Anthony Davis
Vancouver, British Columbia, Canada
Composer and pianist Anthony Davis talks Trump and musical tension
by Alexander Varty on March 23rd, 2016
In chamber operas such as X, about the African-American revolutionary Malcolm X, and Lear on the 2nd Floor, which updates William Shakespeare’s King Lear
in the context of today’s Alzheimer’s epidemic, Anthony Davis has shown
a knack for coming up with themes that address the past while dealing
directly with the present. But with his new work, FIVE, which premieres in Newark, New Jersey, in November, he’s going to miss the mark by a scant seven days.
It’s not that FIVE—based on the story of the Central
Park Five, a quintet of young African-American men falsely accused and
convicted of rape and assault after a 1989 attack on a white jogger—will
be any less relevant a week after the U.S. presidential election. The
racism that runs through much of American society will, sadly, ensure
its currency for years to come. But one of Davis and librettist Richard
Wesley’s main protagonists might well be in the dustbin of history by
the time FIVE debuts.
If, that is, we’re lucky.
“I
hope it’s not president-elect Trump who’s going to be portrayed in the
opera,” says Davis, on the line from his home in San Diego, California.
The connection, he goes on to explain, is that the Republican demagogue
started his political career on the backs of the Central Park Five,
spouting his racist fear-mongering in all the major New York City
newspapers.
“I wrote an aria for Donald Trump, because he was
really involved in it, sort of condemning these five young men who were
15 and 16 years old, and calling for the death penalty,” Davis explains.
“And now some of the themes of his campaign are the same: ‘othering’
people, and thinking of them as thugs, street thugs.…At the time, it was
basically a cultural assault on what they perceived as the hip-hop
generation. It was the time of Public Enemy and Tone Loc and all that
stuff, so it’s something I refer to in the music, too.”
When Davis
comes to Vancouver this week, it’s to help celebrate a smaller but
considerably cheerier historic occasion: the release of a local
artist-run centre’s second archival LP, past piano present: Live at Western Front 1985–2015.
Davis’s “Behind the Rock”, from a 1985 solo performance, is the oldest
piece on the album and its opener, setting the tone with an array of
sounds that don’t seem to have dated a day.
We might hear them
differently, though. Then, the low rumble that runs through much of the
piece was probably heard as a nod to the cosmic jazz of pianists Alice
Coltrane and McCoy Tyner; now it seems to draw equally on the symphonic
colorations of Gustav Mahler and Igor Stravinsky. The world, it seems,
has opened up to the visionary synthesis of classical and
improvisational forms that Davis has been exploring all his life.
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