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Yo-Yo Ma and the Silk Road Ensemble: "Make music, not war"
??? by John Shulson | Gazette Staff Writer
??? March 13, 2006
????
The Virginia Arts Festival presents Yo-Yo Ma and the "Silk Road
Ensemble," in concert at Chrysler Hall, Feb. 25.
"Make music, not war" was easily the idealized subtext of the eagerly
anticipated appearance of celebrated cellist Yo-Yo Ma and his "Silk Road
Ensemble," performing as a prelude to the April opening of the Virginia
Arts Festival's 10th season.
Ma formed the Silk Road Project in 1998 "...to promote collaboration and
a sense of community among institutions, artists, and audiences who
share a fascination with the transcultural artistic organization
symbolized by the ancient Silk Road" which, some 2100 years ago,
extended from Japan and China across Central Asia to India, Iran, and
the regions associated with the Mediterranean Sea.
The project evolved into the Ensemble, which first performed in 2000, at
the Tanglewood Music Festival in Massachusetts. Reportedly, the initial
invitees came together, mostly with no common language or common musical
scale. Yet, they assembled to make music. And, in making music, they
discovered commonalities among their individual cultures, elements that
spoke to the humanity of man. Since the start of the Ensemble, it has
continued to explore the relationship between music, culture,
instruments, and musicians. It has continued to embrace musicians from
throughout the Silk Road region, all of whom have joined together to
make music, despite the wars and unrest that have been and currently are
plaguing their countries.
The power of music to create unity is great, a theme which prompted such
paraphrased comments in the Chrysler Hall lobby as "if we can
collectively make music like this, we might not have wars." It may sound
like a John Lennon sentiment, but when you look at the extensive roster
of "Silk Road" musicians, many of whom come from countries that just
plain don't get along, and see them working together, as a community,
you can't help but think of possibilities. Sure, it's just music, and,
sure, the seriousness of the global conflicts outweigh the silliness of
optimism. But, when you explore more thoroughly the "Silk Road Project"
and the "Silk Road Ensemble," one wonders that there's more at play,
than play. Or so it seems.
The evening's event featured performers from China, Israel, Iran,
Switzerland, and the United States, performing music from Armenia,
Persia, Romania, Iran, Lebanon, and the America, a true united nations
of music. And the instruments were equally diverse, ranging from the
familiar violin and bass to such exotics as the pipa (wooden lute),
santur (zither), bamboo flute, and the Persian drum. Some sat on chairs,
some sat on the floor on carpets. All were entertaining and intent on
carrying out the mission of the Project.
While political statements are not openly part of the parcel, they do
find eloquent reference points for the present and past. For example,
Komitas Vartabed's somewhat plaintive "Armenian Folk Songs" suggest
dedication to the Armenians who were exterminated, arrested, or deported
in 1915. Iranian Kayhan Kalhor's commissioned work, "Silent City," with
its somber, meditative beauty and Kurdish themes, attests to the
"nation-less nation" feel Kurds have living in western Iran, eastern
Iraq, and southeastern Turkey. Yet, beyond this, Kalhor suggests that
"Silent City" pays hommage to all who have been destroyed due to human
selfishness.
There were, however, cheerier themes at play. Lebanese composer Rabih
Abou-Khalil's oddly named "Arabian Waltz," with anything but waltz-like
patterns, was filled with infectious rhythms, jazzy improvisational
moments, and exotic sounds that pulsed and drew the audience thoroughly
under its spell. Similarly was "Turceasca" a wonderfully appealing take
on a traditional Turkish folk song, as rendered by a Romanian gypsy
band. American Lou Harrison's "Concerto fro Pipa and Strings" was
designed as a showpiece for the pipa and its player, Chinese virtuoso Wu
Man, who literally dazzled with her skill and technique.
Throughout the program, the worldly performers played as one team, no
star treatment here. Yo-Yo Ma was on equal billing with the likes of his
music compatriots-all doing their individual parts to share and
communicate through music the universality of man. The packed house was
readily captivated by the performance. It was ready and willing to be
transported across the sands of time and treated to a musical ride that
was wildly received with standing ovations throughout the evening and
lots of shouts and whistles of approval at the program's end. One could
not imagine a more upbeat, successful and educational celebration for
the Festival's 10th year. It bodes well for the season, which runs from
April 26 through June 4 and features an expanded Festival Williamsburg,
May 17-20, and five consecutive days of performances at the Ferguson
Center for the Arts, starting May 31, and concluding with the Festival
Finale, June 4. Without doubt, there's something for everyone and plenty
of that to go around!
