I have always been an admirer of those who have have taken a road less traveled or, event better, those who have made their own road. Such a person is Meredith Monk. Although she has been lumped together with "new agers" and with musical minimalists such as Phillip Glass, her journey has been different from either of those. She has created her own road. What she has been able to create with her voice and with the ensemble she directs is nothing short of amazing.
On Thursday night October 29 at the David Rubenstein Atrium of Lincoln Center, Monk and several members of her ensemble performed a program called "The Soul's Messenger." It was one of the first programs of a series of programs in Lincoln Centers new White Light Festival , a series focused on the spiritual side of man and musical evocations of the spiritual. In a way, this is a daring and somewhat provocative theme but the components of the series promise to reveal a wide diversity.
White Light Festival
The atrium was packed with people and onlookers lined up outside on Broadway. There was obviously much anticipation for this concert. Meredith Monk took to the stage first, looking very unassuming and timeless with a simple flowing dress and long braided hair. She sang three unaccompanied pieces from three different times in her career (1969, 1977 and 1988). They evoked contemplation, humor(!), and a sense of reaching out. The audience was captivated; you could hear a pin drop. Monk moved to the piano where she accompanied herself. The final selection from this group, "Madwoman's vision" was an incredible journey into a world that cannot be understood, only experienced and felt. Next, Monk and a seasoned member of her ensemble, Katie Geissinger, performed two amazing duets that really made use of her depth of experience with Dalcroze eurthythmics. The ensemble then expanded to include piano, keyboard and contrabass clarinet. In the next section, Allison Sniffin, keyboardist and singer and Bodan Halish, woodwind player, performed a variety of works. Even though this program was sort of a "sampler," it was very carefully crafted with the entire group performing at the end.
On a purely technical level, whether one "buys into" Monk's views, her work with the voice is extraordinary. The focus and dedication needed to achieve and sustain her kind of vocal mastery has to be admired. I also think, however, that Monk aspires to a universal expression, not boxed in by a philosophy or dogma or belief system that is narrowly defined. It is also clear that her work is always expanding and growing and never "settling down."
Considering the fact that I had just lost a wonderful friend and companion, this kind of event was jut what I needed.
Thank you, Meredith Monk!
White Light Festival
The atrium was packed with people and onlookers lined up outside on Broadway. There was obviously much anticipation for this concert. Meredith Monk took to the stage first, looking very unassuming and timeless with a simple flowing dress and long braided hair. She sang three unaccompanied pieces from three different times in her career (1969, 1977 and 1988). They evoked contemplation, humor(!), and a sense of reaching out. The audience was captivated; you could hear a pin drop. Monk moved to the piano where she accompanied herself. The final selection from this group, "Madwoman's vision" was an incredible journey into a world that cannot be understood, only experienced and felt. Next, Monk and a seasoned member of her ensemble, Katie Geissinger, performed two amazing duets that really made use of her depth of experience with Dalcroze eurthythmics. The ensemble then expanded to include piano, keyboard and contrabass clarinet. In the next section, Allison Sniffin, keyboardist and singer and Bodan Halish, woodwind player, performed a variety of works. Even though this program was sort of a "sampler," it was very carefully crafted with the entire group performing at the end.
On a purely technical level, whether one "buys into" Monk's views, her work with the voice is extraordinary. The focus and dedication needed to achieve and sustain her kind of vocal mastery has to be admired. I also think, however, that Monk aspires to a universal expression, not boxed in by a philosophy or dogma or belief system that is narrowly defined. It is also clear that her work is always expanding and growing and never "settling down."
Considering the fact that I had just lost a wonderful friend and companion, this kind of event was jut what I needed.
Thank you, Meredith Monk!
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