Kevin Standlee: Fandom Is My Way of Life

Last week's grocery order came, not with the prepackaged boneless chicken thighs I'd ordered, but with some wrapped up from the meat counter. This made me worried that they wouldn't last as long, so I hastened to use the pound-and-a-half of them in the next two evening's dinners. I fetched two favorite recipes from my little homebrewed cookbook.

First was lemon chicken, which is made by pan-frying whole boneless thighs that have been coated in flour, and then taking the chicken out of the pan and making the sauce in the leftover juices. The recipe says to prepare the chicken by pounding it thin, so it will cook all the way through, as there's a limit for how long you can cook it in the pan before the surface begins to burn. But I can't be bothered with the pounding (experience having shown I can't do it very well), so I found a shortcut: take the cooked chicken, before putting it back in the pan with the sauce, and zap it in the microwave for 30 seconds.

Then one of my two recipes for Chinese cashew chicken, both of which B. likes better than most of the cashew chicken dishes we've had as takeout from local Chinese restaurants. (Actually there's one she likes, but it's from Menlo Park, which is 20 miles away so opportunity to come home from there with dinner is limited.) This requires cutting the meat up in smaller chunks, which is something of a bear of a task but worth it for the results. This one has a sauce including lots of garlic and hoisin sauce as well as soy sauce and chicken broth, which starts out liquid and then sets in place. For cashews, I grab a handful from a can of halves and pieces, which work better in recipes than whole cashews.

For this one, the veggies can be included in the main dish. I'd brought a couple packages of jollof rice home from the newage grocery in Ashland, and made congee* out of it, which owing to the size of the package made for a huge result, especially as I'd mixed a pound of cooked ground turkey into it, a trick I'd borrowed from the recipe for Cajun rice dressing (aka "dirty rice"). Anyway, the point of mentioning this is that the leftovers are making a great side dish for dinners that need rice. Scoop some into a cereal bowl and zap it for a minute and a half.

*Congee is made by taking a rice recipe and doubling both the amount of water and the cooking time. The result is not that different from a regular rice dish, but it has half the carbs.

I didn't attend this concert, even though it was local. Not in person, anyway. My slowly recuperating health is still not up to such a venture. But this community orchestra, which I've heard before, had such a tempting pops-oriented program that I signed up for the livestream version and took it in that way, just as I'd done for Banff.

It was all dance music: a suite from Tchaikovsky's Swan Lake, parts of which I like and parts of which I could do without; and three works of Latin American origin: the two most standard Mexican pops-classical numbers, Moncayo's Huapango and Márquez's Danzón No. 2, and a suite of Three Latin American Dances by Gabriela Lena Frank. This was more a set of tone poems than the others' dance hall numbers.

Thomas Alexander conducted, and for an encore they played an encore: the last couple minutes of Huapango over again.

There were, as you'd expect of a community orchestra playing difficult music, some weak and rough spots here and there, but they entirely avoided playing the Mexican pieces with a flat Anglo accent, a horror I've actually heard once or twice.

What I could have really done without was the municipal puffery talks from orchestra members in between every two pieces. It wasn't so much that they were begging for contributions, though there was a bit of that, it was more that they wanted to assure the listeners what a great orchestra they are, and how educational they're being by inviting local high school students to play along with them, to give them exposure to real "high level" (that's the term they used) playing.

There's high level and there's high level - this orchestra manages coherent playing with artistic interpretation, but next to a professional orchestra, there's no comparison. And judging by the last time I heard a community orchestra with high school students attached, and then they left and I could hear the orchestra without them, the orchestra didn't build them up, they dragged it down.

This was just fun to hear the music.

Have you seen any of those bits on late-night comedy shows where they send a crew out on to the street and ask passersby some simple question (like, "can you point to and name any country on this boundary-outline map of the world?") and compile clips of people completely failing at it?

Here's such a video in which, gratifyingly, most of them get it right. Query is to fill in the missing word in various famous quotations from Shakespeare's Julius Caesar. Not from a comedy show, but filmed at and by the Oregon Shakespeare Festival in the lobby of the theater holding this year's production of same (which I saw), which might be considered a giveaway.

