It’s difficult to articulate the profound emotions I felt while listening to a composition by Julius Eastman. I experienced a whirlwind of feelings: rage, sorrow, helplessness, dread, excitement, love, and passion. Throughout the performance at the Walt Disney Concert Hall for “To the Fullest: The Music of Julius Eastman and Arthur Russell” on Tuesday night, I went through a range of highs and lows.
The concert was conducted by three-time Grammy Award nominee Christopher Rountree and performed by the Wild Up orchestra. Fifty minutes of the program was dedicated to the work of Julius Eastman, a proud gay Black man who used his music to challenge the boundaries of masculinity and femininity, as well as spirituality. He employed provocative titles as a means of reclaiming power and control. The remaining thirty minutes focused on the avant-garde contributions of Arthur Russell, a queer underground icon from Iowa who honed his style and creativity in the streets of New York City.
Both artists left us too soon, but their influence continues to endure.
When the room fell silent, pianists Adam Tendler and Vicky Chow began the introduction to “Evil N–.” You could hear a pin drop until the ensemble erupted with “1234,” and everyone played with fervor for the next 30 seconds. Sweaty faces and wild hair were accompanied by a deep need for concentration as the deepening tones created a soundscape of creative chaos. In today’s terms, the music reminded me of something Jordan Peele might use in his socio-political horror films like “Candyman,” and I like to think Eastman would appreciate that. There was a method to his madness. He wanted audiences to immerse themselves in a field of emotions, which is why he began the piece with a three-note figure (F-E-D) and also utilized a seven-note “Dies irae” theme. It was brilliant. As I sat in my seat, completely absorbed by the orchestra, a harrowing scream from the cello and viola, accompanied by the swift passage of an usher, brought the hall’s acoustics into focus and intensified my emotional anxiety. When the piece concluded, all that remained was white noise, followed by a wave of applause.
When it was time to celebrate Arthur Russell’s work, a blue light illuminated the stage, and the instrumentalists also became vocalists as they honored Russell’s legacy. They performed eight reimaginings of some of his most beloved works from his folk era, such as “Close My Eyes” and “I Never Get Lonesome,” along with his avant-pop pieces like “Keeping Up” and “Wild Combination,” as well as an unreleased song titled “Out on the Porch.” Darian Donovan Thomas (violin), Andrew Yee (cello), Jodie Landau (percussion), Robin Pecknold (guitar), Christopher Rountree (conductor), and serpentwithfeet all breathed life into songs that many attendees were unfamiliar with.
This was the first time I had heard any of Arthur Russell’s work, and I was thoroughly impressed by the melodic arrangements created by Andrew Yee, Jodie Landau, Darian Donovan Thomas, Andrew Tholl, Shelley Washington, and Rountree. I could not wait to get home to dig deeper into the history of Russell.
Closing out the night, the Wild Up orchestra performed Julius Eastman’s “Gay Guerrilla.” Continuing in the vein of Eastman’s counterintuitive chants, sounds bounced around the acoustics of the hall as various instruments formed a feverish pattern, incorporating “A Mighty Fortress Is Our God,” a hymn by Martin Luther from 1527. There is something about this piece that feels reminiscent of the light at the end of the tunnel. Although the score grows increasingly intense, there are moments when the piano unexpectedly gives way to beauty.
The sociopolitical climate of the 1970s and 1980s overshadowed the talents of both men, causing their work to be forgotten and preventing them from receiving the recognition they deserved, mainly because they were part of the LGBTQIA+ community. Now that we are aware of their brilliance let’s commit to keeping their legacy alive and helping it grow.
I want to express my immense gratitude to Wild Up and the LA Phil for keeping Julius Eastman and Arthur Russell’s memory alive and for introducing their works to those who may not be familiar with them.
For more information on Julius Eastman, I recommend watching “Julius Eastman: A Different Score,” curated by Anaïs Ngbanzo & Devonté Hynes, and “Open Ears: Julius Eastman” by Classical California. For more information on Arthur Russell, there is an outstanding documentary titled “WILD COMBINATION: A PORTRAIT OF ARTHUR RUSSELL” that features archival footage and commentary on the artist’s life.
Words: Asha Moné
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