Beirut at Wordless Music Series
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At least as far as performances go, there seems to be a difference of principle between classical and popular music. While in classical tradition the works are subjects of scholarly devotion, precision and admiration, popular music thrives in creating an atmosphere where its audience can participate in celebration and festivity, or even grief and loss. Often, the intention of popular music and its understanding of the human spirit supersedes its genius, whereas the music in classical tradition is so sacred that it feels like the people who listen to it are secondary to it by far. We can be reminded, of course, that there are several bands today that blur the difference of traditions, which makes the concept of Wordless Music Series appropriate (and sure, Sufjan’s mini-orchestra flies in a Town Hall setting).
Continued, and photos, after the jump.
Beirut, however, rose out of an inspiration to recreate the spirit of street music, be it Romanian or French, which would challenge the well-intentioned idea of staging them in the framework of chamber music. As soon as we were seated on our pews, long before any of the acts went on, it felt weird to be sitting, knowing very well the music that was coming and how forceful it was going to sound when all the horns, the accordion and the ukuleles came out. However, this change of perspective offered to us by the organizers had its own perks, which one could get used to easily: silence reigned during the performances, music was given its sacred space, respectfulness and a wild sweep of applause was to be expected throughout. It was apparent that the band would need time getting used to such a setting, but despite it, adoration from the crowd was evident, and the performance proved itself without shortages from start to finish. By the time they came out for an encore, however, the band members invited people to flood the aisles, and they did as they were told.
Beirut took stage as an outfit of eight, and played a set of new songs interspersed with old: “Brandenburg”, “Nantes”, “Elephant Gun”, “Forks and Knives”, “Carousels”, “A Sunday Smile”, “Mount Wroclai”, “The Flying Club Cup”, “Scenic World” and “In the Mausoluem”, amongst others. For the encore they played a beautiful Romanian song, which best showcased their musicianship, followed by “Gulag Orkestar” and “Postcards from Italy”. The band plays New York again on September 26th with Balkan Beat Box and NY Gypsy All-Stars.
[Adding opening acts shortly]
September 24, 2007
New York Society for Ethical Culture
