Review of Oregon Symphony concert with Esperanza Spalding

My review of last weekend's Oregon Symphony concert with Esperanza Spalding has been published in Classical Voice North America here.

Today's Birthdays

Joseph Canteloube (1879-1957)
Egon Wellesz (1885-1974)
Howard Ferguson (1908-1999)
Alexander Schneider (1908-1993)
Sir Georg Solti (1912-1997)
Dizzy (John Birks) Gillespie (1917-1993)
Sir Malcom Arnold (1921-2006)
Marga Richter (1926-2020)
Shulamit Ran (1949)
Hugh Wolff (1953)

and

Samuel Taylor Coleridge (1772-1834)
Alfred Nobel (1833-1896)
Ursula K. Le Guin (1929-2018)

Today's Birthdays

Charles Ives (1874-1954)
Jelly Roll Morton (1890-1941)
Adelaide Hall (1901-1993)
Alfredo Campoli (1906-1991)
Adelaide Hall (1909-1993)
Robert Craft (1923-2015)
Jacques Loussier (1934-2019)
William Albright (1944-1998)
Ivo Pogorelich (1958)
Leila Josefowicz (1977)

and

Christopher Wren (1632-1723)
Arthur Rimbaud (1854-1891)
John Dewey(1859-1952)
Robert Pinsky (1940)
Elfriede Jelinek (1946)

Review: Malofeev delivers superb Tchaikovsky in Oregon Symphony concert with outstanding Strauss and D'Addona

For its first regular concert on the season, the Oregon Symphony delivered a remarkably strong concert (September 27) at the Arlene Schnitzer Concert Hall, blending two evergreens with a new piece by a local composer who is making his mark in the classical music world. The well-known gems that received polished and exciting performances from the orchestra were Tchaikovsky’s First Piano Concerto with the young Russian sensation Alexander Malofeev and Richard Strauss’s monumental “Also sprach Zarathustra.” They were preceded by the joyous sounds of Giancarlo Castro D’Addona’s “Encuentro Obertura Festiva,” which opened the concert.

Malofeev, a 24-year-old piano phenom who is based in Berlin, did wonders with the Tchaikovsky. He displayed an impressive explosiveness at the keyboard, combining power and finesse. He also knew how to dial it back for the lyrical passages, which allowed the music to expand. He played the cadenzas immaculately and made them sound absolutely fresh and inviting. Overall, Malofeev perfectly balanced the intimate and the extroverted moods of the piece. That resulted in an immediate standing ovation from concertgoers.

Strauss’s massive tone poem, “Also sprach Zarathustra,” which is a musical interpretation of Friedrich Nietzsche’s eponymous philosophical treatise, received a full-throated performance from the orchestra under Music Director David Danzmayr. If sound of the organ during the initial measures could just be louder, then it would have been even more glorious.

The large orchestral forces, including eight double basses, two tubas, seven horns, three bassoons, and a contrabassoon, filled the stage from corner to corner. Among the many highlights was the mysterious, low sound of the double basses that gradually spread into the orchestra like flowing lava. The orchestra also captured the leisurely warmth of the waltz and the brass volleys that triggered the entire ensemble to erupt was marvelous. Outstanding contributions from the woodwinds, horns, Principal Timpanist Jonathan Greeney, and Concertmaster Sarah Kwak in the many exposed passages added to the vibrancy of the music – until the very end, when it all just quietly expires into the ether.

The opening number “Encuentro Obertura Festiva” lit up the hall with bright fanfares drawn from Venezulea, the birthplace of Portland composer D’Addona. In his introduction to the piece, which was written in 2022, Danzmayr mentioned a percussion cadenza in which audience members would be invited to clap. Believe me, the audience was pumped up for that chance, and it came after a series of brassy, upbeat themes. The percussion battery had a field day, creating lively rhythmic patterns on everything within an arm’s length, including cowbells. The raucous-y finale drew thunderous applause which erupted a second time when D’Addona returned to his seat in the balcony of the Schnitz. He responded with a brief bow and a big smile. It will be terrific to hear another one of his works.

