|
The First Art Newspaper on the Net |
|
Established in 1996 |
|
Tuesday, December 24, 2024 |
|
Musicians playing through the lockdown, to one listener at a time |
|
|
The setting for a concert for one in Stuttgart, Germany, May 26, 2020. The coronavirus pandemic has forced the cancellation of most cultural events, including concerts, but two German orchestras found an intensely personal way to play on. Laetitia Vancon/The New York Times.
by Patrick Kingsley and Laetitia Vancon
|
STUTTGART (NYT NEWS SERVICE).- Atop a hill beside a vineyard, a woman sat down a few yards from a stranger holding a double bass. She sat in silence for a minute, trying to hold his gaze.
It was hard looking him in the eye. Shed spent weeks staring at screens, largely in isolation. Human contact felt intense, strange. After 30 or 40 seconds, she glanced away.
But then the musician raised his bow. The air began to hum with the deep chords of the instrument. She began to relax.
He had picked a version of an English folk song an adaptation of Greensleeves. She realized what it was, and its origins. In her reverie, it felt like an homage to her time in England, where she had spent part of her life.
She suddenly felt overwhelmed.
During two months of lockdown, her amateur choir practices had been canceled. A concert she had planned to see had been postponed. But here on a hill above Stuttgart, a virtuoso musician was playing a piece and only Claudia Brusdeylins, 55, a 5 publicist for a renewable energy research group, could hear it.
I just felt recognized, Brusdeylins said later.
To circumvent the restrictions enforced on society by the pandemic, cultural institutions have mostly turned to the internet. Museums have held online panels, theaters have streamed plays on their websites, and orchestras have uploaded their back catalogs.
Others held drive-in events. Actors in the Czech Republic performed to cars in a parking lot, as did musicians and DJs in Germany. And as the lockdown eases, a few are beginning to hold concerts in concert halls again, with large gaps between members of the audience.
But two state-funded orchestras in Stuttgart the Stuttgart State Orchestra and the Southwest German Radio Symphony Orchestra are trying to do something more personal. Something that will not keep people separated by windshields, or sitting in a mostly empty auditorium, or staring at their computer screens. Something that might stir some raw emotion.
The challenge was to achieve this without risking infection.
The solution is an ongoing series of one-on-one concerts in which one orchestra member plays for one audience member, without ever speaking to them.
After applying to attend online, concertgoers are then allocated a 10-minute slot in one of 27 sites around the city. They include Stuttgarts deserted airport, an art gallery, the garden of a private villa and the terrace beside the vineyard, where Brusdeylins heard the rendition of Greensleeves.
The audience of one arrives with no knowledge about the music that awaits him or her, or the performer or instrument that will provide it. The person simply is asked to sit down opposite the musician, and to lock eyes with the player for 60 seconds.
Then the musician plays for 10 minutes sometimes squeezing in two or three pieces. They tend to arrive having rehearsed a handful of potential pieces, but change the final selection for each performance. Brusdeylins was subsequently treated to part of Bachs Cello Suite No. 1.
Finally, the concertgoer stands up and leaves without applauding, usually wordlessly. There is no ticket fee, but attendees can donate instead to a fund for freelance musicians left without an income by the crisis.
The idea of a one-on-one concert was previewed last summer, at another German music festival, the Volkenroda Summer Concerts. The organizers of that festival had themselves been inspired by a performance art project by Marina Abramovic, the Serbian American conceptual artist known for sitting opposite spectators at her exhibitions, and silently holding their gaze.
After the lockdown began, the Volkenrodas organizers suggested to the Stuttgart orchestras that the format was a perfect way of keeping active during the lockdown, without resorting to the internet.
The result has been an intense series of more than 1,100 encounters first in Stuttgart, and now in five other German cities. And what began as a clever adaptation to coronavirus rules has since become something more profound a means of establishing human connection, agency and meaning at a time when such concepts have been harder to foster.
People often emerge nearly punch-drunk from the concerts, dazed after experiencing such a direct interaction with an artist, and with art.
At the vineyard, one woman left her concert feeling as if she knew Manuel Schattel, the double-bassist. Breaking with the rules of the format, she had spontaneously thanked him and found herself addressing him as du, in German an informal version of you, rather than the more formal version, sie.
It is common for people to feel deluged by emotion, said Stephanie Winker, a Juilliard-trained flutist who created the format, and who remains one of the performers.
We are craving contact at this point. We have all been staring at screens for hours and hours, Winker said. You forget that staring into peoples eyes for a long time is incredibly powerful.
It is often an overwhelming experience for the musicians, too.
For Schattel, it has been a revelation to finally play for an audience, after weeks of playing at home only for himself.
You need an audience to really express what you feel, he said after performing for Brusdeylins. This made me feel free again like the world is turning once more.
And it is moving to see a stranger for the first time, he said, to make that direct eye contact, and to decide what to play based on those initial impressions of who that person is.
And then to play for them, and them alone.
When Schattel played for Brusdeylins, he did not actually tailor his set in homage to her life story. He had not known of her time in England. But she was right to feel that he had consciously chosen Greensleeves.
He could immediately tell she was nervous, he remembered later. And Greensleeves, he felt, was the perfect melody to put her at her ease.
I thought this would lift her up and take her by the hand, Schattel said. This would invite her to come with me.
© 2020 The New York Times Company
|
|
Today's News
June 6, 2020
A near-private encounter with 'Las Meninas' as Madrid's Prado reopens
Baselitz to highlight Christie's ONE: a Global Auction of the 20th Century in London
Artcurial announces highlights included in the Modern & Contemporary Art auction in Paris
The Museo Reina Sofía reopens on Saturday June 6th
Pressure mounts to remove Confederate monuments amid US protests
On a caravan, with one of the Sahara's last European explorers
Newly minted work by a change artist
Cirque du Soleil walks a tightrope through pandemic
Paint fades, but murals remember people killed by police
Former king's statue defaced as Belgium confronts colonial past
As audiobook market grows, narrators of color find their voice
Miller & Miller Auctions will hold an online-only advertising, toys & historic objects auction
Royal Ontario Museum announces appointment of Deputy Director Collections Research and CIO
Michael Jordan's personal Air Jordan I and baseball glove removed from his closet in 1994 head to auction
Robert Ford Jr., an early force in hip-hop, is dead at 70
Rare coin linked discovered in Colchester 50 years ago fetches £4,216 at Dix Noonan Webb
Musicians playing through the lockdown, to one listener at a time
Centro per l'arte contemporanea Luigi Pecci opens an exhibition of nudes by Ren Hang
Rodeo Gallery opens an exhibition of works by Apostolos Georgiou
John McCormack, a nurturing theater producer, dies at 61
Paul Holberton publishes 'Of Modernism Essays in Honour of Christopher Green'
A world redrawn: virus will inspire writers, says Lebanese novelist
BEST OFF ROAD MINI BIKES FOR ADULT
Budget-friendly Podcast microphones in the market
Benefits of playing with an online casino
Why is Ticketor the Most Suitable Ticketing System for Performing Art, studios and theaters?
|
|
|
|
|
Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography, Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs, Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, . |
|
|
|
Royalville Communications, Inc produces:
|
|
|
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful
|
|