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james shields

Classical Up Close Outdoor Festival #14

June 14, 2021 @ 12:00 pm – 1:00 pm PDT

Free

Outdoor Concert

  • Rain date: June 14, 5-6 pm

​Performers: Emily Cole, violin; Charles Noble, viola; Kevin Kunkel, cello; Kerry Kavalo, viola; Jeff Johnson, bass; James Shields, clarinet; Joe Berger and Alicia Waite, horns.

Carl Nielsen:  “Serenata in Vano”    
Alec Wilder:  Duets for Horn and Cello    
Louis Spohr:  Octet in E Major, Op. 32    

Address available at website below.

Classical Up Close

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Fridays With 45th Parallel: French Connection

April 30, 2021 @ 6:00 pm – 7:00 pm PDT

Virtual Concert

Free Donations accepted.

Clarinetist James Shields joins violinist Emily Cole and pianist Maria Garcia in this all-French concert recorded at the beautiful Liberty Theatre in Astoria, OR. 45th Parallel is a resident ensemble at the Liberty Theatre, performing concerts and educational events throughout the season.

Join us on Facebook or Youtube.

WORKS

Darius Milhaud: Suite for Clarinet, Violin, and Piano, Op. 157b
Lili Boulanger: Nocturne for Violin and Piano
Francis Poulenc: Sonata pour Clarinette et Piano
Germaine Tailleferre: Arabesque for Clarinet and Piano
Claude Debussy: Claire de Lune (from Suite Bergamasque)

PERFORMERS

Emily Cole, violin
James Shields, clarinet
Maria Garcia, piano

45th Parallel Universe

View Organizer Website

info@45thparallelpdx.org

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Fear No Music: “Tomorrow Is My Turn” Mini Concert No. 2: Clarinetist James Shields

February 1, 2021 @ 7:30 pm

Virtual Concert

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.”

Fear No Music

971-220-6366

View Organizer Website

allears@fearnomusic.org

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