Today's Birthdays

Sidonie Goossens (1899-2004)
Vittorio Giannini (1903-1966)
Karl-Birger Blomdahl (1916-1968)
Emil Gilels (1916-1985)
Robin Holloway (1943)
Robert Morris (1943)

and

Leigh Hunt (1784-1859)
Auguste Lumière (1862-1954)
Miguel Ángel Asturias (1899-1974)
Jack Anderson (1922-2005)
John le Carré (David John Moore Cornwell) (1931-2020)
Philip Pullman (1946)
Tracy Chevalier (1962)

Today's Birthdays

Luca Marenzio (1553-1599)
Baldassare Galuppi (1706-1785)
Lotte Lenya (1898-1981)
Alexander Young (1920-2000)
Egil Hovland (1924-2013)
Chuck Berry (1926-2017)
Wynton Marsalis (1961)
Esperanza Spalding (1984)
and

Heinrich von Kleist (1777-1811)
Henri Bergson (1859-1941)
A. J. Liebling (1904-1963)
Ntozake Shange (1948)
Wendy Wasserstein (1950-2006)
Rick Moody (1961)

Today's Birthdays

Herbert Howells (1892-1983)
Shinichi Suzuki (1898-1998)
Rolando Panerai (1924-2019)
Reiner Goldberg (1939-2023)
Stephen Kovacevich (1940)

and

Georg Büchner (1813-1837)
Nathanael West (1903-1940)
George Polk (1913-1948)
Arthur Miller (1915-2005)

and from the Composers Datebook:

On this day in 1978, President Jimmy Carter presents the Congressional Medal of Honor to singer Marian Anderson.

and from The Writer's Almanac:

It was on this day in 1933 that Albert Einstein officially moved to the United States to teach at Princeton University. He had been in California working as a visiting professor when Hitler took over as chancellor of Germany. Einstein’s apartment in Berlin and his summer cottage in the country were raided, his papers confiscated, and his bank accounts closed. He returned to Europe and handed in his German passport, renouncing his citizenship. He considered offers from all over the world, including Paris, Turkey, and Oxford. Einstein eventually decided on Princeton, which offered him an attractive package teaching at its Institute for Advanced Study — but he had his hesitations about the university. For one thing, it had a clandestine quota system in place that only allowed a small percentage of the incoming class to be Jewish. The Institute’s director, Abraham Flexner, was worried that Einstein would be too directly involved in Jewish refugee causes, so he micromanaged Einstein’s public appearances, keeping him out of the public eye when possible. He even declined an invitation for Einstein to see President Roosevelt at the White House without telling the scientist. When Einstein found out, he personally called Eleanor Roosevelt and arranged for a visit anyway, and then complained about the incident in a letter to a rabbi friend of his, giving the return address as “Concentration Camp, Princeton.” In 1938, incoming freshmen at Princeton ranked Einstein as the second-greatest living person; first place went to Adolf Hitler.

Today's Birthdays

Jan Dismas Zelenka (1679-1745)
Franz [Ferenc] Doppler (1821-1883)
James Lockhart (1930-2025)
Derek Bourgeois (1941-2017)
Marin Alsop (1956)
Erkki-Sven Tüür (1959)
Dmitri Hvorostovsky (1962-2017)

and

Noah Webster (1758-1843)
Oscar Wilde (1854-1900)
Eugene O'Neill (1888-1953)
Günter Grass (1927-2015)
Thomas Lynch (1948)

And from the Writer's Almanac:

In 1882, during a tour across the US, Oscar Wilde lectured to coal miners in Leadville, Colorado, where he saw a sign on a saloon that said, "Please do not shoot the pianist. He is doing his best," and called it "the only rational method of art criticism I have ever come across."

Today's Birthdays

Bernhard Crusell (1775-1838)
Zdeněk Fibich (1850-1900)
Dag Wirén (1905-1985)
Harold Blumenfeld (1923-2014)
Karl Richter (1926-1981)
Barry McGuire (1935)
Suzanne Murphy (1941)
Peter Phillips (1953)

and

Virgil (70 B.C.E.- 19 B.C.E.)
Helen Hunt Jackson (1830-1885)
Friedrich Nietzsche, (1844-1900
P. G. Wodehouse (1881-1975)
Varian Fry (1907-1967)
John Kenneth Galbraith (1908-2006)
Arthur M. Schlesinger, Jr. (1917-2007)
Italo Calvino (1923-1985)
Michel Foucault (1926-1984)

