The Chamber Music Society of Lincoln Center (CMS) is celebrating its 50th anniversary, a milestone. So, co-artistic director and cellist David Finckel says it was fitting that CMS begins this season with milestones in the art of chamber music. “We identified pieces of music that have somehow influenced the way chamber music evolved,” he says.
The program CMS will bring to Rackham Auditorium in Ann Arbor on October 11 includes four of these works: Harry Burleigh’s Southland Sketches (1916), Antonin Dvořák’s Quintet for Two Violins, Two Violas, and Cello in E-flat Major, Op. 97 (1893), Leonard Bernstein’s Sonata for Clarinet and Piano (1941), and Aaron Copland’s Appalachian Spring (1944), originally called Ballet for Martha (Graham).
“The story of Dvořák in America is colorful and entertaining,” says Finckel.
Turns out, it is Burleigh’s story, too.
You can debate who the best guitarist is all day and still not carve out a consensus. Braaap all you want about who's the finest trumpeter and the winner's horn will never sound. Argue about pianists and you'll be talking in circles about tickling the ivories even though a title-holder will never be crowned.
Might as well cue Jadakiss' "The Champ Is Here."
It's Ciani by knockout.
The 73-year-old champ is bringing her Buchla to Ann Arbor for a master class (2 pm) and a performance (8 pm) on Saturday, October 5 as part of the Resonance festival, an annual one-day event that celebrates women and non-binary artists in music technology, sponsored by the Performing Arts Technology department at the University of Michigan. Ciani will work in Hankinson Rehearsal Hall -- limited seating, get there early because both events are free -- and perform her Buchla compositions in quadrophonic sound with accompanying visuals.
If you're unfamiliar with Ciani, here's a crash course in her music and the synthesizer she mastered.
Seeing Clearly: Singer-songwriter May Erlewine's new album, "Second Sight," is filled with political fire
The much-loved singer-songwriter May Erlewine begins a fall tour this week in support of her powerful and poignant new album, Second Sight, and one of the first shows she has scheduled is on Friday, October 4 at The Ark.
Interviewed by phone last week for Pulp, the Michigan native was already psyched about coming back to Ann Arbor's premier venue for acoustic music. "Oh my gosh, The Ark is my favorite!" Erlewine said. "It feels the most like a homecoming show and I did spend time living in Ann Arbor a lot of my life so there’s truth to that. Every time I play there I put so much intention and thought into it because it’s a big deal to me. It’s just one of the best venues in the whole country."
Erlewine will be bringing a five-piece band and two backup singers to The Ark, with one set devoted to the entire Second Sight album and another set to other songs. "It’s a reflective time but we’re also infusing it with a lot of catharsis and levity," said Erlewine. "I want people to reengage and to feel connected to their home and their community and their heart."
May Erlewine's music truly has a special way of touching the listener's heart and soul with its message of hope and unity, and positivity is something we can never get enough of these days.
A lot can happen in 11 days. One of the original Apollo missions could have gone to the moon and back. The Pony Express could have delivered one piece of mail from Missouri to California. A turtle can walk from New York to Ohio. And the most anticipated YA novel of the fall can be written!
After seeing Black Panther, Brittney Morris penned her debut book, Slay, a story about a young African-American woman who battles a real-life internet troll intent on ruining the video game she created, also called Slay.
“After I saw the movie, I was hoping someone would make a Wakanda simulator video game," Morris says, "because I immediately wanted to go back to Wakanda, and then I got to thinking about how controversial an all-Nubian VR MMO would be. I realized how much responsibility would be on the shoulders of someone managing such a game. And thus, the idea for Slay was born.”
Hydropark's second album, Circuit 2, works like one of those vintage British or Italian library-music albums that feature short songs written to set moods in films and TV shows -- tunes with titles like "Creepy Street," "Misty Canyon," and "Blue Veils and Golden Sands."
Those compositions weren't concerned with key-changing bridges or clean denouements. They parachuted people into the middle of a groove and then extracted them before the mood was exhausted.
"The majority of both our [self-titled] first album and Circuit 2 is loosely structured jams, first takes, experiments, or songs we liked but weren't stylistically consistent with each other," said Hydropark guitarist Fred Thomas, who is joined in the band by drummer Chad Pratt, keyboardist Chuck Sipperley, and bassist Jason Lymangrover. "We looked to J Dilla's beat tapes as inspiration for this record. Collections of fragments and the best parts taken from longer recordings that switch to the next song at the first signs of boredom or disinterest."
The artists in the juried exhibition Hive/Mind ii at 22 North Gallery in Ypsilanti until September 28 have been thinking about honeybees -- a lot. The subject comes up once a year in September. This is the seventh iteration of the citywide Festival of the Honeybee, which includes honey tastings, musical performances, children's activities -- and this exhibition.
The years since the inauguration of the festival have been eventful -- and not in a good way -- for this most useful and industrious of insects. As colony collapse disorder forces a public discussion of the damage humans can and do inflict on the environment, the artists of Hive/Mind ii creatively contemplate the relationship between human and honeybee as a metaphor for our relationship with the environment. Jurors Jessica Tenbusch, Elize Jekabson, Nan Plummer, and Maggie Spencer have selected artworks that reflect a range of media and conceptual approaches to the subject.
Upon entering the gallery, visitors will see a richly colored painting by Kentucky-based artist Michele Newby Armstrong that incorporates the hexagonal cells of bees with what appears to be collaged advertising for the suspected culprit of colony collapse disorder, neonicotinoid pesticides. The artist makes extensive use of stencils that repeat the motif of cell and honeybee, resulting in a pleasing artwork that belies the underlying somber theme. Nearby, ceramic artist Jon Van Eck’s honey bee jug is a black-and-yellow presence. His usually comic tone is subdued here, but still cheerful and technically impressive.
