mentioned self-consciousness, perhaps what could be called risk aversion.

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MusicWatch Weekly: Getting creative

Third Angle welcomes Oregonian composers home, Creative Music Guild improvises

The best and worst thing about Portland audiences is that they really, really listen to the music. At rock shows like the one your night owl music editor attended Tuesday night at Southeast’s Bit House Saloon, the audience stood around intently focused on listening to loud, thrashing, doomy punk and metal. It’s pretty much always like this at bar shows in this rainy, hoodied town: one hand cradling a glass, the other loosely plunged into one pocket, earplugs in, heads bobbing, but usually no dancing, no mosh pits, no movement from anyone but the musicians. Moving around too much would get you all sweaty and uncomfortable. And besides, you’re here to listen to some damn music.

Meanwhile, across town at the venerable Schnitz, enthusiastic audients got shushed for applauding the first movement of Charles Ives’ Three Places in New England last Sunday. Have a listen to that beautiful barnstormer of luscious melodic overload for yourself:

Ah, but it’s only the first of three movements, so the scattered applause didn’t really take off. It’s always a little embarrassing when this happens. There are valid psychoacoustic reasons for not applauding between movements, but it’s also sad to hear spontaneous joy being stifled.

Anyways, it was the only low point of a wonderful concert full of melodic bliss and rhythmic verve. Three Places and Stravinsky’s Firebird are both swarming with melodies, mostly borrowed from hymns and other folk musics, all given the Modern Classical twist: everything all at once in rhythmic counterpoint and overwhelming panmelodic delight. Andy Akiho’s Percussion Concerto was sandwiched tastily between these, a new work in the Ives-Stravinsky vein, comfortable treating melody and harmony and rhythm and color and texture as isomorphic layers of some Hermetic miracula rei unius.

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MusicWatch Monthly: Hot music in the cold city

Warm up your fall with saxophones, film and classical music, international virtuosi, and metallized Metroids

Are you cold yet? Have your fingers and toes and hearts and guts frozen as Winter creeps closer and you face down the end of the world? Are you ready to put on a sweater and a balaclava and drown out the chaos with frosty music and a fire in the belly?

Good! Here’s your prescription for October.

Saxomaphones

Now that you’re all sweatered up, it’s time for some hot sax. Tuesday, October 2nd–tonight!–it’s the zany trio Too Many Zooz at Crystal Ballroom, wherein baritone saxophonist Leo Pellegrino, trumpeter Matt Doe, and drummer David “King of Sludge” play their stompy dancey “brass house” music. If that’s not zany enough for you, wait until tomorrow and check out skronky Skerik at Goodfoot Lounge on the 3rd. Then, at 4 in the afternoon on the 5th, head over to the Midland Library on Southeast 122nd for the Portland Jazz Composers Ensemble’s tribute to Portland’s Native American saxophonist Jim Pepper. Or wait all the way until next week and dig local diy jazz quintet Blue Cranes at The 1905 on Sunday the 13th.

Oregon Symphony Orchestra

After a cancelled zoo concert and a weekend of Empire, the OSO’s symphonic season is officially underway. We heard from composer Oscar Bettison last week, and you’ll hear all about his rewilded music (performed last weekend alongside Mozart and Brahms) from Charles Rose soon enough. This month, the oldest orchestra west of the Mississippi continues into full fall mode with concerts of music all over the “classical” map, from film music to Stravinsky to Coldfuckingplay.

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