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CASCADIA COMPOSERS PRESENT S H of a a D U E T S U a SEASONAL M SPECTRUM of SONGS & N CHAMBER MUSIC Friday 11.15.19 7:30 Pm

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CASCADIA COMPOSERS PRESENT S H of a a D U E T S U a SEASONAL M SPECTRUM of SONGS & N CHAMBER MUSIC Friday 11.15.19 7:30 Pm CASCADIA COMPOSERS PRESENT S H of A A D U E T S U A SEASONAL M SPECTRUM OF SONGS & N CHAMBER MUSIC Friday 11.15.19 7:30 pm Lincoln Hall Room 75 cascadiacomposers.org 1620 SW Park Ave. Portland OR Cascadia Composers Mission Statement Cascadia Composers engages our community through the creation, performance, and promotion of contemporary musical art, while providing resources and opportunities to Cascadia composers. Cascadia Composers serves northern Oregon and southern Washington and was founded in 2008. Website: www.CascadiaComposers.org Governing Board Ted Clifford, President Daniel Brugh, Vice President Jeff Winslow, Secretary/Treasurer David S. Bernstein, Evan David Lewis, Jan Mittelstaedt, Paul Safar, Dawn Sonntag, Greg A Steinke, Linda Woody, at large Tomas Svoboda, Honorary Member Cascadia Composers is a chapter of the National Association of Composers/USA (NACUSA) NACUSA is a 501(c)(3) non-profit organization. Founded by Henry Hadley in 1933, it is one of the oldest organizations devoted to the promotion and performance of American concert hall music. Many of America's most distinguished composers have been among its members. These concerts and presentations are made possible by dues from NACUSA (National Association of Composers/USA), other grants and donors, and fundraisers sponsored by Cascadia. Special thanks to our media sponsor, Oregon ArtsWatch. Cascadia Composers receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts. Program cover design by Jennifer Wright CASCADIA COMPOSERS (Cascadia Chapter of the National Association of Composers/USA) presents SHADES of AUTUMN Friday, November 15th, 2019 @ 7:30 pm Lincoln Hall, Room 75, Portland State University, 1620 SW Park Ave., Portland, OR Program EPIGRAPH Jeff Winslow Lisa Neher, mezzo-soprano; Sequoia, piano *AFTER BASHO: Three Pieces for Mezzo, Flute and Guitar Charles Rose Lisa Neher, mezzo-soprano; Amelia Lukas, flute; Brandon Azbill, guitar BLIND LIGHT Elizabeth Blachly-Dyson Lisa Neher, mezzo-soprano; Adam Eason, violoncello HORAS NON NUMERO NISI SERENAS Stephen Lewis Lisa Neher, mezzo-soprano; Lucia Atkinson, violin; Nancy Ives, violoncello; Stephen Lewis, conductor EMBARRASSING MOMENTS Jan Mittelstaedt I. Temper Tantrum; II. The Luncheon; III. Tongue Tied Lisa Neher, mezzo-soprano; Sequoia, piano †LIFSCHEY CARDS II on the Paintings of Marc Lifschey (Image Music XLI) Greg A Steinke for Oboe, Viola and Piano I. In a Maze; II. Pastel Mood (Intermezzare); III. “Splash” Rondo Catherine Lee, oboe; Julie Asparro, viola; Colleen Adent, piano Intermission †FOUR SILHOUETTES for Flute and Viola David S. Bernstein Amelia Lukas, flute; Hillary Oseas, viola CHANSONS INNOCENTES Brian Field Madeline Ross, soprano; Sequoia, piano ROMANZA: The Candle’s Flame Paul Safar David Burham, violin; Paul Safar, piano FOGS & FIRES Evan Lewis Lisa Neher, mezzo-soprano; Sequoia, piano COME UP FROM THE FIELDS, FATHER Dawn Sonntag Lisa Neher, mezzo-soprano; Sequoia, piano * World Premiere; † West Coast Premiere Program Notes EPIGRAPH by Jeff Winslow On December 26th, 2004, one of the most powerful earthquakes in recorded history struck in the Indian Ocean just west of the island of Sumatra. The resulting tsunami extinguished the lives of almost a quarter of a million human beings. A few days afterwards, relief workers came across these words written on the wall of a ruined building on Sumatra: “As you were playing in the sea without a care, you were taken. We did not know that you had come into this world to be part of a tsunami. Waves, why have you taken away my children?” (Reported in a March 2005 publication by Habitat for Humanity.) In the song, a bereaved mother paces the beach on a typically calm, sunny tropical day, while the ocean laps lazily nearby. It gives no sign, betrays no concern over the horror it unleashed on her people just a few days before, while she pours out her grief. Yet, in the wake of her desperate demand, something changes... not quite a voice, maybe not even a sound, but a feeling of sympathy, even sorrow, seems to rise out of the depths from a long way away. AFTER BASHO: Three Pieces for Mezzo, Flute and Guitar by Charles Rose The texts for these songs are based on three poems by classical Japanese haiku poet Matsuo Basho. The haiku genre is rich and complex, using few words to express a wide breadth of meaning, often referring specifically to experiences of the author. I translated these poems into English using my own interpretation of their imagery, referencing particular images from my own life to keep with the personal spirit of haiku. Rather than retain the 5-7-5 syllable structure, I