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Cascadia Composers & Delgani Quartet: performance matters

Fall concerts show the value of prepared, skilled musicians to new music showcases

When it comes to covering music, ArtsWatch tends to focus on composition more than performance. That’s not only because two of our regular music writers are themselves composers, but also because we want to tell Oregonians the story of Oregon creativity, which is really part of the larger story of what makes us what we are here in the 21st century. It’s a main reason I created our Oregon ComposersWatch resource, to make it easier for ArtsWatch readers to hear the fruits of our homegrown musical creators. And thanks to Cascadia Composers and others, Oregon contemporary classical music is an increasingly rich bounty.

But just as there’s more to a play than a script, more to a dance than choreography, there’s more to music than a score. A couple of fall Cascadia concerts showed — in both positive and negative ways — just how important performers are to the story of Oregon originality.

Dazzling Delgani

While the preponderance of Cascadia music is created by composers living in the Portland metro area, the group’s October concerts at Eugene’s First Christian Church and southeast Portland’s Community Music Center happened to feature music written by non Portlanders and even non Oregonians. And so it was appropriate that the performers, too, hailed from beyond Portland. Eugene’s Delgani String Quartet turned in one of the finest performances I’ve ever experienced at a Cascadia concert.

Delgani String Quartet played music by Cascadia Composers in Eugene. Photo: Gary Ferrington.

Some of the best Cascadia shows have relied on veteran ensembles (Portland Percussion Group, The Mousai, Choral Arts Ensemble) rather than pickup groups. That’s no surprise: you’d expect musicians that have been performing together for years to do a better job than those who might never have played together before, and who might have rehearsed together only a couple of times. The tradeoff for audiences, though: a program that features the same forces on every piece necessarily offers less instrumental variety. This one happily provided considerable stylistic variety to compensate.

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