Fountain of inspiration: John Luther Adams’ new “silla”
Composer John Luther Adams (John Luther Adams) was a great success, he won the Pulitzer prize this year, because of his expansion, disturbing and beautiful orchestra became dark sea, will be released at the Seattle symphony orchestra recording in the autumn. His monumental 2009 percussion “Inuksuit” has been recorded and staged repeatedly in countries such as Tennessee and Portugal, and it is almost unimaginable in a time of the premiere.
Long forced Adams thought in his works of outdoor “breathing” Sila: world premiere in Lincoln Center (Friday night) found a new home, and again in the second night performance. I attended a rehearsal for Friday afternoon and a second concert. Double marking – Adams work deeply focuses on the interaction between people and the environment, it is an undeniable, but don’t belong to sectarianism mysticism – through the exquisite music structure and pacemaker.
Signed by two Lincoln Center’s summer series, opera house inside and outside the joint outside Moscow, Silas debut for two goals: to create new works, and more creative use of the organization of outdoor space, welcome only by entry and exit the temple of culture can be familiar with the campus of the latest development of music lovers. Arranged around Hearst Plaza, silla’s 81 actors are scattered on the lawn, in the trees, and even in a pool of water.
Silas is a from 16 to 80 or more musicians play the music, is divided into five separate woodwind, brass, percussion and stringed instruments, and voice ensemble, they can perform simultaneously or successively in any combination. Based on Adams notes, as long as the continuous tone or the rise of the phrase “continuous breathing a complete length”, there is no command, every musician by scoring to choose his or her own pace.
The work is set on 16 “harmonic clouds” based on the first 16 overtones of low B flat. Does this sound like anarchy, or is it too academic? Hardly. Music sparkles in a magical and beautiful way. And syrah is as many performance pieces as possible according to sound waves. Mark DeChiazza, the choreographer, emphasized the long, luxury phrase, which seemed to stop the passage of time by allowing performers to slowly and clearly play tai chi.
Like other Adams’ works, it is also the most famous Inuksuit, and the audience is involved in shaping their own experience. The listener chooses to sit, stand or twist and change the sound experience, and each person’s experience is different. I choose to rotate my listening points every 10 or 15 minutes.
The string player was stationed at the edge of the grove at a post under the Lincoln Center theater. The wind, brass, and timpani on the grassy hills that descend from the entrance of juilliard, though only a few dozen feet away, may sound far away. In the southeast corner of the space, metallic metal bow hum occupied for a period of time. In the northeast, on the dining room table, is the clink and clink of the plate. The singer stands in the middle of the pool in the center of the performance space.
Led by Doug Perkins, director of music, some of the country’s most important new music experts have premiered. They were selected from the Adams community across the country – Chicago’s eighth black bird, Philadelphia’s crossroads choir, and the new music band at grand valley state university in Michigan. Jack and they quartet, brass bands, the drummer Can Asphalt symphony orchestra and the New York City, many famous freelancers (including more than 100 BPM projects recently NPR Music command/large player John Altieri) in New York City residents performing together. For Silas, it was Adams music’s enthusiasm among performers.
At the first performance, the audience does not allow along the long side of the pool, string players and percussion player walking between the main channel, although many people sitting there (like I did) during exercise). By Saturday night, Adams had passed the audience’s blessing, and the artery was soon blocked. For about 30 minutes, the experience was half a meditative labyrinth, half the familiar half of driving a 1 train during rush hour.
But there are other things that happen. Absent a stage, the traditional walls between musicians and listeners disappear. This intimate relationship creates a wonderful cocoon of Shared experience and a silky, hollow sound layer. Physical closeness does pose a risk: on Saturday, I saw some people surprisingly close to musicians, their instruments taking selfies in performances.
Yet even these interruptions do not penetrate Adams’s elegant ways and the quiet and deep thinking of his charming works. The composer to translate the work of the Inuit title: “Silas is wind and weather, it is the power of nature, but it is also more, Silas is wisdom, consciousness, it is our understanding of the world around us, the world’s understanding of us”. Even as Manhattan approached, Adams and his musicians created a music and drama, encouraging the audience to take a deep look at the imaginary space beyond Hearst square.
Silas ends with a player blowing through a loudspeaker – no notes, just long exhalations, you have to listen closely. Just as Saturday’s performance is coming to an end, the breeze is blowing, creating new ripples in the pool.