chose an iambic meter more familiar to English speakers, with some freedom to add or omit beats freely. Each haiku makes an explicit or implicit allusion to Autumn: the moon rising over Mt. Fuji, a lonely road in the evening, and wondering about a neighbor’s life. In my translation, these images become the cell towers on the West Hills, the empty roads in Southeast, and the MAX train. BLIND LIGHT by Elizabeth Blachly-Dyson Blind Light was composed for the Crazy Jane Collaborates concert in November 2012. I was fortunate that Claire Sykes was willing to share with me two of the four poems from her chapbook, Blind Light, so that I could set them to music. She wrote them in response to her mother’s passing, so they are deeply personal, but at the same time, they are universal in appeal. Using voice accompanied by a single cello I have tried to embody the poems' stories – of loss and loneliness, of gratitude and grace. HORAS NON NUMERO NISI SERENAS by Stephen Lewis Horas non numero nisi serenas ...means I count no hours but those that are serene. This is an inscription found on many sundials. The vocal line is a vastly expanded quotation of the final notes sung in Gustav Mahler's Das Lied von der Erde, “…ewig…”. Never treating its central metaphors as anything other than potential ad hoc resources for inspiration and structure, horas imagines the interaction of forces (such as the orbits of celestial bodies) on vastly grander and lengthier time scales than humans can perceive. Channeling Renaissance sacred polyphony and the slow movements of Beethoven as much as recent music, horas is a personal and meditative work inviting us all to perceive and simply be. EMBARRASSING MOMENTS by Jan Mittelstaedt Temper Tantrum: This music was inspired by two specific temper tantrums. The first was thrown by my son, Ted, when he was about two. As Ted screamed and kicked the floor of a store, I overheard one woman say to another,..."poor baby." The second time, it was my granddaughter, Maddie, who was screaming. The perk of being a grandmother is that my daughter had to deal with it. The Luncheon: This vignette is based on a childhood experience. However, I have greatly exaggerated the details. I was invited to have lunch with a friend who lived in Sands Point, the most exclusive part of Port Washington, LI, NY, where I grew up. Her mother really did serve chicken. And, I did feel uncomfortable eating it. But, actually my mom was very particular about manners, and I was from a nice neighborhood - just not Sands Point. Tongue Tied: When I was in college, the father of the boy I was dating passed away. After uncomfortably sitting with the family for over 30 minutes, not knowing what to say, my friend’s Aunt looked at me and said, “Don’t you have a tongue?” LIFSCHEY CARDS II on Paintings of Marc Lifschey (Image Music XLI) for Oboe, Viola and Piano by Greg A Steinke Please see inside back page for program notes. FOUR SILHOUETTES for Flute and Viola by David S. Bernstein The use of the word "Silhouettes" in this composition is meant to convey a two- dimensional representation of the outline of an object, in this work actually two objects…the flute and the viola. There are many different dimensions explored within each instrument, such as extreme highs and lows, virtuosic passages using motivic development as dialogue between them, and a variety of different color combinations that pass amongst and around each as well. The movements are short, and there is usually a continuing musical dialogue between each of the two instruments. CHANSONS INNOCENTES by Brian Field The two songs that make up Chansons Innocentes reflect musical moments through the lens of childhood, of innocence. They are intended to be performed simply, sweetly in an intimate sense – as if a child is sharing a secret memory. ROMANZA: The Candle’s Flame by Paul Safar This short piece is meant to invoke the warm glow one gets sharing a candlelit dinner on a cozy winter evening with a special someone. FOGS & FIRES by Evan Lewis Fogs & Fires is a setting of 5 poems by Carl Sandburg from his Chicago Poems collection from 1916. The poems are strikingly modern for their time and established Sandburg as an important poetic voice. They lend themselves to musical settings with their plain, direct language and short lines that, when taken as a whole, paint a picture through small details and gestures, motives and themes that hint at a larger story just out of frame. The music for these settings is intended to support this storytelling, giving thematic shape to what are basically five short stories, told through poetry and music. The songs were written for and premiered by Elizabeth Kerstein, a great collaborator and musician. COME UP FROM THE FIELDS, FATHER by Dawn Sonntag Whitman’s classic Civil War poem tells of a rural Ohio family who receives a letter from their son, who writes that he has been injured in battle.
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