tylor neist

Bridgetown Orchestra over troubled water

Multimedia production of ‘On Being Water’ doesn’t run deep

Story and photos by MATTHEW ANDREWS

The spare music starts up, scales and single notes slowly traversing the speaker array around the room. A vast drone-hum like an industrial air-conditioning unit rises up almost subliminally and suddenly shuts off, weighty in its absence, leaving silence in its wake, like the passing of a whale.

Bridgetown Orchestra Artistic Director Tylor Neist is nothing if not ambitious. Two years ago, the composer took us to outer space with his multimedia spectacle The Overview Effect. Previous years have seen scores for Lear and Kabuki Titus (both for Bag & Baggage), a string-quartet-plus-electronics piece for Fear No Music, and the formation of piano trio ThreePlay.

This year’s grand, complicated endeavor: On Being Water, an ersatz-immersive experience on aquatic themes, hosted at Hillsboro’s Vault Theater over Labor Day weekend, performed by Neist alone on a small ensemble of machines.

“You might suspect there’s not a 50-piece [Bridgetown] orchestra behind me,” Neist said with an ironic smile when introducing his show. He explained the absence of the planned, expected, promoted string quartet: “We found that using a live string quartet didn’t work so well.” So Neist recorded them separately and loaded them into his machines. “They’re in my orchestra right there,” he said, gesturing to the bank of MIDI keyboards and desktop computers. It wasn’t the production’s only technical difficulty: at some point designer Benjamin Read pulled out of the production, and Thursday’s opening night performance had to be cancelled when the sound system refused to properly send those pre-recorded string sounds through its 32 speakers.

After a few minutes it becomes evident that this music isn’t going to go anywhere: there will be no harmony, no melodies, just a swirl of vaguely tonal, vaguely minor, vaguely classical soundscapery. I jot in my notes, “terrible pun—watered down JLA.”

The Vault—formerly a bank, naturally—is a small space, a black-box theater sort of room comparable to CoHo. A central square of folding chairs; four bare walls, extending to bare rafters and ducts above; a raised stage up front, nothing on it but an inexplicable glass bowl. (Perhaps it’s for tips? Or maybe it’s for leaving your business card and winning a free lunch).

Neist had decorated the space with an array of projectors and a scattering of white surfaces for his oceanic imagery to be projected upon: big white boxes, five stacks, four high; a busy perimeter of dangling strings, festooned with blank white paper squares; white cloth drapes suspended hauntedhousely from those rafters.

Over those white planes, some kind of geissian digital video collage, rivulets of sound and images cutting across physical and acoustic planes more or less at random, generating cross-currents in the audio-visual stream. The visual themes come in a series of discrete, very long sections. In one, it’s bubbles going up and down like Tomorrowland’s submarine trompe-l’œil. In another it’s all random debris and eggy translucence, then rippling luminescence, all of a sudden dense lines falling like sleet, jagged ice on hard edges, angular folds of hanging fabric, frozen deco ridges, curvilinear light paths and gossamer pearline strings of ghostly effervescence.

The lack of boundaries between audience and stage and set, the immersive nature of the multimedia presentation, the intimacy of the little theater with its chairs and wires, bespectacled composer bent over glowing-apple-backed Macintosh—all washed together the liminal space between creator, performer, stage, and audience. In Neist’s words, On Being Water is about “bridging inner and outer worlds, old and new traditions.”

Before beginning the performance, he left us with: “Water has an unbelievable ability to carry metaphors. Find that deep place and enjoy the sounds.”


MusicWatch Weekly: something in the water

It may be a short dry spell for Oregon music, but there’s liquid relief in sight from Bridgetown Orchestra, plus outdoor shows by Oregon Symphony, Hunter Noack and more

We Oregonians can’t wait to for summer, and then when it gets here, we kvetch — the heat! The smoke! The kids underfoot! Not enough concerts! Wait, that hasn’t been true for awhile. But school’s back, for some, the heat wave is broken, the smoke is starting to recede (digits intertwined), and both classical music and liquid refreshment is on the way!