Today's Birthdays

Alexander Zimlinsky (1871-1942)
Gary Graffman (1928)
Rafael Puyana (1931-2013)
Enrico di Giuseppe (1932-2005)
La Monte (Thorton) Young (1935)
Sir Cliff Richard (1940)
Kaija Saariaho (1952-2023)

and

Katherine Mansfield (1888-1923)
E. E. Cummings (1894-1962)
Hannah Arendt (1906-1975)
Katha Pollitt (1949)

Review: Oregon Symphony gala concert with Joshua Bell attracts near-capacity crowd

It was great to see a very full house at the Arlene Schnitzer Concert Hall for the opening gala (September 16) of the Oregon Symphony’s 2025-2026 season. It was a very positive sign that the Portland Arts scene is reemerging from the pandemic. Superstar violinist Joshua Bell was the main attraction of the evening, and the orchestra, under Music Director David Danzmayr, sounded better than ever in a program of gems by Saint-Saëns, Bizet, and Stravinsky.

Bell opened the concert with a magnificent performance of Camille Saint-Saëns Third Violin Concerto. It was an over-the-top effort in which Bell mined the piece for every nuance possible. Each line was shaped with an artistic incisiveness that gave the music a fresh vitality. Bell’s jaw-dropping virtuosity lit up the fireworks of the first movement and still illuminated its beauty. The lyrical second movement reset the mood, evoking images of a boat gently rocking on a lake. For the third, Bell generated a sparkling finish that was noble and elegant.

Overall, it was an inspired performance by Bell, supported by outstanding contributions from the orchestra. In particular, Principal Clarinetist Mark Dubec and the orchestra’s new Principal Oboist Harrison Linsey added graceful tones in their duets with Bell, who enjoyed turning toward the orchestra whenever he had a break to hear the ensemble play.

The audience showered Bell and the orchestra with an immediate standing ovation. After Bell returned to the stage for the third time, he told concertgoers that the first time he played with the Oregon Symphony was in 1988 when it was helmed by James DePriest. He wondered if there were any members who were still with the symphony from that time. It turned out that violinist Lynne Finch and her husband, cellist Kenneth Finch were the only ones. Bell then followed with an encore, the meditation from Jules Massenet's opera "Thaïs", which Bell played as a duet with Principal harpist, Matthew Tutsky. Their sound was very emotive, but not sentimental, and the result was heavenly.

The Suite No. 1 from “L’Arlésienne,” which was incidental music that Bizet wrote for a play of the same name. The Prelude movement, which borrowed from the French Christmas carol "The March of the Kings" offered a lot of dynamic contrast that was fascinating to hear. The second movement, Minuetto, calmed things down – highlighted by an alto saxophone. Exquisite phrasing allowed the third movement, Adagietto, to reach and exquisitely divine moment, and that contrasted extremely well with the brilliant and robust Carillon to wrap up the piece.

The Suite (1919 revision) from Stravinsky’s “The Firebird,” closed out the evening with an outstanding performance by the orchestra. Danzmayr had all of his forces playing at an optimal level – vividly retelling the story of the prince who pursues the Firebird (part woman/part bird) into a garden that belongs to the evil wizard Katschei. She gives the prince a magic feather that he later uses to free the men who have been turned to stone by Katchei. The prince also smashes an egg that controls Katschei’s power and his life. Afterwards, the prince marries a princess in a happy ending.

The basses and cellos wonderfully established the ominous magical garden. The woodwinds created enticing birdlike sounds, and with balletic lyricism, the orchestra recreated the prince and the enticing Firebird and the magic feather. The low brass had a field day expressing the horrible Katschei. The slow passages were mesmerizing, and the climbing series of tones near the end of the piece break into a joyous finale.

Owing to the near-capacity attendance, the vibe in the lobby was elevated, and that bodes well for the orchestra’s season. More on that as the season progresses.

