The Space Between
featuring Laurel Irene

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Reflejo de Luna (Granaína) (1973) Paco de Lucía
Jaxon Williams, guitar
Chuti Hui Jagah (The Space Between) (2015) Reena Esmail
I. Ek shabd (One Word)
II. Joota (Shoe)
III. Aavaz (Sound/Voice)Laurel Irene, soprano; Jaxon Williams, guitar
Mirabai Songs (1982) John Harbison
I. It’s True, I Went to the Market
II. All I Was Doing Was Breathing
III. Why Mira Can’t Go Back to Her Old House
IV. Where Did You Go?
V. The Clouds
VI. Don’t Go, Don’t GoLaurel Irene, soprano; Richard An, piano
Walk in Beauty (1992) Peter Garland
Richard An, piano
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This concert’s program could be categorized as an exploration of cultural synthesis: East meets West, traditional Flamenco written for classical guitar, Hindustani and Western music in conversation, a solo for the European piano influenced by the music of indigenous Americans, but this is an oversimplification. Part of our natural human inclination is to simplify our understanding of the world and split things into binaries, even when what we are looking at is much more complicated, and culture, especially cultural identity, is something I’d certainly put in the “more complicated” category.
I’ve recently heard that describing America as a ‘melting pot’ has become out of vogue. Instead, I hear it called a mosaic, a salad, I've called it a pizza. On the level of our national culture, I think there is something to these various metaphors, but on the individual level the melting pot analogy feels accurate.
I’ll give an example: being a first generation American (my parents are immigrants from different Middle Eastern countries), people used to ask me: “Do you feel more American or Middle Eastern?” A classical “this or that” question which haunted me in my youth, but something funny happened in my teenage years that offered me a clearer understanding of how to navigate my multicultural identity.
When I turned 16 years old, in a perfect “East meets West” moment, my parents independently gave me the same gifts for my birthday: an English translation of the 13th Century Sufi mystic poet Rumi, and a copy of 19th Century American poet Walt Whitman’s Leaves of Grass. I took this strange coincidence as a sign and read both with special attention. Perhaps it was how they entered my life together, but when I read these poets, separated by centuries, continents, and culture, I see the same spirit in their words.
Yes, their poetry is framed by contrasting time and place, but the underlying energy, the reverence for the sacredness of this world, great and small, points at the same truth. Their understanding of who we are in relation to the Mystery (Mystery with a capital M), both inner and outer, gave me a deeper understanding of myself and that great ineffable Truth.
Here’s the thing about Truth (Truth with a capital T): both the spiritual kind and the truth of who we are is like a diamond: multi-faceted, refracted, complex. It’s both multitudinous and one single unified understanding, complete and whole in its multiplicity, and I’m not sure any one culture or tradition can claim the whole of the truth.
My own cultural identity isn’t a this or that, or even a this AND that, it’s a combination of a mixed Middle Eastern heritage, plus the Pacific Northwest where I grew up, the Filipino family I married into, and a hundred other cultural touch points that have created a unique goulash that is “who I am”, one constantly growing in density and complexity.
My spiritual beliefs are similar, they are slowly revealed through every artistic encounter, religious teaching, or any other such sacred experience that seems to point at a deeper understanding of the truth, even when those ideas seem to clash against each other. If our personal identity and beliefs are, in fact, an amalgamation of the ideas we’ve previously encountered and consciously or unconsciously synthesized, perhaps it’s not so surprising that John Harbison and Robert Bly, at the time two American, middle aged men of European descent, would choose to engage with the writings of Mirabai, a 16th Century Bakhti Saint, through music and poetry.
How we navigate which beliefs and values speak loudest to us in this increasingly interconnected world can spark uneasy conversations about cultural ownership and appropriation, but it’s nothing new to reach outside of your own tradition to seek other facets of the truth. Every society has people who feel a natural inclination towards philosophies and practices that contrast with their own cultural background.
The Puritans had their secret pagans and witches. Protestant America in the 1950s and 60s had a counterculture engaged with Buddhism and Hinduism. On the othe hand, the 2019 film Blinded by the Light is the true story of a young Pakistani Muslim in England who finds the perfect expression of his world view through the music of Bruce Springsteen.
My point is, sometimes what speaks to our souls chooses us.
Who we are is not one or the other but both at the same time, and also somewhere in the space between, and a whole lot more.
As Walt Whitman says:
Do I contradict myself?
Very well then I contradict myself,
(I am large, I contain multitudes.)
