If you aren’t paying attention at the beginning of Andrew Norman’s “Music in Circles” you might miss it. The first note is just so quiet, an almost imperceptible harmonic whispered high in the viola, the kind of airy, insubstantial noise you have to strain to hear.
But once you hear it you’re hooked.
That first lonely pitch is like a slow intake of breath, interrupted after a moment by a stuttering spiccato exhalation that foreshadows the energy that is to come. Slowly the viola is joined by other strings, and patiently the music unfolds and intensifies until, some two and a half minutes in the viola takes off with an up-tempo rhythmic pulse produced by bouncing the bow vertically off the strings, generating a sound that is a blend between being pitched and being a percussive noise.
From here the music grows in volume and intensity as the cello and trumpet play yearning arpeggiated lines, the bass clarinet pitches in with a fluttering falling figure, the violin scratches wildly and the flute shoots jets of air. It’s thrilling. And then it winds down again, just as patiently as the music of the opening developed.
Eventually, the piece closes out with soft, slowly moving echoes of the previous material, pared down until it’s only the viola, again, playing alone, with that same airy harmonic it began with.
“Music in Circles” has always been one of yMusic’s more popular pieces, at least on the classical music side of things, so it’s no wonder that the group chose to program it on last Friday’s performance at Rackham Auditorium.
Four dancers in an eerie semi-darkness -- bald, torsos nude, bodies covered in white dust -- stand together in a circle. They stay fixed to the floor, seemingly rooted to the spot, as their bodies turn around in a unified, slow-motion gesture. Their feet rotate in place as their limbs twist together, until legs spiral around one another and the spine and neck swivel to bring the ghostly visages directly before the audience. On the faces, there is an open-mouthed image of silent, inexpressible anguish, a sort of inaudible scream whose riveting force stops your breath. For a moment, before the contorted and gnarled bodies reverse direction and rotate back, you have unshakable certainty that this is the face of a body in pain.
Then the moment passes and the spell dissipates.
There’s no pain here, not really, just illusion and mastery.
This kind of arresting image isn’t uncommon for Sankai Juku, a Paris-based troupe that practices a Japanese dance form known as butoh, an avant-garde genre that arose in the 1960s and is recognizable by its characteristic use of white body powder and shaved heads.
Double Date in Kerrytown: William Bolcom, Joan Morris, Amy Burton, and John Musto paired up for cabaret
A crowd of concert-goers buzzed with excitement last Sunday as they packed into the seats of Kerrytown Concert House, excited for an afternoon of music with a cabaret duo that over the years has emerged as a community favorite.
Pianist William Bolcom and mezzo-soprano Joan Morris, a husband and wife musical team, are among the leading performers of cabaret music active today, as well as having been members of the Ann Arbor community for over four decades. Both former faculty at the University’s School of Music, Theatre & Dance, they have been concertizing together for over 40 years, and even performed at the very first concert hosted by Kerrytown Concert House some 35 years ago. The duo was joined on the stage Sunday afternoon by another musical couple, soprano Amy Burton and pianist John Musto, for a light-hearted performance billed as “Double Date.”
Without a doubt, Laura Palmer’s corpse remains one of the most enduring images to come out of ‘90s television.
Anyone who has watched the Twin Peaks premiere (either at the time of its airing or as part of the younger, revivalist crowd) is certain to recall the eerie impression that Laura is simply sleeping, bound to wake up any minute -- this despite, of course, the fact that she is quite clearly “dead, wrapped in plastic.”
The shot is memorable, perhaps, not so much because of any particular aspect of the composition, but because of the horrible incongruity of its visual and dramatic elements. The viewer is presented with a face apparently at peace, the only hints of death’s presence being the pallor of Laura’s flesh and the slight blue tint of her lips. Faraway from the brutality of Laura’s murder, the image is at such a great remove from the horrific violence behind it that it sits with us in a way that is particularly uncomfortable. But more than that, the image is important for its symbolic significance, for what its very presence on our TV screens says about the way we think and the stories we tell ourselves as a society.
Alice Bolin takes the idea of this symbolic significance as her jumping-off point in a remarkable new collection of essays -- aptly titled Dead Girls -- which she read from on August 17 at Literati Bookstore. A sprawling mosaic of analysis, cultural criticism, and memoir, Bolin’s collection touches on much more than the phenomenon of the “Dead Girl” in the American popular imagination, despite its title.
There’s an interesting look that Freddy Cole sometimes gets when he’s playing. It’s not a faraway look, exactly, but it’s as if he’s not fully present, not completely in the moment. Sitting behind the keyboard, he stares off into the audience, looking at them but not really seeing them. His hands move across the piano keys seemingly with a mind of their own, coaxing out chords and picking out melodies. It’s like he’s somewhere else.
