The July 11 opening of Summergarden 2010 draws near. The program book has gone to press. All arrangements are in order. Rehearsals once again show how the remarkable young musicians of the New Juilliard Ensemble can conquer pretty much any musical problem.
Posts tagged ‘Jazz at Lincoln Center’
When Wynton Marsalis, the Music Director at Jazz at Lincoln Center, asked me to compose a long-form piece that could take any direction as long as it had a theme, it didn’t take me long to come up with a truly inspiring concept: music based on art. In Portrait in Seven Shades, each movement is dedicated to a different painter, and while it was hard to narrow my selection down to only seven artists, there were a few choices that were obvious to me—one of them being Picasso.
For the Portrait in Seven Shades piece—which we performed last week at Jazz at Lincoln Center’s Rose Theater—my goal was to select seven recognizable artists whose different styles would help create a contrast between each of the seven movements in the piece.
I’ve already talked about the “Monet” and “Dalí” movements, and today am moving on to “Matisse,” which very much expresses the reaction I have when I see Henri Matisse‘s paintings such as Dance (I): joy.
In my first post I talked about how seven master painters in MoMA’s collection inspired me to write Portrait in Seven Shades, an hour-long piece of music being performed by the Jazz at Lincoln Center Orchestra over the next several nights. The piece has seven movements, each dedicated to a different painter. Yesterday, I wrote about how I was inspired by Monet’s treatment of light and surface in his triptych Water Lilies. Today I’d like to talk about another movement in the suite, this one inspired by Salvador Dalí’s The Persistence of Memory.
Dalí‘s work incorporates familiar images and objects in unfamiliar settings and combinations, creating a sense of discomfort or insecurity in the viewer. His paintings allude to violence, sexuality, and secrets living in one’s subconscious. The Persistence of Memory depicts a barren landscape populated by melting clocks; I was inspired by this surreal scene to develop an unusual time signature, 13/8. Embracing the effect of this painting I have found sounds and approaches to harmony that are familiar on their own, but take on an unsettling effect with the particular way they are combined.
In “Dalí,” which is basically a disguised blues, the persistent drum groove exposes a little of the aggressive quality of this painting, and the melody, played in thirds by trumpet and alto, exists in a different tonal center from the bass, like a lost creature searching. A flamenco-like clave—supporting a drum solo and emphasized by the orchestra’s hand clapping—references Dalí’s Spanish heritage.
Portrait in Seven Shades tells a story about seven painters—not through words, as in a museum description, but through music. Many parallels can be drawn between art and music. Like painters, musicians talk of colors, layers and composition. Several stylistic descriptors—impressionistic, abstract, pop—are common to both fields. And of course there is the blues.
When Wynton Marsalis, artistic director of Jazz at Lincoln Center, asked me to compose a long-form piece, it didn’t take me long to come up with a concept that would truly inspire me to write an hour’s worth of music: it would be a piece with seven movements, each dedicated to a different painter. It was hard narrowing it down to only seven painters, as there are so many artists that I truly admire, but the list ultimately included Monet, Dali, Matisse, Picasso, van Gogh, Chagall, and Pollock. I wanted the listener to hear music that evokes images with which they are already familiar, and to see these paintings in a new, fresh way.
For the Monet movement, I used the triptych Water Lilies as a main inspiration. I feel that Monet embellished reality by diffusing it, using colors and textures to create fantasy. We feel nature, water, air – things that are very basic. When you stand up close to this sprawling canvas you lose sight of reality; instead you see the strokes, gesture, and textures.
I hope that you’ll return to INSIDE/OUT to experience the six other movements, as I’ll be writing about each one over the next seven days.
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