Today's Birthdays

Art Tatum (1910-1956)
Hugo Weisgall (1912-1997)
Gustav Winckler (1925-1979)
Paul Simon (1941)
Leona Mitchell (1949)
Kristine Ciesinski (1950)
Melvyn Tan (1956)
Mark Applebaum (1967)

and

Conrad Richter (1890-1968)
Arna Bontemps (1902-1973)
Jamal Khashoggi (1958-2018)

Today's Birthdays

Sylvius Leopold Weiss (1686-1750)
Johann Ludwig Krebs (1713-1780)
Arthur Nikisch (1855-1922)
Ralph Vaughan Williams (1872-1958)
Healey Willan (1880-1968)
Carlos López Buchardo (1881-1948)
Gilda Dalla Rizza (1892-1975)
Erich Gruenberg (1924-2020)
Pilar Lorengar (1938-1996)
Luciano Pavarotti (1935-2007)
Daryl Runswick (1946)
Penelope Walker (1956)
Chris Botti (1962)

and

Robert Fitzgerald (1910-1985)
Alice Childress (1916-1994)
Robert Coles (1929)

Today's Birthdays

George Bridgetower (1780-1860)
Fernando De Lucia (1860-1925)
R. Nathaniel Dett (1882-1943)
Albert Stoessel (1894-1943)
Eugene Weigel (1910-1998)
Art Blakey (1919-1990)
David Rendall (1948)
Rachel Barton Pine (1974)

and

Mason Locke Weems (1759-1825)
Eleanor Roosevelt (1883-1962)
Elmore Leonard (1925-2013)
Thich Nhat Hanh (1926-2022)

Today's Birthdays

Giuseppe Verdi (1813-1901)
Vernon Duke (1903-1969)
Paul Creston (1906-1985)
Thelonious Monk (1917-1982)
Gloria Coates (1938-2023)
Sir Willard White (1946)
John Prine (1946-2020)
Steve Martland (1959)
Evgeny Kissin (1971)

and

Jean-Antoine Watteau (1684-1721)
Harold Pinter (1930-2008)

And from The Writer's Almanac:

It’s the birthday of the composer Vernon Duke, born Vladimir Dukelsky, in Parafianovo, Belarus (1903). He was a talented classical musician, educated at an elite conservatory, but his family fled Russia after the revolution and he wound up playing piano in cafés in Constantinople (now Istanbul). From there, his family rode steerage class on a ship to America, went through Ellis Island, and ended up in New York in 1921. There the teenage Dukelsky met George Gershwin, who was only a few years older, and the two became good friends. Dukelsky played Gershwin what he described as “an extremely cerebral piano sonata,” and Gershwin, who was also trained in classical music, suggested this: “There’s no money in that kind of stuff, and no heart in it, either. Try to write some real popular tunes — and don’t be scared about going low-brow. They will open you up.” He also suggested that Dukelsky shorten his name, as he himself had done — Gershowitz to Gershwin. So Vladimir Dukelsky came up with the name Vernon Duke, but he didn’t use it for a while.

First, he went to Paris. There, he met and impressed the great ballet impresario Sergei Diaghilev. Dukelsky wrote later about their first meeting — that Diaghilev had drawled: “‘Ah, a good-looking boy. That in itself is most unusual. Composers are seldom good-looking; neither Stravinsky nor Prokofiev ever won any beauty prizes. How old are you?’ I told him I was 20. ‘That’s encouraging, too. I don’t like young men over 25.’” And so Diaghilev commissioned him to write a ballet, and he wrote Zephire et Flore, with sets by Georges Braque, choreography by Léonide Massine, and costumes by Coco Chanel. It got a great reception, and Dukelsky was taken in by the not-quite-as-good-looking Stravinsky and Prokofiev. For a few years he divided his time between Paris, where he continued to write classical music, and London, where he wrote show tunes and used the name Vernon Duke. Then in 1929, he decided to go back to America, and he wrote some of the biggest hits of the 1930s — “April in Paris” (1932), “Autumn in New York” (1934), “I Can’t Get Started” (1936), and “Taking a Chance on Love” (1940). And he wrote the music for the Broadway show and film Cabin in the Sky (1940). By that time, he had become an American citizen and officially changed his name to Vernon Duke.