At least that’s the impression I got last Thursday at Kerrytown Concert House, where the Freddy Cole Quartet gave a pair of evening performances. Made up by Cole on piano and vocals, Randy Napoleon on guitar, Elias Bailey on bass, and Jay Sawyer on drums, the quartet offered a refreshing and skillful taste of straight-ahead classic jazz.
There’s a moment near the end of Laura Bernstein-Machlay’s new book of essays, Travelers, in the middle of the author’s conversation with a friend on page 163, when she makes the comment, “I’m a liar … I’ve lied to everyone I know. I lie to myself every damn day.”
Out of context this excerpt might seem to cast the speaker in an uncharitable light -- an appearance that is ameliorated by having come to know the narrator as a genuine and warm person over the course of the previous 15 essays -- but it’s worth mentioning because it speaks to the heart of one of the challenges inherent in the genre Bernstein-Machlay has thrown herself into with this book. When taking oneself as a subject, how can you ever be sure that the truth is what you think it is? How can you weed out the false from the real in the stories we tell about ourselves, reinforced through repeated use?
“I had to be as honest with myself as I possibly could,” Bernstein-Machlay said in an interview. “And that meant moving past the lies I was so easily telling the world. So much that I was telling them to myself. And they weren’t big lies, they were just the stories about yourself that get you through the day.”
Starting August 10, Kerrytown Concert House will be host to the first in a continuing series of concerts hosted by longtime Ann Arbor resident and jazz bassist Paul Keller. This inaugural installation of “Paul Keller Presents” will feature the talents of singer and pianist John Proulx, a Grand Rapids-raised musician whose career has taken him from coast to coast before leading him back home to pursue a Master’s degree from Western Michigan University.
“He has a grasp of jazz language that I like to hear,” Paul Keller said of Proulx. “He has a grasp of the way that I like to present jazz. I’m proud to be on the stage with him because of those things.”
Performing as a trio, Keller and Proulx will be joined onstage by drummer Pete Siers, who is also an Ann Arbor resident. Siers, who will also be playing on the “Paul Keller Presents” concert of September 28, is a musical collaborator of Keller’s and performs in the Paul Keller Orchestra, a nearly 30-year-old big band that performs every Monday at the Zal Gaz Grotto in west Ann Arbor.
Friday evening the Cavani String Quartet made an appearance at the Kerrytown Concert House, presenting a balanced program of Mozart and Ravel. Playing to a packed house -- following a champagne reception and a brief pre-concert talk -- the four musicians found an enthusiastic audience.
Formed in 1984, the Cavani Quartet has been hailed for its artistic excellence and been the recipient of numerous awards, but the group has also shown a strong commitment to music education. Throughout the years, Cavani has been an ensemble-in-residence at various festivals and universities, and since 1988 has been the quartet-in-residence at the Cleveland Institute of Music, one of the preeminent conservatories in the Midwest. Cavani's appearance in Kerrytown on Friday, May 25 was part of another such residency, as the musicians are the artists-in-residence at this year’s PhoenixPhest, a chamber music educational festival run by the Phoenix Ensemble. One of the organizers of the festival moderated the pre-concert talk.
Five hundred years ago a theological revolution was heralded in by the ping of hammer on nails. When Luther left his theses pinned to the church door at Wittenberg that day in 1517 he didn’t intend to start a schism or to tear asunder the heart of the Catholic Church. But with the posting of his grievances, Luther set into motion a series of events that would forever alter the history of the world, and in so doing, would change the course of all that his movement touched. Swept up in the wave of Reformation was the art of the age, which warped in such a way that new worlds were born -- and now, echoing down the halls of history, the music of that era of transmutation arrives in Ann Arbor.
“Probably the most important change that the Reformation brought us was that music started to be sung in the vernacular,” said Steven Rickards, founder and countertenor of the early music ensemble Echoing Air. “The music of the language is going to affect how the text is set.”
Echoing Air, which will be performing a program of music from the German Reformation at St. Andrew's Episcopal Church at 8 pm on Saturday, September 16, was founded by Rickards in 2009 with the purpose of advocating for music that features the pairing of two countertenor voices, two recorders, and basso continuo.
As he introduced each piece during his July 16 performance at Kerrytown Concert House, André Mehmari tended to position himself between the small audience and the jet black bulk of the concert piano behind him on stage. Standing in a manner that was at once relaxed and poised, the 40-year-old Brazilian pianist and composer would sometimes lightly rest a hand on the edge of the instrument’s body as he spoke, engaging with his audience in a manner befitting the intimate space of the venue.
“I think that it’s very important to play this music, to tell the story of Brazilian music,” he explained. Mehmari -- who appeared at Kerrytown Concert House nearly a year prior -- brought with him an exciting collection of repertoire, music infused with influences of jazz, ragtime, classical, and all manner of Brazilian and Latin American music.