“No, there is no such thing as an ‘Oregon sound’ in the contemporary
classical music sense.” This assertion by Bob Priest was the most
succinct of the unanimously demurring responses I received from
Portland-based composers when I asked whether there is an aesthetic
common denominator in the music of present-day Oregonian composers.
Though I would love to make the case for a Northwest style, I am in
no position to rebut Priest’s claim because—to my chagrin as a
connoisseur of new, local music—I have heard scant few works by
Oregon’s current crop of composers. But with their concert program Home
Grown: Fresh, Delectable Sounds by Oregon Composers, Portland’s own
contemporary repertoire chamber ensemble Fear No Music is offering me a
chance at redemption.
In advance of the group’s presentation of Home Grown—which
will feature 11 pieces (including three world premieres and two dance
collaborations) by Oregonian composers—I spoke with Fear No Music
violinist and Artistic Director Inés Voglar. Given that she
jokingly attributed the ensemble’s foundation in 1992 to the fact that
“the opportunity to play unbelievably difficult music that had no
following was just too tempting to pass by,” Portland musicians of
other stripes may find much to identify with here if they look
closely.
MERCURY: Many of us hear “chamber ensemble” and
assume this means “string quartet.” But Fear No Music’s instrumentation
is more unexpected, including piano and percussion in the core
ensemble. Was this a deliberate choice?
INÉS VOGLAR: The original combination included violin, cello,
flute, clarinet, piano, and percussion. That particular instrumental
format was extremely popular among 20th century composers. It is
usually traced to the work Pierrot Lunaire by Arnold Schoenberg,
which used those instruments, minus the percussion. He was probably the
first composer to explore the enormous range of timbres and colors that
were available in that combination of strings, wind, and piano, and his
format became a touchstone for subsequent composers. As percussionists
appeared on the scene and began demanding equal treatment, and because
a percussion layout can add a huge amount of volume and noise to the
group, composers began including ever bigger setups in such an
ensemble. Over the years it has evolved, depending upon the performers
available, into the current instrumentation.
What are the benefits and drawbacks of doing what you do in Portland
as opposed to a traditional “high art” center like New York?
If Fear No Music were playing in NYC we would be drawing the same
miniscule audience of 40 people—20 of which would be the
performers’ friends—to a concert that would be one of 20 taking
place each weekend. Here, Fear No Music regularly fills up halls and
the group develops community relationships with the audience members
and the composers. Because Portland, at least in the musical sense,
isn’t really looking over its shoulder to see what’s the musical flavor
of the month as NYC is, Fear No Music is freed up from having to chase
the latest “ism” that happens along. Members are able to take a look at
what’s going on in the supposed centers of the musical world, decide if
it’s really quality material or just the latest fad, and then present
it here. Plus, the beer and wine are much better here.
Fear No Music presents Home Grown on Friday, February 13, at
Disjecta (8371 N Interstate).