Monday, November 29, 1999
Solstice performers maintain traditions
BY CECELIA D. JOHNSON
Enquirer Contributor
It's become an annual tradition, as sure a thing as the leaves turning in the fall and the advent of the holiday season: the Winter Solstice Concert at the Emery Theatre is just as reliable. So it was Saturday evening when a collection of Windham Hill recording artists presented a program of mostly acoustic music.
The night was full of significance, as the concert was slated to be the last event in the formerly majestic Emery Theatre before its yet-to-be-determined renovation.
The list of musicians included New Age headliners David Arkenstone, Lisa Lynne, Sean Harkness and Liz Story. Many of the selections performed were from Windham Hill collections, such as “Ice Palace,” from the newly released Winter Solstice on Ice.
Mr. Harkness displayed his dexterity on the six-string guitar with a decidedly Spanish flavor on “Siempre Conmigo” and “Puesta del Sol” (accompanied by Seth Osburne on accordion).
Ms. Lynne added an ethereal touch with her Celtic harp, a smaller version of the full-sized one that likely graced the same stage when Leopold Stolkowski conducted the Cincinnati Symphony Orchestra earlier this century.
Ms. Lynne's playing had a dreamy, medieval feel as she leaned in to pluck the strings for lilting lullabies like “The Light and the Longing” and “Morning Dove.”
An additional element of ambiance came courtesy of a bat that flew through the auditorium as Ms. Lynne played “Firebird” to the amusement of the audience.
Ms. Story came to the stage after a brief intermission, sharing a little-known bit of trivia — if you happen to have bats as house pets and you're going to be away for a period of time, you can leave them in your refrigerator for up to six weeks because they'll go into hibernation. She then introduced her first selection, “Things With Wings.”
Ms. Story's playing shows a range of sensibilities. Complex time signatures lent a Mediterranean flavor to “Escape” while “Inside Out” found her weaving effortlessly between chord changes.
Mr. Arkenstone's set featured original compositions that have become New Age staples. A self-proclaimed “Celt-a-phile,” Mr. Arkenstone's works are majesticly simple in their breadth and scope, conjuring a soundtrack for a ancient solstice rite at Stonehenge complete with tribal drums, woodwinds and an assortment of stringed instruments.
Supporting players Delia Park on violin, John Wakefield on percussion, Chad Moxson on electric bass, Mr. Osburne on keyboards and synthesizer, and a utility flute player named George provided a fitting canvas for the headliners to paint.
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