The Romantic imagination comes to life in Robert Schumann’s “Pictures from the East” for piano duet, “Fantasy Pieces” for clarinet and piano, and “Fairy Tales” for clarinet, viola, and piano, plus works by Max Bruch and Elisabeth von Saxe Meiningen.
Program
R. Schumann: Pictures from the East, op. 66, for piano, four hands
Elisabeth von Saxe-Meiningen: Romance for clarinet and piano
R. Schumann: Fantasy Pieces, op. 73, for clarinet and piano
R. Schumann: Fairy Tales for clarinet, viola, and piano
Max Bruch: Romanian melody and Song of the Night for clarinet, viola, and piano
Thomas Carroll, CLARINET Jason Fisher, VIOLA Byron Schenkman, PIANO Joseph Williams, PIANO
MacArthur Genius and double GRAMMY winning Composer-in-Residence Osvaldo GOLIJOV joins Oregon Symphony Principal Clarinetist James Shields and your favorite WVCMF performers for an evening including the world premiere of his Mentre la Pioggia as well as the epic klezmer-inspired tale of The Dreams and Prayers of Isaac the Blind. Also featured will be Haydn’s beloved “Sunrise” Quartet and Coleridge-Taylor Perkinson’s final work, Movement for String Trio.
Following the concert, join us for our Afterparty, featuring the artisanal wood-fired pizza of Wooden Heart Food, premium pours of J. Christopher Wines, and some of the best views of the valley at sunset.
Live, in-person ticket: $95 per person; Afterparty ticket is an additional $50 per person. $30 online single ticket; $45 online ticket for household. Online tickets good for 1 week of unlimited viewing.
“The idea is to have music that suggests people shouting at a political rally.” – Louis Andriessen
This week we feature two brilliant pieces by Scandinavian composers Magnus Lindberg and Louis Andriessen. Lindberg’s evocative Clarinet Quintet is a tour de force of virtuosity, and features clarinetist James Shields, violinists Ron Blessinger and Emily Cole, violist Charles Noble, and cellist Marilyn de Oliveira.
Written for “…any loud-sounding group of instruments”, Workers Union by Dutch composer Louis Andriessen springs from his political idealism, his challenge of the status quo, and his belief in struggle.
FREE Donations accepted. Visit website link below to RSVP for concert link.
Fear No Music launches their second virtual Mini Concert of the Tomorrow Is My Turn season, with intrepid clarinetist James Shields starring in solo performances of music by Black American composers. Known for his dynamism and passion, Shields is Principal Clarinetist with the Oregon Symphony, Co-Artistic Director of Chatter, a core member of 45th Parallel Universe and is also a talented composer. Shields notes, “All three of these pieces were new to me, and they were absolutely fantastic works to familiarize myself with. I think each will prove to be as satisfying and engaging for the listener as they are for the performer.”
With the Tomorrow Is My Turn season, Fear No Music offers a small glimpse into the breadth and depth of phenomenal music being created by Black artists across the nation. Thoughtfully curated for an optimal online listening experience, this Mini Concert is thirty minutes in length, and is FREE; available for streaming on Fear No Music’s YouTube channel.
Click the link below to RSVP and get the concert link. Concerts are available to view for 48 hours after the initial broadcast.
Program:
Derek Douglas Carter
Derek Douglas Carter, A Bite of Chocolate Milk (2018) for speaking bass clarinet dedicated to anyone that feels the labels given to them by society limit them, and seeks to transcend them
from the song Chocolate Rain:
Seldom mentioned on the radio Build a tent and say the world is dry History quickly crashing through your veins Cleans the sewers out beneath Mumbai The prisons make you wonder where it went Zoom the camera out and see the lie
– Tay Zonday
Ed Bland
Ed Bland, For Clarinet (1964, rev. 1978)
Bland noted, “This 3-minute, whimsical, joyful, atonal piece for unaccompanied clarinet is very idiomatic.” William Powell recorded the work on Cambria Master Recordings and wrote for The Clarinet journal (September 2017), “For Clarinet is written in a virtuoso style. The four-page piece, though difficult, especially in its rapidly changing rhythms, should be playable by a more advanced high school student or university undergraduate student. This author was very lucky to record For Clarinet under the composer’s supervision.”
Nicole Mitchell
Nicole Mitchell, a much deserved ass whopping (2020) for bass clarinet
From performer James Shields: “a much deserved ass whopping for bass clarinet was a really fun piece to tear into, and I enjoyed the opportunity to sharpen up some extended techniques. MItchell even requires the performer to scream through the instrument, which I was more than happy to do at this stage in the pandemic. The bass clarinet has an exceptionally wide range, and Mitchell capitalizes on this by choosing to write predominantly in the lowest and highest ranges that the instrument is capable of. I might be reading into the title a bit too much, but I found myself hearing two voices: an extremely high voiced character pleading for mercy, and a growling lower voice that was committed to dolling out a particular type of punishment.”
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