Quartet for the End of Time

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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Chamber Music Northwest: music of defiance and transcendence

Concerts of French music implicate sinner, soldier, and savior

Chamber Music Northwest celebrated Bastille Day 2018 with music by two of France’s greatest composers and two of the myriad composers they inspired. The first program featured mostly music by Stravinsky, who spent many of his most creative years in Paris, with a bit of Debussy, Jean Cartan, and Jacques Ibert. The second included more Debussy alongside quartets by New York composer Andy Akiho and Olivier Messiaen. Together, these concerts told a story of faith in defiance of war, hope in defiance of death, love in defiance of fear.

The first concert opened with a clarinet solo, Stravinsky’s Three Pieces for Solo Clarinet, performed not by CMNW Artistic Director and clarinetist extraordinaire David Shifrin but instead by one of his students. Seattle Symphony principal Benjamin Lulich’s placid and friendly performance of Stravinsky’s “written-out portraits of improvisation” offered highly detailed melodic contouring and an especially impressive a niente. A small start, but a good one.

Ransom Wilson played Debussy’s ‘Syrinx’ at Chamber Music Northwest. Photo: Tom Emerson

Another solo followed, and our tale of devils and soldiers commenced. Debussy’s famous ode to Pan—1913’s Syrinx—is standard flute repertoire, so it’s not really surprising that Ransom Wilson performed it from memory, but playing off book gave Wilson the chance to stalk the stage and work the crowd with his suggestive J. Peterman eyebrows, invoking the seductively devilish Pan with every cocky gesture.

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