Between Finales

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Saturday afternoon saw this blogger in his very last Spoleto performance: Music in Time’s program IV, which started with John Cage’s uber-minimalist work “Twenty-Three,” and you have exactly one chance to guess how long it was. That was followed by the real reason this blogger interrupted his late afternoon Piccolo Finale festivities to be there: Philip Glass’ 1995 Symphony No. 3, which, if you’ve never heard it before, is a bombdiggity miracle of minimalist coolness. You’ve heard Glass’ film scores all over the place: The Hours, Kundun (for which he won a Grammy), Mishima, The Thin Blue Line, and the amazing Koyaanisqatsi. Incidentally, he also wrote the weird “Car-illon Fanfare” that festival organizers sprung on attendees at the Opening Ceremony what seems like an eternity ago just two and a half weeks ago. But his Third Symphony is, as host John Kennedy put it, “the signal work of string orchestra for the minimalist movement.” From the third row, it felt like it too. It was a helluva way to send out the festival, I’m here to tell you.

Most of the events of Saturday evening are, I’m afraid, classified. The City Paper staff and contributors, along with assorted flunkies, sycophants, toadies, wannabes, and all manners of hangers-on, made crafty webmistress Caitlin Cahill’s Wagoner Terrace house our home base, and we beat an increasingly weavy path between the wet bar there and the buffet bar at the City Paper tent in Hampton Park, where the Piccolo Finale rang out the little festival. One thing led to another, as they do. But what happens at the park stays at the park. You can see a little of it (a very little) at City Paper Scenester Ida Becker's blog here.

This afternoon, we’ll be representing once again at Middleton Place for the Spoleto Finale. My guess is it’s going to be a long Monday.

By the way, don't forget to check out my twelfth and final podcast with P&C Spoleto overview critic Joshua Rosenblum. We parse the more memorable points of Spoleto Festival USA 2006 and, along the way, get the full 411 on his Off-Broadway musical revue Bush Is Bad. I'll see you on the other side...

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