MUSIC
A TRUE PRESCRIPTION ALTERNATIVE!
BY BRETT CAMPBELL
BACH IN THE THICK OF IT
Oregon Bach Festival is in full swing across town
W
hen the Oregon Bach Festival commissioned what turned out to be his
European Requiem back in 2012, James MacMillan couldn’t have known
how prophetic that title might have turned out to be. The 57-year-old
Scottish composer’s big choral orchestral work premieres July 2 at the Hult
Center — just more than a week after his compatriots voted to withdraw
the United Kingdom from the
European Union, a move that
might in turn provoke
MacMillan’s homeland to
seek independence from the
U.K. Given speculation that
other countries might follow
the U.K.’s secessionist lead,
MacMillan’s new composition
may indeed turn out to be a
requiem for the ideal of a
united Europe.
MacMillan’s powerful
past work (his masterpieces
The Confession of Isabel
Gowdie and Veni Veni
Emmanuel) offers clues to his
new composition: intensely
emotional, sometimes vio-
lently energetic and spiritual
music informed deeply by his
Catholic faith.
Featuring four vocal solo-
ists including the great coun-
tertenor Nicholas Phan, the
OBF orchestra and Berwick
MONICA HUGGETT
Chorus, MacMillan’s piece is
complemented by a master-
piece of Lutheran musical devotion: J.S. Bach’s ever-popular Magnificat. It fits squarely
in the line of great sacred works that pillar this year’s festival: Bach’s opening B Minor
Mass and Brahms’s festival-finale German Requiem July 10 at the Hult.
MacMillan’s Requiem does mark a rebirth of sorts for the Bach Festival’s commitment
to new music, which had seriously flagged in recent years until late former OBF director
John Evans — to whom the piece is dedicated — commissioned this one. The Bach
Festival does, commendably, offer the biennial Oregon Composers Symposium to
nurture emerging composers. This year’s edition includes five free New Pathways
concerts (June 29-July 4) at the UO’s Beall and Aasen-Hull concert halls that feature top
performers like Roomful of Teeth soprano Estelí Gomez, former Kronos Quartet cellist
Jeffrey Zeigler and Duo Damiana (guitarist Dieter Hennings and flutist Molly Barth).
The festival’s belated but most welcome embrace of historically informed period
instrument performances will make everything old sound new again to listeners
accustomed to anachronistic modern instrument performances. The energetic Portland
Baroque Orchestra violinist and director Monica Huggett returns to Beall June 30 to
lead experienced new music specialists, including the great Dutch flutist Wilbert
Hazelnut, in Baroque masterpieces by J.S. Bach, Telemann and more. Mark Brombaugh
plays music by Bach and a new piece by David Dahl on June 24 at Central Lutheran
Church, while Julia Brown plays more Bach organ music there on July 1.
Anton Armstrong leads Strangeland Family Youth Choral Academy’s
performance of Haydn’s St. Nicholas Mass plus music by Bach and Handel July 3 at the
Hult. And speaking of Haydn, the festival this year places the spotlight on that Classical-
era composer and his colleagues in two Beall concerts led by scholar and fortepiano
master Robert Levin. The July 1 Berwick Academy concert includes Haydn’s stirring
Symphony No. 103, Mozart’s darkly beautiful Piano Concerto No. 24 and a Beethoven
overture. On July 3, Levin leads renowned German clarinetist Eric Hoeprich and other
period instrument specialists in one of Mozart’s own favorites, his breezy piano and
winds quintet, and Beethoven’s later quintet it inspired and more.
The Berwick goes back to Bach July 6 when the superb Baroque violinist Rachel
Podger leads a magnificent Bach violin concerto along with Baroque classics by Handel,
Lully and Telemann. And on July 7, Halls leads the Berwick Chorus in one Bach’s great
cantatas and a too seldom heard 20th-century choral classic, Swiss composer Frank
Martin’s Mass for Double Choir. The festival closes July 10 with Brahms’s third
symphony and German Requiem, reminding us again that nations and unions may pass,
but great music lives on. ■
For the full lineup of events, visit oregonbachfestival.com.
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eugeneweekly.com • June 30, 2016
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