Sophiko Simsive

MusicWatch Weekly: Mahlerian May

Mega-symphonies and more resound in Oregon concerts this week

Mahler’s symphonies seem like a closing chapter, a culmination of big, Romantic orchestral music. So large (and expensive!) are the forces required, that orchestras often save them for the end of the season. On Thursday, Francesco Lecce-Chong concludes his debut season with the Eugene Symphony with Symphony #5, along with Haydn’s delightful Symphony #88, still one of his most popular. Mahler wanted to pack a world into each of his symphonies, and this 1902 colossus traverses an astonishing emotional range, veering from funereal to violent to inebriated to anxious to ardent to a demented orchestral punch line.

Gustav Mahler.

In Portland, the Oregon Symphony closes its season this weekend at Arlene Schnitzer Concert Hall with Mahler’s relatively infrequently played 1905 seventh symphony (“A Lotta Night Music”), which does not need more cowbell. And next Tuesday, Corvallis OSU Symphony Orchestra plays his massive, summery third symphony at Oregon State University’s LaSells Stewart Center.

The excellent Delgani String Quartet also goes big in its season-ender Sunday afternoon and Tuesday night at Eugene’s Temple Beth Israel, and Monday night at Portland’s Old Church, adding a second violist (Elizabeth Freivogel of the award-winning Jupiter Quartet) so they can play a pair of too rarely heard (because they require that “extra” player) classical masterpieces: Mozart’s G Minor quintet and Brahms’s G major quintet.

Delgani Quartet adds a guest for its performances in Portland and Eugene.

In “Rituals” Friday night at N.E.W. Expressive Works, Portland/Seattle new music ensemble Sound of Late, one of the freshest additions to the Northwest’s burgeoning contemporary classical music scene, offers a pair of Portland premieres by Alvin Singleton and acclaimed Icelandic composer Anna Thorvaldsdottir, a composition by Chet Udell that uses motion-sensor electronics and horn, a 20th century classic by the late pioneering composer Pauline Oliveros, and the world premiere of a lament by promising Oregon composer Andrea Reinkemeyer, who just scored a major national award for emerging women composers.

Sophiko Simsive performs in Portland, Salem, and Hood River.

Speaking of Oregon composers, Portland’s Kenji Bunch contributed a new piece to Sophiko Simsive’s performances at Portland Piano Company (Wednesday), Salem Library (Thursday), and Hood River Middle School (Friday afternoon). The award-winning Georgian pianist’s free recital, part of Portland Piano International’s admirable Rising Star program that pairs new music by Oregon composers with emerging young touring pianists, also features sonatas by Mozart and Scriabin and Ravel’s marvelously modernized reinvention of an old dance form, The Waltz (La Valse) — which in turn inspired Bunch’s new Discothèque.

Speaking of Bunch, his father Ralph wrote the libretto for another new piece by still another Portland composer, John Vergin, which the latter will perform on piano with singers Alexis Hamilton and Brian Tierney Sunday night at Reed College’s Eliot Hall Chapel. Their song cycle Eleanora Andreevna takes its title from the name of Bunch’s Soviet-born wife, who escaped German bombing during World War II and grew up to become one of the nation’s top female computer scientists and to save Ralph’s life. They married when both were in their late 50s and she died in 2012.

Frank Martin didn’t even publish his 1922 Mass for 40 years, considering the devotional music too personal. But choirs have increasingly taken it up, including recent performances by Oregon Repertory Singers, Cantores in Ecclesia and now these Portland Symphonic Choir performances Friday and Saturday at Trinity Episcopal Cathedral led by PSC music director candidate Richard Sparks. When Sparks was with a Canadian choir, he also commissioned the other work on the program, Canadian composer Allan Bevan’s 2005 Good Friday meditation Nou goth sonne under wode, and now he’s bringing it here for its Portland premiere.

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