Davóne Tines's Barbican residency has been a fitting tribute to the enigmatic composer Julius Eastman, whose music is now receiving long-overdue recognition. The recent concert was a testament to Eastman's maverick spirit, which spanned genres and defied conventions.
Touch Him When, arranged for electric guitar and performed with frenetic intensity by Jiji, epitomized Eastman's vision of music as an unbridled performative art. The resulting sonic landscape – replete with distortion pedals and reverb – resembled a cacophony of crashing waves that threatened to consume all in its path.
In stark contrast, Conor Hanick presented Piano 2, a three-part work that drew inspiration from early-20th-century traditions. This more subdued interpretation served as a fitting counterpoint to the earlier piece's unbridled energy.
However, it was The Holy Presence of Joan d'Arc – a 10-cello work replete with chugging rhythms and heart-wrenching melodies – that truly captured the essence of Eastman's artistic vision. Tines brought an otherworldly presence to the stage as he intoned the original improvised prelude, his voice imbuing the space with a profound sense of urgency.
Seth Parker Woods's cello playing was equally impressive, navigating nine prerecorded lines with precision and control. While it would have been fascinating to witness these ten cellos performing together in their entirety, there was no denying the raw power that each individual instrument brought to the table.
The Gay Guerilla, a work that has become synonymous with Eastman's unorthodox spirit, was arranged for an array of forces – pianists, cellist, electric guitar, voice, and dancers. The result was nothing short of mesmerizing, as Tolling chords swelled into an astringent, Lutheran battle hymn, its iterations oscillating between the realm of sleep and death, sex and combat.
Throughout this concert, it became increasingly clear that Eastman's music transcended his own era and experiences. His commitment to challenging traditional boundaries was, if anything, more potent now than ever – a testament to the enduring power of his artistic vision.
Touch Him When, arranged for electric guitar and performed with frenetic intensity by Jiji, epitomized Eastman's vision of music as an unbridled performative art. The resulting sonic landscape – replete with distortion pedals and reverb – resembled a cacophony of crashing waves that threatened to consume all in its path.
In stark contrast, Conor Hanick presented Piano 2, a three-part work that drew inspiration from early-20th-century traditions. This more subdued interpretation served as a fitting counterpoint to the earlier piece's unbridled energy.
However, it was The Holy Presence of Joan d'Arc – a 10-cello work replete with chugging rhythms and heart-wrenching melodies – that truly captured the essence of Eastman's artistic vision. Tines brought an otherworldly presence to the stage as he intoned the original improvised prelude, his voice imbuing the space with a profound sense of urgency.
Seth Parker Woods's cello playing was equally impressive, navigating nine prerecorded lines with precision and control. While it would have been fascinating to witness these ten cellos performing together in their entirety, there was no denying the raw power that each individual instrument brought to the table.
The Gay Guerilla, a work that has become synonymous with Eastman's unorthodox spirit, was arranged for an array of forces – pianists, cellist, electric guitar, voice, and dancers. The result was nothing short of mesmerizing, as Tolling chords swelled into an astringent, Lutheran battle hymn, its iterations oscillating between the realm of sleep and death, sex and combat.
Throughout this concert, it became increasingly clear that Eastman's music transcended his own era and experiences. His commitment to challenging traditional boundaries was, if anything, more potent now than ever – a testament to the enduring power of his artistic vision.
it really made me feel like I was experiencing something special on stage. And Jiji's performance with Touch Him When? wow, that guy can shred 
! But what really struck me was how well Conor Hanick balanced out the intensity of some pieces... I mean, Piano 2 was so calm and soothing after The Holy Presence 
. Still, I think what resonated most with me was how Eastman's music still feels totally fresh today – like he's speaking directly to us from another era 
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I'm so glad they're finally giving Julius Eastman the recognition he deserves 
! His music is like nothing you've ever heard before - it's like a wild storm in your ears 
. The way Davóne Tines performed was insane, like he was channeling some otherworldly energy 
. And that cello piece by Seth Parker Woods? Forget about it, it gives me chills every time 
. I love how the concert had this contrast between all these different styles and moods - it kept you on the edge of your seat the whole time 
. Eastman's music may have been ahead of its time, but now that we're living in a world where anything is possible, his genius is more relevant than ever 
. The way Eastman's music makes you feel like it's been waiting for us all along... it gives me goosebumps 
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. i was a bit skeptical about Piano 2 at first, but Conor Hanick really knows his stuff. and don't even get me started on The Gay Guerilla - it's like Eastman took all the coolest things and mashed them together into this beautiful mess 
. and that's why his legacy is still so relevant today - because we're all still trying to navigate our own paths and challenge the status quo 
. maybe that's what it means to be true to oneself, you know? not just going with the flow but creating your own ripples in the pond 
. any wayz, i think eastman's music is like a reminder that we all have the power to shape our own destiny and create something new out of chaos 
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. It's so hauntingly beautiful at the same time... gives me chills every time 
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dancers, pianists, cellist...it was like Eastman's music was speaking to us all over again 
oh man i'm still reeling from that concert 
the way he connected with the space and the other musicians was truly magical 
and i'm so glad that seth parker woods's cello playing got some love too 
! The way Tines performed that Barbican residency? Mind blown 
. I've been listening to Eastman for years, but that performance still gives me goosebumps 
The way Tines and Hanick performed their pieces was like a breath of fresh air – it's amazing how his music still holds up today! 
I think what's really inspiring here is how Eastman's spirit of experimentation continues to inspire new generations of musicians. It's a reminder that art should never be bound by rules or conventions 
I'm still trying to wrap my head around this concert... the way they arranged Julius Eastman's music for different instruments was so cool! 
what's up with that? did he do a lot of performances like this before? also, can we talk about Seth Parker Woods' cello skills? 
. But honestly, the way Eastman's music still pushes boundaries and challenges tradition? That's what makes it so compelling 
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It just goes to show how Eastman's vision was always ahead of its time, even if we didn't realize it back then 
. Anyway, I'm totally stoked for more Eastman-inspired music in the future! 
. But honestly, the whole concert had me GAGGING FOR MORE 