The Oregon Symphony’s recent performances of ‘Celilo Falls’ from June 7-9 at the Arlene Schnitzer Concert Hall showcased a piece that has evolved remarkably since its debut three years ago in a smaller venue.
Composed by Nancy Ives, ‘Celilo Falls’ tells the poignant story of the loss of Indigenous fishing waters, a narrative that needed to be amplified despite Ives acknowledging her own background as a descendant of colonists without any Native heritage. Given the significance of the subject matter, she sought collaboration from Indigenous voices.
Ives partnered with Cherokee photographer Joe Cantrell and Shoshone/Bannock poet Ed Edmo, allowing their perspectives to contribute to the composition’s depth. Over the three-year development period, feedback from numerous Native individuals proved essential, particularly from elder Martha Cloud, Yakama, who encouraged Ives to engage with the natural world by listening closely to the sounds of the Columbia Gorge water. Ives remarked on her transformative experience while lying on a rock, connecting with the rhythms of the area.
The orchestral version of the piece was grander and more dramatic than its chamber counterpart titled ‘Celilo Falls: We Were There,’ which had premiered in 2022 with the Portland Chamber Orchestra. Ives stated in an interview that the updated title, simply ‘Celilo Falls,’ reflects the ongoing presence of Indigenous peoples along the Columbia River, emphasizing their spiritual connection to the waters.
The title shift marks a departure from the past, focusing on the present struggle and resilience of Indigenous life. The narrative centers on the flooding of Celilo Falls in 1957, which resulted from the construction of the Dalles Dam, irrevocably altering the local ecosystem and harming the Native fishing tradition. Formerly one of the largest and most famous falls in the world, the area had served as a vibrant fishery and a communal gathering place for many Indigenous peoples.
Linda Meanus, an author from the region, poignantly shared the emotional toll of the falls’ destruction, stating, “It broke Grandfather’s heart.”
Since the initial performance, minor adjustments were made to the 45-minute composition for its orchestral version, but Ives maintained that the essence of the music and story endured. Ives described her music as a bridge connecting Edmo’s poetic expressions with Cantrell’s visual storytelling, enhanced by Cantrell’s stunning photography of salmon, underwater flora, and ancestral carvings. As Cantrell articulated, “We ARE the rock, we are the water, the salmon. We are made of star stuff.”
Edmo’s relationship with the falls lent authenticity to his poetry, featured prominently throughout the symphonic performance. Lines from his works such as “What I Miss the Most Is the Mist” and “Celilo Blues” were seamlessly incorporated into the orchestral narrative, with actor Brent Florendo Sitwalla-Pum narrating on stage.
Conductor David Danzmayr crafted an emotional and meditative performance that presented the music with a reflective tone, rather than aggressive or confrontational. Ives noted Danzmayr’s commitment to collaboration, making it clear that he sought her input throughout the process, a rare practice among conductors.
An innovative addition to the orchestral presentation was video animation by Zak Margolis, which showcased Cantrell’s photos on a large screen as they transitioned smoothly, mimicking the movement of water and reinforcing the themes of the piece.
The composition itself incorporated various musical elements, notably showcasing a harp for the first time, adding a new layer to the storytelling. Ives highlighted the harp’s role in mirroring the sounds of water and wind, contributing to a rich, atmospheric experience. The use of woodwind and brass instruments to create wind sounds further enhanced the auditory imagery, capturing the essence of the falls’ magnificence and absence.
The loss of Yaacov “Yaki” Bergman, the late maestro of the Portland Chamber Orchestra who commissioned ‘Celilo Falls,’ was felt deeply by Ives and her collaborators, with both expressing the profound significance of the project as one of the most meaningful artistic endeavors in their careers.
Ives’ work fits into a continuum of notable living composers that the Oregon Symphony has highlighted, joining the ranks of Kenji Bunch, Andy Akiho, Gabriel Kahane, and Damien Geter, each of whom has made significant contributions to contemporary music.
Following the impactful performance of ‘Celilo Falls,’ the orchestra transitioned to a lively rendition of Nicolai Rimsky-Korsakov’s ‘Scheherazade Op. 35,’ a piece known for its rich storytelling and romantic themes. Danzmayr’s vibrant conducting style allowed the piece to flourish, demonstrating the orchestra’s capabilities.
Violinist Sarah Kwak stood out as the voice of Scheherazade during the performance, delivering high notes with precision and emotion, ultimately bringing the four-movement orchestral work to a powerful conclusion. The performance was well-received, bringing applause and excitement from the audience, who were captivated by the narrative depth and musical execution.
In a performance celebrated by all attendees, the evening concluded with the hope that both ‘Celilo Falls’ and Rimsky-Korsakov’s masterpiece remind us of the enduring power of storytelling through music.
image source from：https://www.orartswatch.org/i-can-hear-it-in-the-wind-celilo-falls-with-the-oregon-symphony/
