The Big Bang

On the second day of the Accidental Music Festival, there was an open rehearsal at Urban ReThink for a big band orchestral work titled “In the Beginning”. Composed by John Alvarez this was a new work that referenced what the beginning of the universe might have sounded like. Chris Belt conducted the piece which was organized in three movements, Before Time, the Big Bang and the Expanding Universe.

A computer crash held up the electronic sounds associated with Before Time. After the computer was re-booted, the piece began with the a gentile rise and growing unrest of pure electronic noise. Big band members who did not have to play began to shield their ears from the high pitched sound.

In one punch the whole big band attacked a note announcing the Big Bang. Alto, tenor and barl saxophones mingled and fought with the trumpets, trombones and percussion. The drummers each had bright day glow flexible tubes they waved over their heads like lassos. This created a mysterious hollow tone like wind singing in a cave. Much of the composition is cacophonous and aggressive yet every note was planned. Several times players got lost in the chaos and everyone would begin again.

On September 11th at 7pm the world premiere of “In the Beginning” will be held at the Timucua White House (2000 South Summerlin Avenue). With September 11th also being the ten year anniversary of the attacks on the World Trade Center, the sounds of the Big Bang will likely evoke emotions tied in to another chaotic moment that continues to cause unrest. As always the concert is free just bring wine or a snack if you would like to imbibe.

Le Musee de l'impressionisme

Robert Callender wrote a show that takes you through Le Musee de l’impressionisme room by room, with live musicians, dancers, and singers. The show was produced once in NY, so this was a chance to see it in Florida at the Timucua White House (2000 S. Summerlin Ave). Each musical number was based on a different impressionist painter, like Renoir, Monet, Bazille, Morisot, Gauguin, Van Gogh, Degas and Henri de ToulouseLautrec.

Once Terry and I got to the White House, I made my way to the third floor to start my sketch. I sat against the railing along with a couple from out of town. Terry went downstairs to open the bottle of wine we had bought. I knew the dancers were from Emotions Dance and I was excited to see them perform. Three female vocalists backed up Robert Callender and the band was talented and tight with two guitars, a sax, Trumpet, bongo drums, a full drum set played by Benoit Glazer, the evenings host, and a wind synthesizer.

Wine wasn’t allowed on the third floor so Terry never rejoined me. I got several texts from her where she praised the band. All of the dancing was improvised on the spot. I spoke with dancer, Cindy Michelle Heen, after the performance and she described how she lost herself in the music and the energy from the audience. Her body moved freely without the restrictions of second guessing. I sketched the dancers when they came out in bright red skirts for the Lautrec piece. For an inspired moment I felt like I was at the Moulin Rouge. Durring the second half of the performance, Paula Large sat at an easel in the back corner of the stage and she did a composite caricature sketch of the performers.