Where to go in search of SOLUNA?
That’s the sometimes weird, always wonderful festival happening all over Dallas through April.
Never as cruel a month as the poet T. S. Eliot said, though “mixing memory and desire” might be just the thing for spring, which by then will have emphatically arrived.
Let’s start with the superstars which, of course, would mean, above all, Fabio Luisi, the new Music Director of the Dallas Symphony.
On April 18 and 19 he will conduct the orchestra for the first time since being named to that post.
The lineup? Beethoven’s 7th plus 20th-century works by William Grant Still and Frank Martin.
So, can we expect more modern music from Fabio Luisi at DSO? I asked in an email. “Absolutely!,” he replied.
The term “classical music” is nowhere to be seen in reports about SOLUNA, but New Yorker critic Alex Ross charged, even so, that calling anything “classical” is trapping “tenaciously living art in a theme park of the past.”
Maestro Luisi strongly disagrees. “Classical music,” he wrote, “strictly speaking, it describes a very limited time range.
Now we extend it to everything that was written
until…Ligeti?…Berg?…Music puts a mirror in front of us and makes us reflect on ourselves…Art,” he concluded, “is always contemporary.”
And who could be more contemporary than Terence Blanchard, jazz composer and titan of the trumpet.
Blanchard is everywhere, writing the score of Spike Lee’s film BlacKkKlansman, composing Fire Shut Up in My Bones for the Opera Theatre of Saint Louis, and producing
Caravan: A Revolution on the Road for SOLUNA, with his own music, dance
by Rennie Harris Puremovement, and astonishing video art by Andrew Scott of the University of Texas at Dallas.
Andrew Scott came to UTD five years ago from the Savannah College of Art and Design, having studied sculpture at Ohio State,
something he still pursues in a space big enough for welding at Trinity Groves.
He met Terence Blanchard when both of them were in Brooklyn.
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