Box score:
1st. Poiesis Quartet
2nd. Arete Quartet
3rd. Quartet KAIRI

And so it's over. A couple hours after the end of last night's final concert of the Banff International String Quartet Competition with all the competitors, the three finalists were announced. (The one time I saw this happen in person, the director just got up before a microphone at the campus bistro, where a lot of us were hanging out for the evening.) That led to a concert this afternoon with each of the three finalists taking a long set, and then after a couple more hours of cogitation, the formal announcement of the three-place results, this one on the concert hall stage with a lot of applause and handing out of certificates.

In past years, the finalist round has consisted of a full performance of a major Beethoven or Schubert quartet, but this year they moved the ad lib round into that place. Each finalist had 45 minutes to play whatever they wanted for string quartet, subject only to the provisios that 1) they had to include at least three different composers, 2) at least full movements, no excerpts, 3) nothing they'd previously played during the festival, 4) though they could choose works by any connecting principle or none, they had to write an essay explaining why they'd made that selection. These essays were distributed to the in-person audience as program inserts, but if they made it onto the website, I couldn't find it.

So here are the finalists, what I thought of their earlier performances, what they played in the finalist round and how it came out.

First place, winner of the 2025 competition, is the Poiesis Quartet, and I have to say I'm very pleased. I thought they were by far the best of the three finalists. Particularly fine were their outstanding Brahms and extremely good Bartók. I also liked their playful Haydn and their dramatic Beethoven. The only thing I found disappointing was their 21st century selection, which they may have played well but which was not interesting music. They were at least the most interesting looking of all the competitors. They eschewed standard concert wear entirely, and their dress and grooming were ... well, this photo gives a good idea. They also use more gender-neutral pronouns than all the other competitors put together. They're Americans who are all graduates of the Oberlin Conservatory, and it's been suggested they may have picked up some of their style there, or maybe that's the appeal that's the reason they went there.

Poiesis's finalist recital was also all living 21st century composers, but it came out very differently from the earlier round. All four of these works were very interesting, even at times captivating, if not ingratiating. Two of them were basically quiet. Jerod Impichchaachaaha' Tate is a composer of the Chickasaw Nation, whose work I've heard done by the Oakland Symphony. His Pisachi has some fast and dramatic sections, but is mostly slow held notes with a strong folk flavor perhaps inherited from the composer's people. An even more hushed piece titled Phosphorescent Sea was well described by its title. Its composer was Joe Hisaishi, much older than the other composers on Poiesis's list and best known as the house composer for Hayao Miyazaki's films. Brian Raphael Nabors, an African-American composer who's also going to be done by Oakland, offered the first faster piece, a quartet that's brisk and snappy, bristling with colorful effects. The Seventh Quartet by Kevin Lau, Canadian of Chinese birth, was also fast and lively if less colorful than Nabors. These were all strongly and intelligently played and well sold by the Poiesis Quartet.

Second place goes to the Arete Quartet, two women and two men from Korea. They did a fine Schumann, and I also liked their clean and elegant Haydn. They did a lively job on their 21st century selection, but I disliked the piece. But I found their Schubert wanting in coherence and their Berg bloodless and enervating; they got very bad ratings from me for those.

For the finalist round, Arete picked a more conventional 20C program, Britten's Three Divertimenti and the same Janáček First Quartet that Kairi and Cong already did. Arete went even further than Cong on this one, building up the dissonant squawks and sounding as if the consonant passages existed only to increase the contrast. And to provide a third composer, Arete played the Mozart movement whose weird introduction gives the K. 465 quartet the nickname "Dissonant."

Third place goes to Quartet KAIRI, which I'm not going to use the capital letters on all the time. This group consists of four men. They're Japanese or Chinese by origin, but they're all studying in Salzburg now, so they consider that their home base. Their best performance was their thick and resonant Haydn; they won a special prize for the best Haydn performance of the round. Their Mendelssohn and Schubert seemed to me adequate but not the outstanding work you expect here, and their Janáček First was the opposite of Arete, attempting to dampen down the dissonance in defiance of the composer's intent. Their 21C piece was a piece of retro modernism of the sort I find undesirable.

Kairi's finalist round, like Arete's, consisted of two standard 20th century works leavened with a little Mozart. One of the pieces was Landscape by Toru Takemitsu, whose shows its old modernist character by making its sound sheets full of stringent dissonance. Tate and Hisaishi don't do that. More to my taste was Shostakovich's Eighth Quartet, but I had a harder time parsing their slow and gentle approach to the outer movements. The Mozart was two movements from K. 575, one of the Prussian Quartets.