??? by John Shulson | Gazette Staff Writer
??? March 13, 2006
????
The Virginia Arts Festival presents Yo-Yo Ma and the "Silk Road
Ensemble," in concert at Chrysler Hall, Feb. 25.
"Make music, not war" was easily the idealized subtext of the eagerly
anticipated appearance of celebrated cellist Yo-Yo Ma and his "Silk Road
Ensemble," performing as a prelude to the April opening of the Virginia
Arts Festival's 10th season.
Ma formed the Silk Road Project in 1998 "...to promote collaboration and
a sense of community among institutions, artists, and audiences who
share a fascination with the transcultural artistic organization
symbolized by the ancient Silk Road" which, some 2100 years ago,
extended from Japan and China across Central Asia to India, Iran, and
the regions associated with the Mediterranean Sea.
The project evolved into the Ensemble, which first performed in 2000, at
the Tanglewood Music Festival in Massachusetts. Reportedly, the initial
invitees came together, mostly with no common language or common musical
scale. Yet, they assembled to make music. And, in making music, they
discovered commonalities among their individual cultures, elements that
spoke to the humanity of man. Since the start of the Ensemble, it has
continued to explore the relationship between music, culture,
instruments, and musicians. It has continued to embrace musicians from
throughout the Silk Road region, all of whom have joined together to
make music, despite the wars and unrest that have been and currently are
plaguing their countries.
The power of music to create unity is great, a theme which prompted such
paraphrased comments in the Chrysler Hall lobby as "if we can
collectively make music like this, we might not have wars." It may sound
like a John Lennon sentiment, but when you look at the extensive roster
of "Silk Road" musicians, many of whom come from countries that just
plain don't get along, and see them working together, as a community,
you can't help but think of possibilities. Sure, it's just music, and,
sure, the seriousness of the global conflicts outweigh the silliness of
optimism. But, when you explore more thoroughly the "Silk Road Project"
and the "Silk Road Ensemble," one wonders that there's more at play,
than play. Or so it seems.
The evening's event featured performers from China, Israel, Iran,
Switzerland, and the United States, performing music from Armenia,
Persia, Romania, Iran, Lebanon, and the America, a true united nations
of music. And the instruments were equally diverse, ranging from the
familiar violin and bass to such exotics as the pipa (wooden lute),
santur (zither), bamboo flute, and the Persian drum. Some sat on chairs,
some sat on the floor on carpets. All were entertaining and intent on
carrying out the mission of the Project.
While political statements are not openly part of the parcel, they do
find eloquent reference points for the present and past. For example,
Komitas Vartabed's somewhat plaintive "Armenian Folk Songs" suggest
dedication to the Armenians who were exterminated, arrested, or deported
in 1915. Iranian Kayhan Kalhor's commissioned work, "Silent City," with
its somber, meditative beauty and Kurdish themes, attests to the
"nation-less nation" feel Kurds have living in western Iran, eastern
Iraq, and southeastern Turkey. Yet, beyond this, Kalhor suggests that
"Silent City" pays hommage to all who have been destroyed due to human
selfishness.
There were, however, cheerier themes at play. Lebanese composer Rabih
Abou-Khalil's oddly named "Arabian Waltz," with anything but waltz-like
patterns, was filled with infectious rhythms, jazzy improvisational
moments, and exotic sounds that pulsed and drew the audience thoroughly
under its spell. Similarly was "Turceasca" a wonderfully appealing take
on a traditional Turkish folk song, as rendered by a Romanian gypsy
band. American Lou Harrison's "Concerto fro Pipa and Strings" was
designed as a showpiece for the pipa and its player, Chinese virtuoso Wu
Man, who literally dazzled with her skill and technique.
Throughout the program, the worldly performers played as one team, no
star treatment here. Yo-Yo Ma was on equal billing with the likes of his
music compatriots-all doing their individual parts to share and
communicate through music the universality of man. The packed house was
readily captivated by the performance. It was ready and willing to be
transported across the sands of time and treated to a musical ride that
was wildly received with standing ovations throughout the evening and
lots of shouts and whistles of approval at the program's end. One could
not imagine a more upbeat, successful and educational celebration for
the Festival's 10th year. It bodes well for the season, which runs from
April 26 through June 4 and features an expanded Festival Williamsburg,
May 17-20, and five consecutive days of performances at the Ferguson
Center for the Arts, starting May 31, and concluding with the Festival
Finale, June 4. Without doubt, there's something for everyone and plenty
of that to go around!