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Tyshawn Sorey spent a whirlwind weekend at the Big Ears Festival, but when he finally sat down with Lara Downes in NPR’s makeshift studio, all the hustle melted away into a conversation about the power of space and silence. His new piece, Monochromatic Light (Afterlife), draws on Rothko’s dark, light-revealing color fields in the Houston chapel and Morton Feldman’s commemorative score. By stripping away musical conventions, he creates a canvas where subtle shifts of texture and time become the real stars.
In Sorey’s world—whether he’s behind the drums, trombone, piano or a full orchestra—silence isn’t empty, it’s full of possibility. Bass-baritone Davóne Tines, who navigates that “nearly hour-long” work night after night, says those pauses are “places of reflection and rest.” Just like Rothko’s paintings, Sorey’s silences invite you to slow down, lean in and find a little light in the darkness.
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