Review: At the Ford in Hollywood, a revelatory L.A. Phil concert of riveting opposites

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Conductor Christopher Rountree leads an unlikely mix of Arvo Part reticence and Julius Eastman provocation.

Arvo Pärt and Julius Eastman, who shared the bill for the Los Angeles Philharmonic chamber music concert at the newly reopened Ford Tuesday night, are the matter and anti-matter of Minimalism.

That was followed by “Joy Boy,” written in 1974, four years before “Spiegel” and, like it, a mirror. Only this mirror is Eastman looking unflinchingly at himself. One of the first of his provocatively titled pieces , it has as few harmonies as Pärt’s score and as much shimmer. But Eastman’s notation is so vague as to be almost meaningless. He implied that it was for a quartet of singers, or maybe of instrumentalist, or maybe both. The L.A.

In fact, something more exceptional was afoot. Neither Pärt nor Eastman may be what he seems. However different their cultural backgrounds, both were trained as staunch formalists — Pärt in the old Soviet conservatory system and Eastman atand Cornell. Each created a persona. Photos of Pärt from his school days show the bearded mystic of now to have been then something of a jock. Eastman, on the other hand, early on revealed a dreamy, mystical side.

 

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