"Lady Justice/ Black Justice, The Song" by Jessie Montgomery. LIVE Performance

Описание: "Lady Justice/ Black Justice, The Song" (2024) for Percussion Quartet
by Jessie Montgomery (b.1981)
https://www.jessiemontgomery.com/
Recorded Live at Northwestern University Pick-Staiger Concert Hall, January 2025

Jessie Montgomery is a GRAMMY® Award-winning composer, violinist, and educator whose work interweaves classical music with elements of vernacular music, improvisation, poetry, and social consciousness. Montgomery is an acute interpreter of 21st-century American sound and experience. Her profound works have been described as “turbulent, wildly colorful, and exploding with life,” (The Washington Post) and are performed regularly by leading orchestras and ensembles around the world. In June 2024, she concluded a three-year appointment as the Chicago Symphony Orchestra’s Mead Composer-in-Residence.

Montgomery has been recognized with many prestigious awards and fellowships, including the
Civitella Ranieri Fellowship, the Sphinx Medal of Excellence, the Leonard Bernstein Award from the ASCAP Foundation, and Musical America's 2023 Composer of the Year. Since 1999, she has been affiliated with the Sphinx Organization in a variety of roles, including Composer-in-Residence for the Sphinx Virtuosi, its professional touring ensemble. Montgomery holds degrees from The Juilliard School and New York University and is currently a doctoral candidate in music composition at Princeton University. She serves on the Composition and Music Technology faculty at Northwestern University’s Bienen School of Music.

About Lady Justice / Black Justice, The Song, Montgomery writes:

Lady Justice / Black Justice, The Song is inspired by the artwork of Ori G. Carino — a reflection on his painting “Black Justice” (2020-2022), which is a commentary on the injustices Black people continue to face at the heart of U.S. social order and politics. The subject is a Romanesque statue of Lady Justice, depicted as a Black woman, and she is painted using airbrush techniques upon several layers of silk, which are then stretched in staggered alignment across a life-sized canvas. The painting is placed in the center of the room with a light cast through it so that one can view the image on a 360-degree plane and observe the holographic effect that results from the silk layering, revealing her timelessness and multiple hues. The image is staggering, aspirational, and technically virtuosic.

My approach was to try and interpret the painting from several angles, working in concert with Ori’s natural sense of beauty and grit, drawing musical correlations with the textures, techniques employed, and emotional qualities that spoke to me in the artwork. The main melody that appears throughout (which harkens to a Brahms-inspired theme that I wrote years ago, inspired by a line in Langston Hughes’ epic poem “Ask Your Mama: 12 Moods for Jazz” **) serves as a thread, reflecting the changing modalities in each section. I use special effects, such as dipping tuned crotales (weighted metal discs) into bowls of water to sonically reference the tipping of scales; the drum set part holds down an omnipresent breakbeat that bends and shapes the grungier middle section; and I interpret the holographic elements using various analogue musical delay effects. As the title suggests, this piece can be considered a companion to the painting and vice versa.

This piece represents a deep collaboration and artistic symbiosis between myself, Third Coast Percussion, and Ori. I am privileged to call them friends in music and in life.
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