Today's Birthdays

Alexander Siloti (1863-1945)
Harry Lawrence Freeman (1869-1954)
Carl Flesch (1873-1944)
Camille Saint-Saëns (1835-1921)
Roger Goeb (1914-1997)
Einojuhani Routavaara (1928-2016)
Alfons Kontarsky (1932-2010)
John Lennon (1940-1980)
Jackson Browne (1948)
Sally Burgess (1953)
Roberto Sierra (1953)

and

Ivo Andrić (1892-1975)
Bruce Catton (1899-1978)
Léopold (Sédar) Senghor (1906-2001)
Belva Plain (1915-2010)
Jill Ker Conway (1934-2018)
James Howe McClure (1939-2006)

Review of Fear No Music's marathon reading of 32 new pieces

My review of FNM's evening-long concert has been published in Oregon Arts Watch here.

Today's Birthdays

Heinrich Schütz (1585-1672)
Louis Vierne (1870-1937)
Will Vodery (1885-1951)
Paul V. Yoder (1908-1990)
James Sample (1910-1995)
Kurt Redel (1918-2013)
Toru Takemitsu (1930-1996)
Johnny Ramone (1948-2004)
Robert Saxton (1953)
Carl Vine (1954)
Tabea Zimmermann (1968)
Bruno Mantovani (1974)

and

John Cowper Powys (1872-1963)
Walter Lord (1917-2002)
Philip Booth (1925-2007)
Jesse Jackson (1941)
R.L. Stine (1943)

Today's Birthdays

William Billings (1746-1800)
Joe Hill (1879-1915)
Shura Cherkassky (1911-1995)
Charles Dutoit (1936)
John Mellencamp (1951)
Yo-Yo Ma (1955)
Li Yundi (1982)

and

James Whitcomb Riley (1849-1916)
Niels Bohr (1885-1962)
Helen Clark MacInnes (1907-1985)
Desmond Tutu (1931-2021)
Amiri Baraka (aka LeRoi Jones) (1934-2014)
Thomas Keneally (1935)
Dianne Ackerman (1948)
Sherman Alexie (1966)

Today's Birthdays

William Bradbury (1816-1868)
Jenny Lind (1820-1887)
Julia Culp (1880-1970)
Karol Szymanowski (1882-1937)
Maria Jeritza (1887-1982)
Edwin Fischer (1886-1960)
Paul Badura-Skoda (1927-2019)
Dennis Wicks (1928-2003)
Udo Zimmermann (1943-2021)
Keith Lewis (1950)

and

Le Corbusier (1887-1965)
Caroline Gordon (1895-1981)

From the Writer's Almanac:

It was on this day in 1600 that the opera Euridice was first performed, at the Palazzo Pitti in Florence. It is the oldest surviving opera.

Euridice was performed for the wedding celebrations of Henry IV of France and Maria de' Medici. It was written by Jacopo Peri, a beloved composer and singer. He had already written Dafne a few years earlier, which is considered to be the first opera, but that music has been lost.

Euridice is a retelling of the Greek myth of Orpheus and Eurydice, in which the gifted musician Orpheus falls in love with the beautiful Eurydice, but just after their wedding she is bitten by a snake and dies. Orpheus is heartbroken, and he journeys to the underworld, to Hades, to try to bring her back. He charms the king of the underworld, also named Hades, and his wife, Persephone, and they agree to return Eurydice to Orpheus on one condition: that he get all the way back to the upper world without looking back to see if Eurydice is following. He almost makes it, but right as he is walking out into the sunlight he turns back, and Eurydice is still in the underworld, so he loses her forever. Peri not only wrote the opera, but he sang the role of Orpheus. The climax of the opera came during "Funeste piagge," or "Funeral shores," when Orpheus begs Hades and Persephone to release his beloved.

Peri wrote a long preface to Euridice, in which he explained the new musical form he was working in, which we now call opera. He said that he was trying to write the way he imagined the Greeks would have, combing music and speech into the ultimate form of drama. One of the people who came to Florence to see Euridice was Vincenzo Gonzaga, the Duke of Mantua. And he probably brought his servant, Claudio Monteverdi. A few years later, in 1607, Monteverdi premiered his first opera, L'Orfeo, which was also a retelling of the legend of Orpheus. Monteverdi elevated the opera form to new heights, and L'Orfeo is considered the first truly great opera, with all of the dramatic orchestration and lyrics that are so central to the drama.