Near the beginning of T. S. Eliot's "Portrait of a Lady" there are these lines: "We have been, let us say, to hear the latest Pole Transmit the Preludes, through his hair and fingertips." Were those the celebrated red locks of Paderewski? Like many Poles playing the piano, he specialized in Chopin. There were so many Chopinists in the early years of the twentieth century -- just as sound recording really got going -- that, although we … [Read more...]
Archives for 2009
Beat It
Walking across the campus of a big Midwestern university, I hear drumming. The drumline from the school's marching band is practicing outdoors, with a very loud metronome. Big speakers blast out the regular electric beats -- quite a lot louder than twenty drummers drumming. These beats sound like gunshots. The music is intricate with a lot of syncopation, and these kids fit it all in, around the clicks. This kind of practicing is not so … [Read more...]
How many?
In an interview recently, I was asked the obvious question: "How many concerts have you played?" And I answered truthfully: "I don't know." I've thought about it before, even wishing I had kept track better. I might calculate the number by studying my old calendars and printed programs. (Could I have notched the leg of a piano bench?) It's got to be hundreds. As I was speculating about this, I asked another question: "For the purpose of this … [Read more...]
One Hand
From the school's library I checked out again the copy of Messiaen's Le merle noir (The Blackbird) that I used last fall when I played the piece with Paula Robison. Since then, many markings were made in the piano part. I don't mark anything in the scores I use, but when I opened the music again there were all the things pianists write: dark circles drawn around printed dynamic markings, fingering, penciled-in lines showing correspondences … [Read more...]
Art is long
Long notes are more important than short notes. Pianists often get confused. Because we don't hold out long-duration tones with bow or breath, it's easy to underestimate their significance. Virtuoso pianists spend so much time attending to what's difficult in virtuoso pieces that it can seem these difficulties -- often passages of short, quick notes -- really are the most important thing in a piece of music. Frequently, it's the other way … [Read more...]
In one
After many years, I figured out what many eighteenth-century musicians must have known: 9/8 meter is in three. (There are three beats in each measure.) 9/16 meter is in one. … [Read more...]
Lineage
After a concert I played in Munich in May, there was a question-and-answer session. (I performed music written by Alvin Curran, Sylvano Bussotti, and Earle Brown.) One audience member asked if a performer of newish music still needs to study Chopin's etudes? Since the pervasive use of photography by visual artists, the question arises in art schools: "Do art students need to learn how to draw?" To the question in Munich, my immediate … [Read more...]
Triangle
I perform a piece with Butoh artist Maureen Fleming in which I play Philip Glass's Etude No. 5. The performance includes a video of Maureen moving, projected larger-than-life-size on a scrim. Behind the scrim, Maureen performs live. In front of the scrim, onstage, I sit at a piano and play the etude. Maureen made the video first. She started improvising movements and shooting video, with careful, subtle lighting. The movements are slow … [Read more...]
Piano Darwinism
Olivier Messiaen's Quartet for the End of Time has gotten easier to play. Fifteen years ago, I learned the piece and performed it, finding the music quite difficult. There were rhythmic complexities, and ensemble challenges. Especially in the first movement ("Liturgie de cristal"), andin the sixth movement ("Danse de la fureur, pour les sept trompettes"), it was difficult just to stay together with the other players. Around the world last … [Read more...]
Brand
"We switched to Lavazza." I already guessed, from the cups and paraphernalia with the particular blue of the brand. My favorite place to drink espresso in New York City has succumbed. Lavazza is good actually. And it's reassuring to find a shop brewing "Italy's Favorite Coffee" in some unlikely town (Hannover) when you want a shot of the black elixir. But, lots of other coffee tastes are disappearing. The world is being Lavazzafied! And, I'm a … [Read more...]
Matter of opinion
After several master classes at the Ecole Normale de Musique in Paris, given by several of us pianists, a student asked me: "Isn't it all just a matter of opinion?" And after so many diverging ideas and approaches, strongly expressed, who could blame anyone for asking that question? With so many differences, perhaps opinions just seem like ... random thoughts? I told him what I believe. "In music -- or politics, or anything -- the 'best' … [Read more...]
First Glass
Tim Page suggested I play some music by Philip Glass. It was a solo piano arrangement of part of the opera Satyagraha -- Gandhi's final, Act 3 aria. Tim wanted this music for a solo piano CD we were making for BMG's Catalyst label. The arrangement wasn't easy. According to Tim, the pianist Rudolf Firkusny had struggled with it, and given up -- Firkusny thought it was too hard to play! Though the Catalyst recording was never made (some details … [Read more...]
Resolve
In classical music, many gestures need to "resolve." A dissonance, a departure from the harmonic (or melodic, or rhythmic) norm needs to be brought back to normality, disturbances need to be calmed -- "action" needs resolution. Chopin: Opus 44 This dotting of the "i," this attentive management of the small phraselet, is often subsumed in an attention to, or a desire for larger shapes. But music becomes generalized very easily. Large … [Read more...]
Molecular Piano
Before, I have spoken of "extreme" piano, related to the phenomenon of "extreme sports" -- I was talking about the masochistic marathon of Alvin Curran's Hope Street Tunnel Blues III. Now, I want to propose the notion of "molecular piano." I'm thinking of "molecular gastronomy" as practiced by Ferran Adrià and many others (focusing on ambiguities and subtle transformations -- from one state of edible matter to another). And, I am thinking too of … [Read more...]
Help Wanted
Talking to an internet start-up guy, it struck me: I need an intern. There's a new CD -- Time Curve -- coming out very soon on Arabesque (my playing of music by Glass and Duckworth). It's not quite "classical," not "new age" (although that may be how Amazon.com and other internet sellers will niche it). Some people use the term "alternative classical" or "alt classical"... From the statistics I have, the people who download my recordings … [Read more...]