A climactic moment occurred when one violinist stepped forward into the center of the semicircle of musicians and played a solo. The moment was particularly powerful because the projected words upon the walls flashed to the rhythm of his riffs. Set on a loop, the words were at first readable and cryptic in meaning only, but as the music picked up speed they devolved into a mad barrage that was almost impossible to understand.
John Sherba's solo, as mentioned by Katharine, was pretty kick-ass. I felt like he was challenging me to a fight but, you know, beautifully, like a coke-addled gentleman's duel. The final episode was also particularly striking and evocative of Hurricane Sandy, a theme of the performance. It grew like flooding waves into an active battleground and we as audience members sat transfixed and paralyzed at the beautiful destruction taking place before us.
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John Sherba's solo, as mentioned by Katharine, was pretty kick-ass. I felt like he was challenging me to a fight but, you know, beautifully. The final episode was also particularly striking and evocative of Hurricane Sandy, a theme of the performance. It grew like flooding waves into an active battleground and we as audience members sat transfixed and paralyzed at the beautiful destruction taking place before us.
Damn, Katharine took mine. There's another moment that could have been my favorite. A long vamp section occurs built on a simple harmonic shift from B major to G major that's reminiscent of Laurie Anderson's "O Superman." The shift in harmony gives the listener a false sense of rest which gets disturbed and restored at each shift but never feels out-of-place. Upon this there's a simple arpeggiating melody that ends each time in the new key. The effect is oceanic and gentle but with perpetual motion-- Anderson at her best.
A climactic moment occurred when one violinist stepped forward into the center of the semicircle of musicians and played a solo. The moment was particularly powerful because the projected words upon the walls flashed to the rhythm of his riffs. Set on a loop, the words were at first readable and cryptic in meaning only, but as the music picked up speed they devolved into a mad barrage that was almost impossible to understand.
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ReplyDeleteJohn Sherba's solo, as mentioned by Katharine, was pretty kick-ass. I felt like he was challenging me to a fight but, you know, beautifully, like a coke-addled gentleman's duel. The final episode was also particularly striking and evocative of Hurricane Sandy, a theme of the performance. It grew like flooding waves into an active battleground and we as audience members sat transfixed and paralyzed at the beautiful destruction taking place before us.
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John Sherba's solo, as mentioned by Katharine, was pretty kick-ass. I felt like he was challenging me to a fight but, you know, beautifully. The final episode was also particularly striking and evocative of Hurricane Sandy, a theme of the performance. It grew like flooding waves into an active battleground and we as audience members sat transfixed and paralyzed at the beautiful destruction taking place before us.
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ReplyDeleteDamn, Katharine took mine. There's another moment that could have been my favorite. A long vamp section occurs built on a simple harmonic shift from B major to G major that's reminiscent of Laurie Anderson's "O Superman." The shift in harmony gives the listener a false sense of rest which gets disturbed and restored at each shift but never feels out-of-place. Upon this there's a simple arpeggiating melody that ends each time in the new key. The effect is oceanic and gentle but with perpetual motion-- Anderson at her best.
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