Theatre Nova does it again with an outstanding production of a play that is both an intimate family drama and a relevant piece of social commentary.
Joshua Harmon’s Admissions is a precise, nuanced, and often funny take on the affirmative action debate and how it plays out in the real world. As the University of Michigan has long been at the center of the debate on affirmative action, the play has a special interest for Ann Arbor. Harmon doesn’t take sides; instead, he examines the tensions, the presumptions of white privilege and the hypocrisies of those with the best of intentions.
Sherri Rosen-Mason is the admissions officer for Hillcrest, an elite prep school in New Hampshire. Her husband Bill Mason is the school principal. They are white, well educated, politically liberal, and dedicated to making their school more racially and ethnically diverse.
But what happens when their ideals and good intentions suddenly conflict with the ambitions of their talented, intelligent son who wants to go to Yale.
Marlon Brando's Perfecto leather. James Dean's brooding teenage rebellion. Marilyn Monroe's ethereal, platinum blonde beauty.
It's a testament to the power of Hollywood that so few words can summon such vivid 20th-century American iconography.
Even no-frills popcorn fare like The Day After Tomorrow can have "significant impact" on public awareness according to a 2004 Yale study on Climate Change Risk Perception.
But if these pop-culture dreamscapes can embed in the cultures in which they were conceived, what happens when that product is consumed in foreign cultures, especially those with a different majority religion?
Two events at the University of Michigan will explore this question: Dr. Alireza Doostdar, assistant professor of Islamic studies and the anthropology of religion at the University of Chicago Divinity School, will discuss Hollywood Horror in Iran on Tuesday, September 24, at 4 pm in Room 555 of Weiser Hall and U-M's Global Islamic Studies Center and The Michigan Theatre will present Halaloween: A Muslim Horror Film Fest every Tuesday at 9 pm throughout October. Each film is presented free to the public with English subtitles.
Beer captivates and divides a family in J. Ryan Stradal's new Midwestern saga, "The Lager Queen of Minnesota"
Beer and pie remain constant for characters through rifts, tragedies, and changes in J. Ryan Stradal’s new book, The Lager Queen of Minnesota. The novel follows two sisters, Helen and Edith, as they come of age and make lives for themselves. Yet their paths diverge when Helen taps their father for all the money from the sale of the family farm, which divides the family. Edith becomes known for her pies, hops between service industry jobs, and endures several major losses, all while bottling her feelings about the uneven inheritance. Helen pores over chemistry and learns to make beer in college, and then she grows a large, successful brewery with the help of the farm proceeds. When Edith’s granddaughter, Diana, inadvertently enters the beer business, their paths head toward each other again.
Chapters in this plot-driven yet poignant novel alternate the focus between characters and are titled by various sums of money exchanged within them. The backstory and present lives of the three female main characters are blended throughout the chapters as Diana’s story parallels Helen’s in some ways. It is not only about what is happening or has happened, though. The novel also lingers on nostalgic or emotional moments. When Edith loses her husband, Stanley, the narrator describes that:
Her grief was a forest with no trails, and she couldn’t guess how long her heart would walk through it, as her body walked other places. For half a century, she had seen or spoken with this man almost every day, so his life didn’t end when he died; it found its way into cereal aisles and intersections and post office lines and conversations she didn’t intend.
It’s clear that Edith cares deeply about those around her even as she struggles to get by.
The characters don’t succumb to bitterness despite challenges to support themselves, and they celebrate their successes in an industry that fluctuates based on consumers’ preferences. Beer aficionados and foodies might appreciate the well-crafted descriptions of brewing methods and tasting notes. One passage describes “Grandma Edith’s Rhubarb-Pie-In-A-Bottle” ale as such:
The beer has a fluffy pink two-finger head and smells like malty rhubarb, so it’s certainly not out to fool anybody. ... This beer is flawed, wonderful, and strange in a way only a certain individual could devise, and it renders every other beer on the shelf a faceless SKU.
This review of her beer illustrates Edith’s and other characters’ work ethics and distinct Midwestern traits.
Stradal has first-hand knowledge of the setting, as he grew up in Minnesota. He now lives in Los Angeles and is a contributing editor at TASTE, an online magazine about food and cooking. His first novel is Kitchens of the Great Midwest. He reads at Literati Bookstore on Tuesday, September 24, at 7 pm, and I interviewed him ahead of time.
When I first read Alison Bechdel’s 2006 graphic memoir Fun Home -- the basis for a Tony Award-winning musical of the same name, now on stage at Dexter’s Encore Theatre -- I immediately sent copies of the book out to my three closest girlfriends.
It wasn’t Christmas or anyone’s birthday, but I couldn’t contain myself. Bechdel’s groundbreaking, bracingly candid, and bittersweet chronicle of a family tragedy gripped me so profoundly that my first, undeniable impulse was to share her story with others.
The stage musical adaptation -- with music by Jeanine Tesori, and book and lyrics by Michigan’s own Lisa Kron -- necessarily pares Bechdel’s tale down to its essentials, but it’s no less poignant while depicting Bechdel’s gleeful, college-age “coming out” and, shortly thereafter, her closeted father’s sudden suicide.
At Encore, Sarah B. Stevens plays the always-on-stage, present-day version of Bechdel, who’s struggling to sketch out and narrate her family’s history. (The “Fun Home” of the title is the nickname Alison and her younger brothers had as kids for the funeral home that has long been the Bechdels’ “family business.”) As she draws, she remembers various moments from her childhood and college days as they play out in front of her, until she finally can’t resist inserting her present-day self into the last late-night drive she ever took with her father (Daniel C. Cooney), urging herself to say something that will alter the course of what’s about to happen.