THE CEDAR COMMISSIONS Night One
February 21 @ 7:30 pm$10 – $15
Over the two nights of the 2020 Cedar Commissions, audience members will hear music inspired by family legacies and histories, traditional Ethiopian azmaris, women of the Holocaust, immersive Afrodiasporic sounds, Black America, collective action, and so much more. It’s a perfect chance to experience the next big thing in Minnesota music!
The first night of the series takes place on Friday, February 21st at 7:30pm and features, in order of appearance:
ANAT SPIEGEL – MY FOUR MOTHERS
Inspired by the work and life of writer Charlotte Delbo, philosopher Sarah Kofman, painter Charlotte Salomon and teacher Dvora Grünberger-Reichstul, My Four Mothers portrays multiple narratives of World War II and the Holocaust. Giving voice to the victim, the survivor, and the one that got away, My Four Mothers celebrates four exceptional women who in their very being have redefined strength, weakness and possibility. Created by composer Anat Spiegel (voice) in close collaboration with Isabel Dammann (violin) and Mikaela Marget (cello).
FREAQUE – FURY
Anger is taking the world by storm. With solutions for combating Climate Change still going unanswered, and endless war, violence, and displacement spreading ceaselessly, it’s hard to know what to do with the anger that’s bursting at the seams. Freaque has created a set of swamp grooves and decomposing words called Fury that validates that anger. He tells stories of how he paired hope with anger after a spinal cord injury that left him completely out of control of his body, his chronic pain, and his physical healing, and show how those stories can be translated into a wave of broader collective action. Anger is a tool for change, we’ve just never been taught how to use it.
ILAN BLANCK – LA PRIMERA VEZ QUE ME SIENTO SEGURO
Guitarist and composer Ilan Blanck performs La Primera Vez Que Me Siento Seguro, a song cycle exploring the experiences of his great-grandparents; growing up in Eastern Europe, surviving the Holocaust as refugees in Soviet Russia, and finally, beginning a new life in Mexico City. Scored for almost a dozen musicians and written in Spanish, English, and Yiddish, the piece is an exploration of his family’s history in its own languages.