一本道无码

There is power in uniting past and present. It鈥檚 a power that 一本道无码 student Quinn Bryant and composer James Lee III both wield 鈥� in their own work, as well as in their recent collaboration for the聽. Their collaboration culminated in June 2024 with the world premiere of 鈥淐aptivating Personas,鈥� Lee鈥檚 four-part orchestral piece inspired by Bryant鈥檚 canvases, for the orchestra鈥檚 2023-24 season finale.

Raised in Baltimore, Bryant, a sophomore in 一本道无码鈥檚聽,聽has always been deeply connected to community. 鈥淚 like creating work that tells other people鈥檚 stories or is personal to them, while also talking about my own identity,鈥� said Bryant, whose paintings often draw from 18th- and 19th-century portraiture and photographs she takes of models 鈥� frequently her own friends. 鈥淚 loved the title 鈥楥aptivating Personas.鈥� It so perfectly combined what I was trying to do and what he was trying to do with his music.鈥澛�

The project began in November 2022 when the orchestra approached聽, an internationally recognized composer and professor of theory and composition at Morgan State University 鈥� the largest of Maryland鈥檚 historically Black colleges and universities 鈥� with a commission to collaborate with the local community. Lee looked to the聽, where Bryant was in her senior year of high school. During a visit to the school鈥檚 studios, Lee was captivated by one of Bryant鈥檚 paintings 鈥斅犫�淧ower.鈥�

At 5 feet by 8 feet,聽鈥淧ower鈥澛爄s a monumental reframing of the roles women have played in shaping history, depicting 13 women from diverse cultural backgrounds. Each woman, seated or standing in a room inspired by 18th-century European interiors, assumes a commanding pose, balanced by a sense of shared experience and support. Bryant created playlists for each woman, drawing on music from their respective cultures, and researched fashion history to honor traditional styles while infusing them with a contemporary point of view. She also journaled throughout the two-year journey it took to paint聽鈥淧ower,鈥� a practice that has continued to be central to her process.聽聽

鈥淚 was reflecting on the past, art history, ancestry, feminism 鈥� that was the whole base of my thinking, reflecting on how women have been portrayed, what is beauty and feminism, what it is to be Black and what it is to be a woman,鈥� Bryant explained. 鈥淭hat鈥檚 what I tried to do with my piece; take all of the beauty but turn it upside down, honor it, play with it, bring out the good, the bad, the boring, the surprising, all of those different emotions in one piece.鈥�

Lee鈥檚 approach to composing was equally ambitious. Anchored by the themes in聽鈥淧ower,鈥� he selected three more of Bryant鈥檚 paintings to inspire the movements of聽鈥淐aptivating Personas.鈥澛�

鈥淢y challenge was how to (combine old and new) musically without sounding like a clich茅 or an imitation of a Mozart, Beethoven or Haydn symphony,鈥� said Lee, who is the composer-in-residence of the orchestra鈥檚 upcoming 2024-25 season. 鈥淭hat meant that I needed to combine elements musically to make it interesting, infuse it in such a way that it would be more organic and not contrived.鈥� Where the first movement in聽鈥淧ower鈥澛爄s rich with brass 鈥� punctuated by piccolo and clarinet 鈥斅犫�淎ttitude鈥澛爏trikes a lighter tone with marimbas and trombones, followed by a more expressive and expansive third movement of strings, harps, and chimes in聽鈥淏ored Comfort,鈥� and, finally, a celebratory triumph in聽鈥淏reath of the Victorian Scape.鈥�

Lee and Bryant鈥檚 conversations early on explored the influences behind each painting, from symbols of empowerment to personal stories, while still leaving room for Lee to interpret. The ways in which colors convey emotion helped Lee bridge the realms of painting and music. 鈥淲e have a word called聽timbre, where we deal with the idea of colors and sounds,鈥� he said. 鈥淓specially writing for orchestra, that lends itself to a wonderful combination of instruments.鈥�

At each performance, audiences not only heard 鈥淐aptivating Personas,鈥� but also experienced the paintings as they were projected on screens during each respective movement. In the second,聽鈥淎ttitude,鈥� Bryant鈥檚 friend and muse Zoey Aleong wore a modern floral dress paired with her grandmother鈥檚 church gloves. 鈥淥ne of the things her grandmother would talk to her about was, and that a lot of Black women face, is this idea that we have 鈥榓ttitude,鈥欌�� said Bryant. 鈥淭hat used to be a stigma. We had to lighten our emotions, we couldn鈥檛 be too expressive, we couldn鈥檛 be too much of anything. But now we own that as our own form of confidence.鈥� Lee translated this shared experience into music by juxtaposing a bluesy sound 鈥� 鈥渁lmost like an older Black church environment,鈥� he said 鈥� with harmonies and solos across different instruments of the orchestra.

Throughout the week of performances, after Bryant walked out on stage, she would be approached by members of the audience. 鈥淭here was this one Black woman whose favorite piece was聽鈥楢ttitude,鈥欌�� Bryant shared. 鈥淎nd she said 鈥榃hen I saw your painting, I looked at her arms and they looked like my arms.鈥� I didn鈥檛 think about that when creating the work, but when you tell other people鈥檚 stories, and people have that reaction, it shows that you鈥檙e not alone in the way you鈥檙e feeling or how you see yourself. I had so many moments like that with people after performances.鈥�

Bryant said her journey at Carnegie Mellon has been just as surprising, showing how powerful results can emerge across time and artistic disciplines to create something entirely unexpected. As a first-year student coming from the Baltimore School for the Arts, Bryant wasn鈥檛 initially sure she could explore the different artistic directions she was interested in. 鈥淚 think, in my mind, I believed that I had to choose one. But what I鈥檓 learning at Carnegie Mellon is that I don鈥檛, and that I can combine so many different things.鈥