In a significant moment for the Los Angeles County Museum of Art (LACMA), the public was finally welcomed into the new David Geffen Galleries on Thursday night for a groundbreaking musical event.
The occasion marked a contemporary resurgence of musical history at LACMA, reminiscent of the opening night concert at the museum’s original Leo S. Bing Theatre back in 1965.
This time, however, the event was led by renowned jazz saxophonist Kamasi Washington, who orchestrated a massive sonic experience.
Spanning a 900-foot serpentine route inside Peter Zumthor’s newly designed building, over a hundred musicians were grouped into nine ensembles, each contributing to the expansive musical composition.
The celebration was notably grander than the concert held on March 26, 1965, which featured composer Pierre Boulez conducting the premiere of his composition “Éclat.”
That inaugural event symbolized an artistic awakening in Los Angeles, following the opening of the Music Center just three months earlier.
During the 1965 concert, notable figures like Igor Stravinsky graced the occasion, and the mandolinist featured in Boulez’s piece was Sol Babitz, father of acclaimed writer Eve Babitz.
Boulez’s work has evolved significantly since that premiere; his ambitious vision eventually expanded into the 25-minute orchestral piece “Éclat/Multiples.”
For this current event, Washington continued in a similar avant-garde spirit, expanding his 2018 EP, “Harmony of Difference,” into a sprawling live performance.
The original tracks — “Desire,” “Knowledge,” “Perspective,” “Humility,” “Integrity,” and “Truth” — were reimagined with a trio of musicians and an extended runtime, amplifying their emotional depth.
While some reviewers expressed concerns regarding the length and intensity of Washington’s improvisations, they nevertheless captivated the audience and breathed life into the otherwise empty galleries.
LACMA Director Michael Govan emphasized the unique nature of the event, suggesting that it might never be replicated in the future.
Washington’s musical style is characterized by its ambition and expansiveness, inviting a reflective experience for the audience.
His lengthy performances often draw the attention of critics, but his drive for exploration and immersion is vital to his artistry.
In the David Geffen Galleries, Washington was able to fully harness this ambition.
The ensembles included a large mixed band led by Washington, alongside formations featuring strings, brass, woodwinds, and various choruses.
Each group presented distinct arrangements of Washington’s songs.
Although the musicians occasionally played out of sync with one another, moving through the long walkways offered a chance for listeners to experience each piece in different contexts, akin to musical surrealism.
The acoustic properties of the Geffen are notably distinctive, with large glass windows and angled concrete walls reflecting sound differently throughout the space.
A media tour earlier in the day revealed a surprisingly liquid acoustic quality, with each room exhibiting unique sound characteristics.
Washington and his ensembles accomplished careful sound amplification, transforming each performance into a dynamic listening experience.
As audiences wandered through the gallery, they found themselves immersed in an ever-shifting soundscape, where a choral crescendo could shift into Washington’s ecstatic saxophone solo, followed by a melodic woodwind section reminiscent of an organ.
The ambiance further intensified during the concert, set against a stunning backdrop of a sunset streaming through the large windows.
This visual element combined with the musical journey allowed embodiments of “Harmony of Difference” to emerge from the neighboring tar pits, vibrant street life on Wilshire Boulevard, and the tranquil beauty of LACMA’s Pavilion for Japanese Art.
Govan’s vision aims to unify diverse art forms, fostering an environment where the galleries transform into a space for exploration and discovery in art and performance.
Musically, the experience aligned with concepts reminiscent of John Cage’s “Musicircus,” featuring numerous ensembles performing simultaneously, creating a vibrant tapestry of sound.
This flexible format showcases the new building’s potential for various art forms, including dance, opera, and theater.
Even though recent years have seen a diminished emphasis on live performances at LACMA, Washington’s concert underscored that music is woven into the fabric of the museum’s identity.
Seventy years after Boulez’s premiere of “Éclat,” both the vision of Zumthor and the expansive talent of Washington now challenge LACMA to redefine itself as the Los Angeles County Museum of Art and Performance.
image source from：latimes
