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PianoMorphosis

Bruce Brubaker on all things piano

Recenter

October 26, 2009 by Bruce Brubaker

The “reception” of a piece of music becomes part of its identity. Our performances, recordings, reviews, reactions, lawsuits, teaching, reflection, arrangements, remixes, appropriation — all of that is the piece, along with the text we started from. Famous music acquires a larger and larger, and more multiply-determined identity. Eventually, there are so many components that none of us can affect the whole very much.

jettyAJ.jpgWhen I give the first performance of new music (I’m playing a new piano piece by Nico Muhly in May), my performance functions to begin staking out an identity for that music in public. Actors are said to “create” new roles. Immediately things begin to shift as my playing is heard, as I play again, or record. Nothing ever gets taken back.

With canonic music, no matter how significant we believe our insights or approach to be, we don’t make much of a difference. The music is large — like a person who has lived a long time and for whom a few minutes represent only a small, small fraction of a life. In contrast, a few more minutes in a child’s life significantly increase the whole.

Scripted music does continue to change, as it’s played. Its identity is recentered, at an increasingly slow rate. How radically we depart from what has been done before in performing may be part of how far this recentering goes.

Does this explain Mannerism? As a style, or a particular piece of art becomes more and more familiar, an artist’s assertion of personal voice (an attempt to recenter the piece, or school) may result in extremes. It is not exactly a wish to shock that drives Beethoven or Parmigianino — but the desire to be heard.

Filed Under: Uncategorized Tagged With: Beethoven, Beethoven is a Mannerist, canon, canonic repertory, Mannerism, mannerist, Muhly, new music, Nico, Nico Muhly, reception, Rezeption

Comments

  1. Dan the Music Master says

    October 28, 2009 at 5:28 am

    Interesting article. It’s always intriguing to read how different artists approach the art of interpreting.

  2. MAtt PAce says

    November 2, 2009 at 4:37 pm

    Yeah, I agree, this is very interesting. Interpretation is something no two musicians may have the exact same idea on it and I think the idea that we do not affect a piece that much is true.

  3. Custom Logo Design says

    February 17, 2011 at 5:03 am

    Interesting article. It’s always intriguing to read how different artists approach the art of interpreting.

Bruce Brubaker

Recordings like the new American piano music albums I make for ECM, InFiné, Bedroom Community, and Arabesque reach millions of listeners, and break through some old divisions of high culture/pop, or art/entertainment. My fans are listening to Billie Eilish, The Weeknd — even the occasional Mozart track! Spotify, Apple Music, YouTube are allowing music lovers to discover music they could not have found so easily before. Live performances begin to reflect what’s happening online. My performances occur in classical venues like the Philharmonie in Paris, the Barbican in London, at La Roque d’Anthéron, at festivals such as Barcelona’s Sónar and Nuits Sonores in Brussels, and such nightclubs as New York’s (le) Poisson Rouge. Read More…

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PianoMorphosis

Music is changing. Society's changing. Pianists, and piano music, and piano playing are changing too. That's PianoMorphosis. But we're not only reacting... From the piano -- at the piano, around the piano -- we are agents of change. We affect … [Read More...]

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BB on the web

“Glassforms” with Max Cooper at Sónar

“Glass Etude” on YouTube

demi-cadratin review of Brubaker solo concert at La Roque d’Anthéron

“Classical music dead? Nico Muhly proves it isn’t” — The Telegraph‘s Lucy Jones on my Drones & Piano EP

Bachtrack review of Brubaker all-Glass concert

“Brubaker recital proves eclectic, hypnotic, and timeless” — Harlow Robinson’s Boston Globe review of my Jordan Hall recital

“Simulcast” with Francesco Tristano on Arte

Bruce Brubaker hosts 4 weeks of “Hammered!” on WQXR — “Something Borrowed,” “Drone,” “Portal,” “The Raw and the Cooked”

“Onstage, a grand piano and an iPod” — David Weininger’s story with video by Dina Rudick

“Bruce Brubaker on Breaking Down Boundaries” — extensive audio interview at PittsburghNewMusicNet.com

“Heavy on the Ivories” — Andrea Shea’s story for WBUR about Bruce Brubaker’s performances and recording of “The Time Curve Preludes” by William Duckworth

“Feeding Those Young and Curious Listeners” — Anthony Tommasini in The New York Times on the first anniversary of the Poisson Rouge

“The Jewel in the Fish” — Harry Rolnick on Bruce Brubaker at the Poisson Rouge

“The Post-Postmodern Pianist” — Damian Da Costa profiles Bruce Brubaker in The New York Observer

Bruce Brubaker questioned at NewYorkPianist.net

“Finding the keys to the heart of Jordan Hall” — Joan Anderman in the Boston Globe on the search for a new concert grand piano

“Hearing and Seeing” — Philip Glass speaks with Bruce Brubaker and Jon Magnussen, Princeton, Institute for Advanced Study

Bruce Brubaker about Messiaen’s bird music, NPR, “Here and Now”

“I Hear America: Gunther Schuller at 80” — notes and programs for concert series, New England Conservatory, Harvard University, Boston Symphony Orchestra

“A Conversation That Never Occurred About the Irene Diamond Concert,” Juilliard Journal

Bruce Brubaker plays music by Alvin Curran at (le) Poisson Rouge

Bruce Brubaker

Recordings such the new American piano music albums I make for ECM, InFiné, and Arabesque reach many listeners, and seem to break through some old divisions of high culture/pop, or art/entertainment. My fans are listening to Cardi B, Childish Gambino, Ariana Grande — even the occasional Mozart track! Spotify, Apple Music, and YouTube are allowing music lovers to discover music they could not have encountered so easily in the past. Live performances begin to reflect what’s happening online: this year I play at the International Piano Festival at La Roque d’Anthéron, traditional concert venues in Los Angeles, and Boston — as well as nightclubs in Berlin, Hamburg, Paris, Lyon, Geneva, and New York’s (le) Poisson Rouge.

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