‘On Being Water’ splashes down at The Vault Thursday through Saturday.

Not rain, mind you, but Bridgetown Orchestra’s On Being Water, which runs Friday and Saturday at the Vault Theater in Hillsboro. (Note: Thursday’s performance has been canceled due to a tech fail. Such is the price of making art on the bleeding edge.) It’s the latest multimedia project by composer/wannabe astronaut/theater artist and Bridgetown Artistic Director Tylor Neist, whom you remember from 2016’s ambitious The Overview Effect, which sent audiences on a musical/theatrical journey through inner and outer space.

Neist in ‘The Overview Effect.’

This time, Neist splashes down at Hillsboro’s new black box theater space, and takes advantage of its state of the art lighting and other tech. In exploring society’s mythic relationship to H2O,
On Being Water immerses the audience in imagery and his original music for live string quartet, which, according to his press release, “resonate[s] through 32 speakers dispersed over 4 floor-to-ceiling projection surfaces, creating a dynamic, 3-D sound spatialization [as] he manipulates the individual string lines on multiple axes in real time for total control, making possible all kinds of extraordinary ‘sound bath’ effects, such as sunrises and sunsets of music.”

As with Overview, Water features visual design by Benjamin Read, creative director at Redhaus Design. Stay tuned for Matthew Andrews’s ArtsWatch review.

Meanwhile, you can read his ArtsWatch review/preview of Friday’s Oregon Symphony reprise performance and recording of Gabriel Kahane’s Emergency Shelter Intake Form.

Part of the set for ‘On Being Water’

Speaking of the OSO, the next day, the orchestra moves the annual unofficial opening of Portland’s classical music season to the Oregon Zoo. Nevertheless, Oregon Symphony at the Zoo keeps the popular format, including Greatest Classical Hits by Richard Wagner, Bizet (Carmen) Gershwin (An American in Paris) and more, including the over-the-top finale, Tchaikovsky’s 1812 Overture — but with bass drums replacing the usual howitzers. No wants an elephant stampede. And no, Carnival of the Animals isn’t on the program.

The Oregon Symphony performs at the Oregon Zoo Saturday.

In a Landscape, Portland pianist Hunter Noack’s itinerant show that takes his classical and contemporary music performances to some of the Northwest’s most beautiful spaces, alights upon Lewis & Clark Timberlands above Cannon Beach Saturday, then Hillsboro’s Orenco Woods Nature Park Sunday, Stoller Family Estate Monday, and Smith Rock State Park next Wednesday.


‘The Pianist of Willesden Lane’ and ‘The Overview Effect’: Solo flights

A pair of theater and music combinations aim high but don't always run deep

Lisa Jura was an amazing woman. In the wake of the Nazis’ horrific November 1938 Kristallnacht pogrom, her Viennese parents sent her to relative safety in England as part of the Kindertransport program that saved thousands of children’s lives. The teenaged piano prodigy, who knew no one in England and brought only a single suitcase with some clothes and sheet music, survived a Blitz bombing that leveled the overcrowded London home for Jewish refugees she’d talked her way into. She took a job at a garment factory sewing soldiers’ uniforms, then leveraged her pianistic skills into a scholarship at the nation’s most prestigious music school before moving to America and eventually having a daughter who became a concert pianist herself.

That daughter, Mona Golabek, stars in the one-woman tribute to her indomitable mother, The Pianist of Willesden Lane, which runs through May 1 at Portland Center Stage. Directed and adapted from Golabek’s book, The Children of Willesden Lane (written with Lee Cohen), by the veteran composer/ performer/ theater artist Hershey Felder, the production achieves Golabek’s primary goals: making audiences appreciate her mother’s extraordinary story, and raising funds and attention for her admirable educational foundation.

