The Chamber Music Northwest Festival held from June 28 to July 27 in Portland offered a rich tapestry of musical experiences, with a particular emphasis on the works and influence of J.S. Bach.
With only a few concerts missed, including Bach’s monumental Mass in B Minor, the festival provided a summer feast of classical music that showcased both traditional masterpieces and innovative contemporary works.
For those who share different favorites, here are some of the standout performances from the festival.
One of the most extraordinary highlights was the performance of J.S. Bach’s Brandenburg Concertos, a rare treat when heard live.
Notably, the concert featured Caroline Shaw’s Concerto for Harpsichord and Strings, reflecting Bach’s influence on modern compositions.
Shunske Sato, a dynamic maestro known for his energetic conducting style, led the concert with a flair reminiscent of a rock star.
His performance at Kaul Auditorium on June 28 was followed by another in Eugene, where both concerts saw nearly full attendance.
As the festival neared its conclusion, pianist Gloria Chien joined forces with celebrated violinist Leila Josefowicz to present Stravinsky’s Divertimento from the 1928 ballet Fairy’s Kiss.
Even for those not entirely enamored with Stravinsky, Chien and Josefowicz, who performed without sheet music, infused the 23-minute piece with a vibrant storytelling quality at The Reser on July 24 and Kaul Auditorium on July 26.
Their seamless execution continued even after a broken string, demonstrating their commitment to the piece marked by Stravinsky’s signature rhythmic innovations.
Another exceptional talent showcased at the festival was Zlatomir Fung, a rising star since winning the cello division at the Tchaikovsky International Competition at only 20 years old.
Now 25, Fung has reached new heights, captivating audiences not only with his technical prowess but also with his expressive playing.
He participated in three performances of Brahms’ String Sextets, where his synergy with fellow musicians lent depth to pieces that lasted over 35 minutes each.
Performing with him were renowned musicians including Paul Watkins, Soovin Kim, David McCarroll, Beth Guterman Chu, and Burchard Tang.
During the final New@Night concert, Fung and Watkins also mesmerized the audience with works by Béla Bartók, further showcasing Fung’s versatility.
The festival truly showcased the thrill of ensemble performances, particularly in the “Powerhouse Strings” concerts on July 17 at The Reser and July 19 at Kaul.
Featuring Mendelssohn’s String Octet and Olli Mustonen’s Nonetto II, the performances boasted tremendous energy and talent, with eight of the nine musicians being former CMNW protégés.
Including double bassist Nina Bernat, the concert delivered a thrilling experience, enhanced by the stunning performance of German violinist Carolin Widmann.
Another highlight was the opening of the concert with Alistair Coleman’s Ghost Art Canticles for String Quartet and Bass.
This world premiere, inspired by American artist Ellsworth Kelly’s “Austin” chapel, resonated deeply with audiences while reflecting Coleman’s imagination and Bach’s influence in a modern context.
Messiaen’s Quartet for the End of Time also made a significant impression during the festival, performed by clarinetist David Shifren, violinist Alexi Kenney, cellist Clancy Newman, and pianist Gloria Chien.
The performance on July 13 at Lincoln Performance Hall and again on July 14 at Kaul Auditorium left listeners in awe of the piece’s emotional depth and historical context.
Celebrated pianist Chien attested to the piece’s singular importance, highlighting its intricate structure, varied dynamics, and profound spiritual journey.
The composer Olivier Messiaen crafted the work under the harrowing circumstances of a Nazi prison camp, where he managed to gather the essential instruments for its creation.
Chien noted the clarinet’s opening movement, which emerges from silence to a powerful crescendo, as a revelation that encapsulates the work’s transcendent nature.
Each movement of the piece tests the limits of both the instruments and the musicians, fostering a connection with themes of humanity, struggle, and ultimately, hope.
As the festival unfolded, audiences were able to experience the breadth of human emotion through music, revealing a deep connection shared among the performers and their audience.
With an emphasis on both classical masterpieces and contemporary compositions, CMNW provided a vibrant platform for some of the finest musicians and music lovers to gather and celebrate their shared passion for chamber music.
This year’s festival not only paid homage to the masterpieces of composers like Bach but also embraced the daring expressions of modern music.
For the attendees, the festival became more than just a series of concerts; it was a profound exploration of artistry and a reminder of the timeless power of collaboration in music.
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