Found in Translation
Bill Murray performing New Worlds photo: Will Bucquoy CLIQ Lounge
By now we’ve grown accustomed to the delightful and infectious surprises that Bill Murray delivers publically (Trust me it was Bill Murray. At the airport, he took a sip out of my beer and said, "no one will believe me . . . . ." ) and in his career, yet I doubt none of us could have predicted his masterful homage to our American literary heritage as he so aptly performs in New Worlds his most recent theatrical endeavor. Lucky little me I attended the stateside premier of New Worlds in Yountville, California as part of the Festival Napa Valley. Lucky for Bill there are plenty of golf courses in NorCal that hopefully challenged his game. Challenge being the key word here, for as an artist Murray doesn’t seem to ease up or slow down. He continues to broaden his passions to newfangled levels setting the bar higher and higher for all those who choose to go there with him. And go there you do.
This time he pairs himself with a most unlikely quartet. Famed, virtuoso cello soloist, Jan Vogler, with Mira Wang the quartet’s ebullient and feisty violinist, and last but not least, pianist Vanessa Perez a vehement pianist who plays with strategic emotion, and hats off, a mesmerizing frenzy.
New Worlds begins with Murray reading from the legendary George Plimpton/Hemingway Paris Review interview. This is particularly poignant as it is Hemingway’s last interview and it sets the stage for an evening of whimsy, music and literature. Murray reads:
(Plimpton) “Did you even ever play an instrument? “ (Hemingway) “I used to play cello. My mother kept me out of school a whole year to study music and counterpoint. She thought I had ability, but I was absolutely without talent. We played chamber music - someone came in to play the violin; my sister played the viola, and mother the piano. That cello - I played it worse than anyone on earth. Of course, that year I was out doing other things too.”
While Murray recites the interview Volger performs Bach’s Suite No 1 in G Major for Unaccompanied Cello allowing the very words to effortless drop into an ocean of cello heaven. From there Murray and accompanists take us on journey of American literary geniuses. Pairing Schubert, Piazzola and Ravel with the likes of Cooper, Whitman, Twain, Thurber and Billy Collins. (Murray’s chosen Twain pieces had me in tears it was that damn affective and real!) The delight only continues when Murray breaks into Gershwin’s It Ain’t Necessarily So (where the crowd joined in) to Bernstein’s I Feel Pretty and America. Who knew Murray had such vocal range? Belting out gutsy baritones along side charming and melodious chansons. But when you think about it – it makes sense.
New Worlds could not have come at a better time. Aligning European and Argentine musical influences with American literary treasures.
Perhaps Mr. Murray understands that with art we are all allies, living in expressive worlds that seek to deepen the human experience. Bravo Bill! Thank you for being a literary romantic and bringing your love of literature to light.
Hmm was it a bit of poetry you whispered into Johansson’s ear?
Stay true world,
Maggy Grace