Mona Golabek stars in 'The Pianist of Willesden Lane' at Portland Center Stage. Photo: Patrick Weishampel/ blankeye.tv.

Mona Golabek stars in ‘The Pianist of Willesden Lane’ at Portland Center Stage. Photo: Patrick Weishampel/ blankeye.tv.

What the show, which features Golabek as narrator and pianist, does not do is add much emotional depth or understanding to this lesser known but important chapter of the story of humanity’s greatest horror.


‘The Overview Effect’ preview: Space odyssey

Portland composer/actor's new theatrical production sends audiences on a journey through inner and outer space

For as long as he can remember, Portland composer Tylor Neist wanted to be an astronaut. “I don’t even know where it came from,” he admits. Growing up in Minnesota, “I always loved space. I had space paraphernalia in the house as a child.”

Tylor Neist.

Tylor Neist.

He also loved theater. When he was eight years old, Neist played the shy, lisping Winthrop in The Music Man.But music became his main attraction, eventually leading Neist to a master’s degree from the Manhattan School of Music, where he studied violin performance and composition.

A couple of years ago, Neist saw a film about the Overview Effect, a term coined by Frank White in his 1987 book of that title that refers to “a cognitive shift in awareness reported by some astronauts and cosmonauts during spaceflight, often while viewing the Earth from orbit or from the lunar surface,” says Wikipedia, in which “the conflicts that divide people become less important, and the need to create a planetary society with the united will to protect this ‘pale blue dot’ becomes both obvious and imperative.”

“Everything came together,” Neist remembers — space, music, theater. “Being that I always wanted to be an astronaut, I was really inspired by the message.” He decided to create “a piece about a journey into the great unknown.” Neist’s new theatrical production, The Overview Effect, opens Friday and runs through April 23 at Portland Center Stage.

Neist plays a character he calls a combination of astronomer Carl Sagan and philosopher Alan Watts. The hour-long show is set in his workshop, and also uses projections from the Hubble Space Telescope as his character’s imagination embarks on its journey.


Fear No Music review: Fear No Excellence

Locally sourced sounds concert showcases the diversity of Oregon classical music


I have a few composer friends that I like to talk shop with, and we usually spend our time complaining about the lack of visibility of new music, the trials and tribulations of being an “emerging” composer (whatever that means) or how certain “big names” almost always soak up all the opportunities (not because their music is lacking, but more just a general frustration). Sometimes, though, I lose track of the fact that I live in an amazing town for new music, and fEARnoMUSIC’s inaugural Locally Sourced Sounds concert last Friday night was a refreshing reminder that local composers can still team up with world-class musicians and make real magic happen.

Voglar and Belgique play a new work by Portland composer Bonnie Miksch.

Voglar and Belgique play a new work by Portland composer Bonnie Miksch.


Locally Sourced Sounds is a project aimed at answering a question posed by fEARnoMUSIC’s artistic director Kenji Bunch: what does the music of Oregon sound like? FNM’s attempt to answer that question took the form of a call for scores sent out earlier this year to any and all composers in the state, regardless of age or status. The only requirement was they had to be based in Oregon and they had to submit an unperformed string quartet lasting 10 minutes or less.  This year’s winner was Tylor Neist whose ethereal electro-acoustic string quartet, Unfolding, proved to be a compelling counterpart to the other works on the program by veteran Portland composers David Schiff, Tomas Svoboda, Michael Johanson, and Bonnie Miksch.

The program began with Portland State University faculty member Miksch’s duet for violin and viola commissioned by violist Joel Belgique for his wife (and fellow FearNoMusic and Oregon Symphony musician) Ines Volgar for her birthday. Somewhere Like You, My Darling intended to “showcase their brilliance and musicality as performers, and allow them plenty of interpretive liberty,” according to program notes. The delightful showcase featured romantic vigor coupled with intimate musical dialogues. Colors abounded in the duet’s ten minute duration, and a couple of moments reminded me of lovers’ squabbles. Of course, these tensions always resolved to the intimacy established at the outset, and thanks to the couple’s marvelous playing, the music’s evocative intertwining sounds were incredibly clear.

