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Minimalist Jukebox #2: Needs More Chimebell
Terrace seating at last night's Minimalist Jukebox concert was like bleacher seats at a baseball game - a bit unruly. Well, unruly as a classical concert can get these days at least. Terry Jennings' (1940 - 1981, born in Eagle Rock) String Quartet begat another piece in the audience. The "drone-inspired, modal, repetitive," extremely quiet and delicate work gave room for a chorus of antiphonal coughs, throat clearing and shuffling feet. These small, but constant sounds foreign to the piece, made it even more beautiful in that sort of "you are a noise nerd" way.
But in a 25-minute piece of this, you can feel the exasperation of the audience. At one point an elderly gentleman whispered quite loudly at a long pause of silence, "this isn't too exciting." A few moments later from another person: "hideous." This and some snoring ensued much giggling throughout the terrace to be followed by the non-surprising cell phone ring at, of course, another moment of silence. A couple from Baltimore visiting their daughter told us after that they were "expecting music".
One snotty response to that could be, "where have you been for the past 100+ years?" Instead, these are moments where we can go "hooray" for the Los Angeles County Art Commission's Arts for All plan and other endeavors, like Minimalist Jukebox, to bring arts education back to the schools and the general public (that includes understanding contemporary classical music). Some may have said that Jennings' String Quartet was not suitable for a space this large ("it's too intimate"), but to expose a piece such as this to a large audience is important, even if they walked away not liking it.
To contrast the quiescence of the first half, Terry Riley's In C was of course louder with its 100+ musicians on stage. The "energy levels are on a par with little in classical music, though; they more nearly match those of rock and hard-driving jazz" (Program Notes). This piece, which never has a moment of silence from start to finish, is a wall of colorful and tonal sound.
David Rosenboom conducted with cue cards while he played violin. On stage, among the traditional symphonic instruments, were a chorus, 4 vibraphones, a steel pan, one penny whistle, electric guitars, 5 pianos with 8 players, 2 melodicas, and a harmonium. The only thing we wished was that the percussionist playing the chimes (tubular bells) would rock out like it was 1812.
This was an hour of sound ecstasy.
Photo via Terry Riley's website.