The Guardian | international Note

The Guardian | international

TheGuardian.com/international is a section of the Guardian news site that focuses on international news and events. It provides coverage on a wide range of topics from different corners of the globe, including politics, business, culture, and more.

Thread Of Notes

Sorey/BBC Singers/Tines/Gibson/GBSR Duo St Giles’ Cripplegate, London The Pulitzer-winner’s sprawling amalgam of Morton Feldman and African American spiritual felt meandering, but the GBSR duo, the BBC Singers and Ruth Gibson’s viola were luminous and charismatic Monochromatic Light (Afterlife) by Pulitzer-winning composer and multi-instrumentalist Tyshawn Sorey demands patience. Subtitled “A meditation on Morton Feldman’s Rothko Chapel”, the work uses a similar ensemble – percussion, keyboards, a viola, a choir, a solo voice – and a similarly abstract dialogue of rhythms and pitches to Feldman’s 1971 tribute to the US painter. But where Feldman’s meditative soundscape lasts half an hour, Monochromatic Light sprawls across 80 minutes and discloses only in its final bars a second vital anchoring in the African American spiritual Sometimes I Feel Like a Motherless Child. Such a score is not ideally experienced from a hard pew in a hot church during a week of record-breaking temperatures. There were moments between its opening, barely detectible murmur of tubular bells and its closing revelation of the bass-baritone soloist’s single line of text (pieced together syllable by syllable over 50 minutes) when I struggled to hold on to a sense of musical architecture, when the pinpricks of dissonance and slow-motion scatterings of instrumental lines began to feel meandering. Other details offered more rapid gratification: elemental rumbling on bass drum and timpani using sticks with heads like candyfloss; a glistening sheen of bowed marimba on a rare, mill-pond calm octave unison from the choir; wild bass-baritone melismas plunging acrobatically across the voice.
An antithesis of the doom and gloom docs about environmental destruction, Cumberbatch and expert contributors look at how we can all help to protect it There is value in a documentary about the environment and the climate crisis that does not simply indulge in hand-wringing, anger and despair. Fredi Devas’s film, presented by Benedict Cumberbatch in London’s National History Museum and composed of segments from different contributors, focuses on real, positive measures that individuals and communities can take – or begin to take – to make a difference. I’m agnostic about the sometimes touchy-feely tone of the film which can feel like a schools educational programme rather than something intended for adults, and occasionally also about the surging score which is there to tell us when to feel hopeful and when to feel euphoric. But there is food for thought here. The film revives the issue about meat eating, which requires colossally destructive land clearance for the cattle involved, but it doesn’t simply try to make people feel guilty for liking meat. Plant-based substitutes for meat like mycelium are not good enough yet, we hear, but improvements are being made all the time. Bio-investment initiatives are discussed – business models which are linked to regenerating the natural world, the source of raw materials. The film interviews a forest healing instructor in South Korea who uses woodland spaces for therapy; of course, it’s tempting to do jokes about “tree hugging” and yet who can doubt that these natural places are indeed restorative? Naturalist and broadcaster Dan O’Neill is shown visiting Singapore and instead of throwing up his hands in horror at this turbo-capitalist place where people can reputedly be severely reprimanded for spitting gum on the pavement, he praises its policy of integrating green spaces into the urban environment.