The New England Conservatory’s Jordan Hall was buzzing with life as people filtered into the theater to see The Music of Mary Halvorson, performed by NEC students, with a special performance from the titular Artist-in-Residence herself.
The concert began with “Deformed Weight of Hands (No. 28)” played by Rihards Kolmanis on electric guitar, Caleb Duval on double bass, and James Nadien on drums. The chemistry between the performers was electric as they played the chaotic song and passed around solos with the ease of a well-oiled machine.
Despite the grandiose theater, the performers were determined to keep things casual and laughed off their technical difficulties or other miscellaneous mistakes (such as when Nadien’s drumstick flew out of his hand mere measures before his solo). The dress code was also as free and expressive as jazz itself; some students opted for traditional all-black ensembles whereas other students opted for more colorful outfits—literally and figuratively—by showcasing shirts with funky patterns or, like one particular student, by forgoing a shirt altogether and sporting only denim overalls.
Other notable songs from the evening included the haunting and enchanting “Accurate Hit,” performed by Sarah Matsushima and Emily Mitchell, and the disquieting and dissonant “Old King Misfit (No. 57),” performed by the CI Chamber Ensemble, which was the perfect piece to welcome Halloween.
As ensembles changed and the students shuffled from one group to the next, each mix of musicians brought different energy and life to Halvorson’s compositions. Some groups spent the majority of their time playing off of one another and grooving together, whereas other ensembles generated a more introspective approach to the music and seemed less concerned about physically collaborating with their bandmates. A particular favorite to watch was Litha Ashforth as she played the autoharp during “Heartdrop,” because her eyes were scarcely open and she seemed to drift along with the melody, apparently letting her intuition—not the sheet music—tell her when to shred across the strings.
“Cold Mirrors (No. 15),” showcased the mastery of 44 musicians—including Halvorson herself—in this grand finale. While each instrumentalist showcased their skills in this full-band collaboration, the real show stopper were the chorus of sopranos who repeatedly belted out high D#s in a vocal rendition of the melody, which is traditionally played two octaves lower and on the guitar. With a performance of such epic proportions, there could not have been a more fitting or moving way to end the concert.
When it was time to take bows, Halvorson was determined to share the spotlight with the entire band; she stood, humbly lifted her guitar above her head, bowed once, and then immediately gestured to the band of students surrounding her. Halvorson’s humility underlined that this concert was a celebration of music itself and the students’ skill, and this focus on collaboration made the concert a delightful way to spend a Thursday night.
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