Michael Johanson’s sinewy Toccata made a great contrast to the romanticism of Miksch’s lovers’ duet. The Lewis & Clark College professor’s piece didn’t waste any time picking up momentum. Beginning with an intense line played in unison between the piano and the alto saxophone, the fluttery musical figure served as the prime material before being subdued by a contrasting slower section — my favorite moment in the entire piece, but one that was sadly too short. Saxophonist Sean Fredenburg and pianist Jeff Payne’s performance of Johanson’s fun, energetic Toccata  were tight and well-rehearsed given the fireworks they were playing.

Next was Svoboda’s enigmatic Passacaglia and Fugue, Op. 87 for violin, cello, and piano. Svoboda’s work has been featured on a number of concerts over the last year in celebration of the retired longtime PSU faculty member’s 75th birthday, and the “dean” of Portland composers was well represented with this piece. Seemingly emerging out of nothing, the Passacaglia’s transparent textures featured a lovely melodic line, introduced by the piano, which was passed through the instruments, eventually building to a fever. One of my favorite moments in the entire concert took place about two-thirds through the Passacaglia; as the violin and cello were dueling it out, the piano re-introduced the opening melody in thick, fragmented chords. Pianist Susan Smith, a member of Portland’s other new music ensemble, Third Angle, stated the melody with a gravity that was difficult to describe but incredibly effective. As the melody was slowly reintroduced, the violin’s and cello’s wild melodic figures begin to fragment and elongate, and very slowly transitioned back to the thin transparent textures of the beginning — a magical effect which is extremely difficult to pull off. My one criticism would be that the final chord — a Mahlerlian 9th chord that was reminiscent of the ending of the Song of the Earth — was drawn out just a little too long, but it was easily forgivable given the magic that just occurred. The fugue that followed was vivacious and its subject (which was derived from the Passacaglia’s theme) opened the piece with a Copland-esque energy and closed the first half with a standing ovation.

After intermission we were greeted with Neist’s Unfolding, for amplified string quartet and electronics. For a process-based piece (meaning external elements such as mathematics or numerology determine things like melody or rhythm), it was surprisingly accessible, even blatantly tonal in some parts. The playback that came through the speakers sounded almost like a ghost ensemble: quiet, tense, and melodic without any one figure allowed foreground prominence. There were a couple of moments where I looked up and realized that the ensemble was sitting still; the sound coming through was an echo of their former self in the form of electronic looping. It was a fascinating effect, but I was left wanting more from the electronic aspects. Still, the quartet (coupled with a skilled sound engineer, Neil Blake) played well and seemed to do the piece justice. Unfolding has set a benchmark for the pieces that will follow in future score calls.

The final piece on the program Reed College professor David Schiff’s autobiographical New York Nocturnes, was inspired by his time in New York during his early twenties. It opened strongly with decisively jazzy figures sprinkled throughout the piece. Schiff’s harmonic language, which borrowed elements of jazz harmony while not confirming to jazz conventions, provided some nice surprises. There were many allusions to the composer’s well-known jazz influences such as “walking” bass lines in Nancy Ives’s cello part (a common jazz technique), among other figures. The piece ended in a surprisingly intimate fashion that earned Schiff a roaring ovation.

With this concert, fEARnoMUSIC provided a decisive answer to Bunch’s question. The music of Oregon is diverse, rich, and very much alive. I hope Locally Sourced Sounds, which Bunch intends to repeat annually, will continue to develop the bond between fEARnoMUSIC and the composers of Oregon. The state has a vast sonic terrain that is ripe for exploration.

Jay Derderian is a Portland-based composer who is currently serving on the governing board of Cascadia Composers, an organization dedicated to the promotion and performance of living composers in Oregon.

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