Before my Rosemary died on December 8, 2020 we went to theatre, dance and all kinds of concerts. Since then I have refrained from going anywhere or even turning on the TV. I stay on my bed with my two cats and read; write my daily blog and, now that spring is around the corner, I will clean up my Kits deck garden with its 45 old roses.
But on Saturday I didn’t have to put much effort to go to the Yarilo concert Creating in dangerous times at the Orpheum Annexn on Seymour.
Rosemary did not care for dissonant new music so I usually
went alone to the Yarilo and Turning Point Ensemble concerts. But I may not be all that correct. I remember going to fabulous Turning Point Ensemble concert that featured the symphonic music of Duke Ellington and another where pianist Jane Hays performed Stravinsky's Tango.
Because I am a fan of the Turning Point Ensemble I am a fan of the Ensemble’s pianist Jane Hayes.
And so I went.
The program featured composers of the 20th century I had never heard of (all alive except for Jocelyn Morlock and Charles Koechiné). Each composition was preceded by a poem and dance by performance artist Celese Nazeli Snowber.
One standout work for me was Épitaphe de Jean Harlow Op. 164 by Charles Koechin. It was sweet and melancholic.
Another was Jocelyn Morlock’s Petrichor in which by the end I could imagine little drops of rain falling on the dry pavement.
But for me the real treat was bassist Jodi Proznick’s Ancient Yearning and Storm in which she enthusiastically banged her bass and pounded the floor with her high heel shoes.
I enjoyed the short poetry (good and brief twice as good – Gracian) of Celeste Nazeli Snowbear as well as her dance.
Julia Nolan played two saxophones, an alto and a soprano. I dislike the soprano because few can ever get a smooth sound. Nolan did this in spades.
Jane Hayes managed not to demolish the piano. I was happy
with that. I enjoyed my cababayan Jimuel Dave Dagta's Kensington: Diversity and Long Walks (World Premiere). My guess is the he came in his Cadillakat.
But I want to close here to point out that violinist Joan Blackman (not hidden in a large orchestra but standing up front, and sometimes hiding Hayes behind her) was the second dancer of the evening. Her movements were sinuous and with her red hair my eyes were on her lots.
