If you - like the rest of us, are trying to get a handle on what, precisely, the Lincoln Center Festival white light is subject, you should probably start with Janet Cardiff "art sound installation" "Forty – Part Motet," such as the festival itself was Thursday night.
In a speech for the opening reception, Jane Moss, the imaginative Vice-President tirelessly for the programming of the Lincoln Center and the creator of the festival, first said that what it really is to serve as "an antidote to the mid-term elections."But it is serious and successful installation as the perfect metaphor for what the festival tries to achieve: focusing on personal interior spaces "where all the music starts."If heavily towards outside time bad taste or right on plug with them (I raise Clint Eastwood "Hereafter" on hearsay, since I have yet to see), Ms. Moss was fixed on the concepts of spirituality and transcendence to assemble a table three multicultural week varied primarily of music sacred.
"Forty-part motet," which will occupy the Agnes Varis and Karl Leichtman rehearsal and recording studio of jazz at Lincoln Center through November 13, motet Time Warner building uses part 40, Thomas Tallis incredible "Spem in Alium" 1573.Mme Cardiff more or less isolated 40 voices, and everyone is fed to an individual in a decor surround speaker. Listeners are invited to immerse themselves in the wash of sound from a central location or to walk around in the web of the voice, moving their concentration, as suggested by whim.
The experience is obviously supposed to be absorbed and appreciated in a frame of mind receptive and critical. But the criticism in a penny is, unfortunately, in a book, and trivial considerations necessarily interfere.
First of all, as you approach individual voice you are requirement that, even in a choir, not all individual voices are just fine, and that the unevennesses prove distracting.(Here, the choir is Salisbury England Cathedral).In addition, you happen to speakers without sex, age-old mute during extended rests, and whatever suddenly breaks the silence - if a man, woman or child — is a surprise and, therefore, another distraction.
Perhaps noncritics can ignore (transcend?) this .but I would recommend remaining near the Centre and attempt to take the music as a whole.
The 11-minute work runs on several occasions, with three minutes intermission, noon to 8 p.m. and later evening when performances are held close de.Sous rose Theatre not welcome.
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