Review: Paul Taub Celebrates 30 Years of Music-Making in Seattle

By: R. M. Campbell

The flute is not a traditional major solo instrument but Taub, by virtue of hard work, a lot of talent and a nose for provocative new work, has nearly made it one. He is often in concert in Seattle, either by himself or with others, as well as traveling in the United States and Europe to give concerts. He came to Seattle and Cornish in 1979, after studies at Rutgers University and the California Institute of the Arts with such noted musicians as Michel Debost, Samuel Baron, Marcel Moyse and Rpbert Aitken. Early on he demonstrated an avid interest in contemporary music, a path he has pursued with vigor and intelligence.

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MOR resurrects, recreates, and remembers

As a general rule, Music of Remembrance concerts leave me with mixed feelings.  We gather on these evenings to hear the works of composers silenced by the wretched events of the Holocaust, cut down by the Nazis in an attempt to erase their very existence from the pages of history.  With such an event weighed down and defined by one of the most despicable events of modern times, I’m left ultimately puzzled how I should respond as these musical works of Holocaust victims are played.  How can I applaud for Laszlo Weiner’s music when I know he was murdered in a labor camp?   How can I not clap? Weiner’s music has survived, despite the Third Reich’s best efforts.  These conflicting thoughts swirled around my head as I sat in the lobby of Benaroya Hall, sipping mint tea, reading an essay by Larry Rothe thirty minutes before Music of Remembrance’s fall concert.

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Third Angle brings the newest of sounds from China in stellar concert

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There’s a huge landscape for new music in China, and the Third Angle New Music Ensemble explored a bit of that territory in an exciting concert on Friday evening (October 24) at the Fields Ballroom in the Portland Art Museum. That landscape (both external and internal) is being discovered and given a voice by Chinese composers who are fusing sounds from the East and West in exciting ways. Third Angle found a way into the heart of these sounds and delivered intriguing performances of music by Chen Yi, Jia Daqun, and Ye Xiaogang. To make the concert even more special, Xiaogang was present, as was special guest soloist, the zheng virtuoso Haiquiong Deng.

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Third Angle creates upbeat concert of music by Jennifer Higdon

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It has got to be a little nerve-wracking to play the music of living composers when they are in the audience, but the stakes are even higher when a two-time Grammy winning composer is sitting in the front row, alert as a robin in spring time. Yet members of the Third Angle New Music Ensemble stepped up and played their hearts out last night (May 15) at the Old Church in a concert that primarily featured the music of Jennifer Higdon.

Things started off sort of like a rock concert when the audience (which almost filled the hall to capacity) enthusiastically greeted the performers as they walked onto the stage even though their appearance was somewhat tardy. In a short preparatory remark, Higdon told how the first number on the program, “Celestial Hymns” had been played at the Angel Fire, New Mexico, which is at a very high elevation, and that she had worried that the ensemble there might pass out because of the demands of the music. I got a sense of what she was referring to because clarinetist Todd Kuhns had to breathe life into a note that he sustained for a very long time right at the beginning of the piece. Supported by crisp playing from his comrades, violinist Ron Blessinger, violist Brian Quincey, cellist Hamilton Cheifetz, and pianist Susan Smith, Kuhns used superior breath control to get the most out of this evocative work, and together the ensemble took us to a higher plain that was soothing and satisfying.

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