Scott Allen Jarrett

Oregon Bach Festival: riding out the storm

Venerable music institution mounts its 49th summer festival amid leadership transition and uncertain future

The 49th Oregon Bach Festival has lately been looking a bit like a Blah-ch Festival. If the venerable University of Oregon music institution is ever to regain the cultural primacy it once enjoyed in its glory days, I’m afraid we’ll need to wait for new artistic and executive leadership. Happily, that’s on the way, with the festival having laid off controversial executive director Janelle McCoy and reversed her much-derided decision to institute a rotating directorship or leadership by committee (the last two years), instead of replacing the respected artistic director she railroaded out of town for never-explained reasons

This year’s program, like last year’s, was put together by an artistic committee of music faculty and other UO personnel chaired by McCoy. Her job was made no easier by university-imposed cutbacks that left the festival nearly bereft of star power and big splashy productions and commissions. Yet some highlights shine — if you know where to look.

Beyond Bach

While named after an 18th century master, the festival does provide some space for new sounds, or updates on old ones. My top recommendation for the entire festival: Portland composer and jazz pianist Darrell Grant’s The Territory, which we reviewed here after its second Portland performance. Kudos to the festival for featuring a major recent work by a top Oregon composer. Grant and jazz ensemble perform in Soreng Theater July 12.

On July 2 at the UO’s Beall Concert Hall, one of America’s most acclaimed new music ensembles, Brooklyn Rider string quartet, plays one of the greatest of all chamber works, Beethoven’s Op. 132 quartet, plus five new commissions on the subject of healing written by some of today’s leading composers (all of whom happen to be women): Reena Esmail, Gabriela Lena Frank, Matana Roberts and recent Pulitzer Prize winners Caroline Shaw and Du Yun.

Brooklyn Rider. Photo by Erin Baiano.
Brooklyn Rider. Photo by Erin Baiano.

Portland Cello Project has been making a classical instrument hip for over a decade. They also play Beethoven, but mostly new music, and it more often comes from hip hop, rock and other pop artists. A big draw wherever it goes in on its many tours, the ensemble returns to OBF June 29 with a program featuring music by Radiohead, John Coltrane, and more — including, of course, J.S. Bach himself. 

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Oregon Bach Festival review: vision vacuum

Lacking a coherent artistic vision, venerable festival flounders

By TOM MANOFF

You can’t really assess what was at this season’s Oregon Bach Festival without acknowledging what wasn’t: erstwhile artistic director Matthew Halls, the multi-talented conductor whose questionable dismissal last year was widely covered throughout the arts world. Would this new season put an end to the shocking (for many) episode? Would this year’s music reassure audiences and musicians that OBF will continue at the highest levels of artistry? Most crucial, could the festival of founding artistic director Helmuth Rilling and Matthew Halls remain world class — without a music director?

Baroque on Steroids

OBF 2018 started June 29 at Silva Hall with audience favorite Monica Huggett leading the Festival’s 30-member Baroque Orchestra in four of J.S. Bach’s Brandenburg Concertos. In first half lineup of Brandenburgs 2, 4, and 5, No.4 was best performed, with Huggett’s virtuosic violin passages shimmering through Bach’s delightfully dense harmony and counterpoint.

The other two Brandenburgs fared less well with poor ensemble playing. The tempos were quite brisk and not all sections kept up with the pace.

Monica Huggett conducted Bach’s music at this year’s Oregon Bach Festival. Photo: Athena Delene.

The OBF Berwick Academy — the festival’s workshop orchestra of 30 young period instrumentalists — joined the OBF pros to make an unusually large orchestra for Bach, but suitable for Silva’s large space. Perhaps in keeping with this “Baroque-on-steroids” ensemble, Huggett led an irreverent (but somewhat charming) interpretation of Brandenburg One. The longtime Portland Baroque Orchestra leader and renowned Baroque violinist asked the audience to imagine that the two horn players in the ensemble were drunk, low-born musicians who had crashed a royal musical occasion. Whenever they played, Huggett pointed her bow to them, exhorting a loud, over the top effect. At other times Huggett stomped her feet with the music. Not your standard Bach, but the audience loved it. I remain on the fence. Since the concert I’ve listened to the work several times on CD with the score to restore the music to a more pristine version in my mind.

The concert ended with a tidy performance of Bach’s Orchestral Suite No. 4, led from the keyboard by visiting conductor Alexander Weimann, but, following the “Bach Bacchanale” that was the Brandenburg One, the Suite came off as too straight-laced.

Silva’s acoustic was problematic. The sound was unfocused and without warmth. But last year, in the same hall, a splendid OBF performance of Handel’s Hercules proved that some Baroque fare sounds fine in Silva space. But Handel’s textures are generally less dense than Bach’s, especially the Brandenburgs. How to use Silva (and its electronic enhancement system) is an ongoing issue for OBF, ideally addressed by a future artistic director.

Berwick Academy

My favorite performance of the festival was by the Berwick Academy. The first half of their July 3 concert featured Telemann’s Overture in E minor, Händel’s Concerto Grosso in A major Op.6, No.11, and the suite from his 1706 opera Rodrigo in B flat.

This performance featured what every good Baroque outing must have: a decisive, forward moving bass line from the continuo instruments. In too many performances, the bass line plods along with no regard for the melodic richness. But here, the energized and nuanced phrasing by the cello and double bass Berwick players enlivened the lower part of the musical structure.

Phrasing from the entire ensemble was wonderful. Renowned Dutch harpsichordist Jacques Ogg directed from the keyboard. Concertmaster Chloe Fedor was particularly elegant leading the string section, and moving with the phrasing almost like a dancer.

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