In Reena Esmail’s notes to the performer about The Space Between, she is explicitly inviting western singers, Hindustani singers, and those familiar with both musical practices, to bring her music to life and “be confident in their interpretation of the piece”. I think we can learn from her invitation and honor those who feel a connection to something new and want to bring it into their own life, even when it comes from a culture outside of their own.
Mirabai reflects this understanding. Her poetry, a declaration of her spiritual marriage to Lord Krishna, is both sensual and holy; a bringing together, a joining, a union. We are not just finding our way between body and spirit, we are body and spirit together, a complex, rich being greater than the sum of our parts while also individually part of something larger than ourselves. This is not a contradiction but a majestic truth; an understanding that cannot be reversed once we’ve experienced it for ourselves.
Or, as Mirabai says:
I have felt the swaying of the elephant's shoulders;
and now you want me to climb
on a mule? Try to be serious.
Consider, for a moment, what is possible when you step towards that big, messy, truth, the one that doesn’t fit inside the boxes we love so well. What might you see when you step into that open field, the center of the circle, in the space between all things?
Performers
Laurel Irene
Soprano
Laurel Irene is a Los Angeles-based vocal artist and voice researcher, who specializes in bringing new compositional works to life with vocal repertoire ranging from Monteverdi to Mozart to the extreme sounds of the 21st century. With incredible vocal range, agile flexibility, and "resigned, compassionate, forbearing, affectionate, sympathetic, absolving" (LA Times) emotional connection that stretches from playful to unhinged in the span of a page, she draws on her expertise in vocal research to heighten unique timbres, textures, and vocal expressions. In 2019 she performed the role of Countess Almaviva in Ragnar Kjartansson's 12-hour endurance art piece Bliss at REDCAT, earning acclaim from LA Times’ music critic Mark Swed as "one of the most astonishing performances, vocally and interpretively, I have ever encountered.” Laurel has also performed with Long Beach Opera (Kate Soper's Voices from the Killing Jar), Musica Angelica (Purcell's The Fairy Queen), the Kennedy Center, LA Philharmonic (John Cage's Europeras 1 & 2), the Getty Museum, the Industry (Du Yun and Raven Chacon's Sweet Land), LACMA Sunday Evening Concerts, the Box Gallery, Monday Evening Concerts, and the First Congregational Church of Los Angeles. A recent winner of the Beverly Hills National Auditions, she also regularly performs with chamber and vocal music ensembles across Los Angeles.
Jaxon Williams
Guitar
Hailed as a “Rising Star in the Guitar World” (Corvallis Arts Review), Jaxon Williams is an acclaimed classical guitarist and pedagogue. He has won prizes in various international competitions, including the OSAA Classical Guitar Competition, Sierra Nevada International Classical Guitar Competition, San Francisco Classical Guitar Competition, Pacific Guitar Competition, and Beverly Hills National Auditions. Jaxon is praised as “a player of rare power and grace” (William Kanengiser, Los Angeles Guitar Quartet), having “a refined musicianship, solid technique, and an engaging stage presence” (Frank Koonce, guitar scholar and publisher), and is a sought after performer of the classical guitar. He is also a former Fulbright scholar, having studied in Spain, where he mastered the Spanish guitar repertoire and learned Flamenco guitar with maestros Paco Cortés and Adam del Monte.
Richard An
Piano
Richard An is a composer and performer, born and raised in Los Angeles. Richard’s primary amibitions as a performer lie in interpretations of modern and contemporary music, and has performed music by Christopher Cerrone, Tristan Perich, Andrew McIntosh, Natacha Diels, Du Yun and Raven Chacon, Caroline Shaw, Oyvind Torvund, Sofia Gubaidulina, Julius Eastman, Steve Reich, Jurg Frey, Joan Tower, Stephen Hartke, Zhou Long, Tom Johnson, Beat Furrer, Eve Beglarian, George Crumb, Luciano Berio, Lucky Mosko, Toru Takemitsu, Morton Feldman, Olivier Messiaen, John Cage, Pauline Oliveros and more. Richard performs with stickytack (a piano+ duo), house on fire (a new music trio) and quartet friends (a 2pno 2perc quartet), and has performed with Monday Evening Concerts’ Echoi Ensemble and The Industry. Richard plays piano and percussion, and has been known to sing, conduct, and teach. Richard’s music has been performed by the Los Angeles Philharmonic Orchestra, Calder Quartet, members of Yarn/Wire, HOCKET, Resound Duo, Great Noise Ensemble, and more. Richard has a Bachelor of Music in Composition from the University of Southern California and a Master of Fine Arts from the California Institute of the Arts. He plays taiko and tabla, and makes YouTube videos.