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How Kamasi Washington and 100 musicians filled LACMA’s empty new building with a sonic work of art

BBG News

For the first time since its opening, the general public was allowed into the Los Angeles County Museum of Art on a Friday night not for art appreciation but to enjoy music, just as Times music critic Albert Goldberg described in 1965. Coincidentally, this occurred exactly 70 years and three months later.

On Thursday evening, for the first time, the general public was granted access to LACMA’s David Geffen Galleries. The event was a significant musical performance headed by jazz saxophonist Kamasi Washington. Over 100 musicians were strategically positioned in nine separate groups across a winding, 900-foot path within Peter Zumthor’s newly constructed building, which currently houses no artwork.

The inaugural event, attended by arts and civic dignitaries, surpassed the scale of the concert held on March 26, 1965, which marked the debut of LACMA’s Leo S. Bing Theatre. This performance, a showcase by the renowned Monday Evening Concerts with Pierre Boulez conducting the premiere of his “Éclat,” served as a representation of Los Angeles’ vibrant maturation, as the Music Center had been inaugurated three months prior.

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The Los Angeles County Museum of Art unveils a sneak preview of its newly constructed David Geffen Galleries, featuring expansive areas of concrete that provide beautiful instances, but also elicit some sighs.

The Monday Evening Concerts were a significant L.A. event, attracting local musical legends such as Igor Stravinsky. These concerts showcased Los Angeles’ exceptional musicians, with the mandolinist in “Éclat,” for example, being Sol Babitz, father of the late, iconic L.A. author Eve Babitz. Over time, composer Boulez expanded the 10-minute “Éclat” (for 15 instruments) into a 25-minute orchestral opus, “Éclat/Multiples.” He also left behind incomplete sketches to further develop it into a full hour of music.

Washington proved to be an excellent choice for continuing Boulez’s legacy at the new LACMA, having expanded his 2018 half-hour EP, “Harmony of Difference,” magnificently. The brief compositions – titled “Desire”, “Knowledge”, “Perspective”, “Humility”, “Integrity” and “Truth” – feature nearly three dozen musicians in passionate outbursts of awe.

At LACMA, the number of musicians and duration were tripled, transforming what some critics saw as thrilling outbursts into undeniable grandeur. Michael Govan, LACMA’s Director, described it as a unique event that might not occur again. Although I didn’t fully grasp what this building will be like as an art museum, it was an impressive venue for grand musical endeavors. In the midst of Los Angeles struggling with fires and soldiers instilling fear on the streets, it offered a glimmer of hope.

The number of musicians and length were increased threefold at LACMA’s event. Critics who thought it was exciting but maybe over-the-top, found it transformed into something truly stunning. The director called it a one-of-a-kind experience that might not happen again. I didn’t quite get a feel for what the building will be like as an art museum, but it was perfect for big musical ideas and, in doing so, provided hope during a tough year in L.A., marked by fires and fearful troops on the streets.

Washington is one of our exceptional musicians who flourishes in abundance. Despite frequent suggestions for him to focus on brevity, particularly in his extended compositions where his relentless improvisations can become overwhelming due to numerous peaks, it seems to be a misunderstanding of his style. In truth, I’ve never heard him play anything, whether short or long, that didn’t seem ripe for expansion by threefold. His perspective is expansive, and he requires ample room to express it fully.

At David Geffen Galleries, he obtained an assortment. This collection consisted of nine groups, one being a big mixed orchestra led by him, as well as individual string, brass, woodwind, and choral ensembles. Each group played distinct variations of the songs, not perfectly in sync, but if you strolled along the lengthy pathways, the tunes seemed to be presented in various settings, giving off an effect akin to dreamlike auditory artistry.

Sonically, the Geffen is an unusual blend. The oversized glass windows and slanted concrete walls cause sound to bounce off in diverse manners. Numerous areas differ in shape, size, and acoustic characteristics. During a media tour earlier today, I noticed less echo than anticipated, yet each area showcased its unique quirks.

In this setting, every group from Washington was meticulously amplified, creating a sensation akin to walking through a liquid environment, as the distinct sounds of varying ensembles intermittently blurred and sharpened. As I advanced, the exuberance of the chorus transformed into an exhilarating saxophone solo by Washington, followed by a wind ensemble that carried an organ-like resonance. The entire structure seemed to pulsate with life.

As a movie critic, I found myself captivated not just by the music, but also by the visual symphony that unfolded around me. The concert was set against the backdrop of a breathtaking sunset, with the light filtering through the expansive windows, casting an ever-changing kaleidoscope across the scene.

The “Harmony of Difference” wasn’t just audible, but visible too. It manifested in the dynamic interplay between the bubbling tar pits nearby, the bustling street life on Wilshire Boulevard, and the serene beauty of LACMA’s Pavilion for Japanese Art, which stood majestically from my vantage point in the new galleries. The sight was nothing short of enchanting.

Govan’s dream envisions a location that serves as a melting pot for various forms of art, originating from different parts of the world. This transformation would essentially convert our galleries into an enchanting walkway of exploration.

In terms of music, it aligns more with John Cage’s “Musicircus,” where multiple musical groups perform at randomly chosen intervals, creating a vibrant mix of different sounds. Interestingly, this concept fits perfectly with the Geffen Galleries, which seems to have been designed specifically for such diversity. However, Washington also showcased the building’s versatility, demonstrating its potential not only for dance and opera but also for theater performances.

As a film enthusiast, I’ve always had a soft spot for the Los Angeles County Museum of Art (LACMA), but recently, I’ve been yearning for it to evolve into something more. You see, while the museum may not have placed performance at the forefront in recent years, Washington subtly reminded us that the premiere of Boulez’ “Éclat” was a pivotal moment that infused LACMA with its musical soul.

Fast forward seven decades, and Zumthor’s design seems to be unintentionally nudging LACMA towards embracing a new identity: Los Angeles County Museum of Art and Performance (LACMAP). It’s as if he’s whispering in the museum’s ear, urging it to expand its horizons and become a beacon for performance arts alongside its existing artistic prowess.

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2025-06-28 13:31

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