Portland Chamber Music

MusicWatch Weekly: wonder women

Music by women, young musicians, Mexican and immigrant composers highlight the week’s Oregon concerts

Our regnant political culture seems to be waging war on everyone who doesn’t belong to the long-dominant ruling class. Let’s hope it’s the last gasps. This week’s Oregon music offers life-affirming musical retaliation from those (sometimes literal) targets: young people, women, immigrants, Mexicans, and more.

Women’s voices and music were long silenced by overt or de facto oppression, but a couple of Portland concerts this weekend shows just how much female composers had — and have — to offer.

Wright, Marsh, and Philipps wrote the music for Burn After Listening’s Saturday concert.

On Saturday at Disjecta Contemporary Art Center, Portland composers collective Burn After Listening New Music returns for its second presentation: (Dis)connect: New Music for Challenging Times, with original compositions by three top Portland female composers. Some stars of Oregon classical music — Eugene’s Delgani String Quartet and singer Laura Beckel Thoreson — join  violist Christina Ebersohl (whom we’ll have more about next month), dancer Christina Wolken, writer Katie Boehnlein in multimedia creations by Lisa Ann Marsh, Stacey Philipps, and Jennifer Wright. You can also experience Disjecta’s current exhibition by yet another female Oregon artist, Portia Munson’s large-scale installation, Flood. And yes, Wright’s Skeleton Piano will rattle its bones.

Christina Ebersohl performs at Burn After Listening’s show.

Also on Saturday night (alas) at Northwest Dance Project and also Sunday afternoon (yay!) at The Hallowed Halls, another newish Portland ensemble, the Broken Consort, presents its second performance. Sirens, Interrupted features not only contemporary music by founder/composer/singer/social advocate/Big Mouth Emily Lau (the cantata excerpt In Praise of Menstruation), but also the premiere of Maggie Finnegan’s Assemble with Care, an autobiographical cantata of the experience of a rape victim, plus Oregon premieres of music by a pair of renowned 20th century women, Meredith Monk and Pauline Oliveros, one of today’s rising female composers, Kate Soper.

The Broken Consort performs music by women on Saturday and Sunday.

The concert also connects today’s female composers with a long tradition of women’s classical music, from the virtuosic vocal music by independent 13th century Spanish nuns in the Las Huelgas Codex to the pioneering works by 17th century Italy’s all-female musicians’ collective Concerto Delle Donne and more. Lau, a board member of Early Music America, was a force in Boston’s flourishing early music scene before relocating to Portland, and performers include early music and contemporary music specialists from around the nation.

Speaking of early-contemporary music combos, Seattle’s Tudor Choir commissioned another contemporary composer much influenced by folk music, much-acclaimed Philip Glass protege Nico Muhly, to create a new piece, Small Raine, which they’ll sing in concerts presented by Cappella Romana Saturday night at Portland’s St. Mary’s Cathedral, NW 18th & Couch and Sunday afternoon at Hillsboro’s St. Matthew’s Church, 475 SE 3rd Ave. The centuries-spanning program also includes English Renaissance composer John Taverner’s 16th-century Western Wind Mass, and more.

Another recommended choral concert: Portland State University’s award-winning choirs’ centennial tribute to Leonard Bernstein Friday and Sunday at First United Methodist Church. Along with his masterful Chichester Psalms, the show also  features music by living composers who were heavily influenced by Bernstein, including the Northwest premieres of new works by British composer Tarik O’Regan and American composer Eric Whitacre.

The Tudor Choir performs Saturday in Portland and Sunday in Hillsboro. Photo: William Stickney Photography.

Speaking of female Oregon composers, as we were earlier, Sunday’s Metropolitan Youth Symphony concert features music by two more: MYS violinist and composer Katie Palka’s The Breathing Earth and Corvallis composer/violinist Jayanthi Joseph’s Olam. Even the main composition, Rimsky-Korsakov’s ever-thrilling Scheherazade, celebrates a woman who used her creativity to survive. Stay tuned for my ArtsWatch feature about this concert and Palka tomorrow.

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ArtsWatch Weekly: enemies of the people

Plus: ceramics shows all over town, Brontës and Carnage onstage, Shakespeare on Avenue Q, madrigals and music from the Holocaust

I’ve been thinking about my new status as an enemy of the people, which, because I am a longtime member of the press, the leader of the nation has declared I am. I’m not sure what this means (Adrienne LaFrance in The Atlantic has a few ideas), but I suspect that while we’re all getting hot and bothered about the president’s use of the term “enemy” – a word that, in this construction, implies the harsher “traitor” – we might also be thinking long and hard about what he means when he says “people.”

As I have never considered myself an enemy of the many categories of people who make up this nation (although I have certainly resisted the ideas and actions of some, particularly those of an autocratic, opportunistic, violent, or rigidly ideological bent) I inevitably wonder which people these are to whom I am an enemy. And the conclusion I draw, at least tentatively, is that they must be the people who adamantly declare “my country (or my president) right or wrong,” those whose modes of thought and belief are primarily binary, who see a white and a black in every situation with no recognition of the vast shadings and illuminations between. And although I don’t deny I am not fond of their hard-line ideas, it is less true that I am their enemy than that they consider me theirs.

In Ibsen’s play the newspaper editor is a collaborator and the “enemy” is a whistleblower.

This is a far, far smaller definition of the American people than my own old-fashioned idea of a populace enriched by its multitude of backgrounds, talents, experiences, expressions, and beliefs. The president’s declaration, it seems to me, is a siren song to know-nothing insularity, a constricted, self-defeating, fear-driven, and exclusivist view of the American ideal of what a “people” is (or are). Under its sway a belief in a middle ground of understanding over ideology, even when the understanding must come by asking hard questions and seeking answers from alternative sources when the primary ones hide or lie about what they know, becomes a ground of treason. It is thinking that divides the country into “real” Americans – the true believers – and, well, enemies. Including those members of the press who point such things out.

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