Scene in on a girl nervously sweating, breathing rapidly, feeling a tightness in her chest. She opens her mouth to sing, unsure if sound will even come out, and it does. Yet, it’s not the sound she was hoping for. It’s too slow and then suddenly too fast. She can’t find a pitch to save her life – it’s a disaster…
Funny, this is exactly how all my stress dreams go and sure enough I started having this one weeks ago about this very day. Today my ensembles rehearsed our Bang on a Can Fellow Composer’s pieces and George Crumb’s seminal work “Ancient Voices of Children.” I would be lying if I didn’t cop to a few what-the-heck-is-going-on moments. However, my actual rehearsal sessions were completely different than my nightmarish rehearsals.
We were treated to a wonderful 4:30PM concert by Bang on a Can All-Star David Cossin. Cossin enlisted friend, composer, and guitarist Gyan Riley to play three pieces. Riley has an immediate welcoming and inviting quality to his music. Expressive inferences to palms swaying in the wind were an interesting element throughout the first piece. BoaC faculty member Todd Reynolds joined the two for a highly lyrical, yet percussive, turn during “Melismata.” Finally, Cossin and Riley entertained both ear and eye by performing a live score while projecting the 1921 Buster Keaton film “The Goat.” It was inspiring to watch Cossin and Riley play with such intention and synchronization with the film.
We also enjoyed an evening discussion with Michael Gordon, David Lang, and Julia Wolfe in which they discussed the beginnings of BoaC starting in 1987. They really came to the conclusion, those years ago, that they wanted to create something to expose younger generations to innovative works no matter what.
So hopefully the nightmares will cease and desist soon and I can get on with all those awesome Monteverdi trills/watching the conductor with my head stuck under the lid of a piano.
Goodnight all. Make sure to leave any questions and/or comments below!
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