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Bruce Brubaker on all things piano

Clubbing

May 17, 2010 by Bruce Brubaker

Not an habitué of nightclubs, boîtes, or other dens of musical iniquity — I have played 4 times at New York’s Le Poisson Rouge since it opened. In case you didn’t know, this is the “it” place of the new millenium. A club (in the expensively refurbished premises of the former Village Gate) where music, high-toned classical, alt classical, and bands comingle, and drinks are served. It’s caught the attention of the Establishment. Countless mentions and reviews in the New York Times (almost to a point of parody — LPR performances are more often covered than concerts at Carnegie). I first played as an opening act for Max Richter. The place was full of fans — his. And that’s been a strategy for Ronen Givony, one of the LPR masterminds — start an evening with some relatively friendly new classical and follow with music of greater commercial appeal.

LPR is not without parallel elsewhere. The Yellow Lounge in Berlin — although held in changing venues and supported by Deutsche Grammophon. And, in London, Limelight and some events at the much larger Roundhouse.

In New York, I’ve played at John Zorn’s converted Chinese restaurant The Stone. It’s hip (?) but not as swanky as LPR, and no refreshments to wash down the art. Sonic conditions in these “alternative” venues may not be as fine as uptown concert halls. I’ve usually amplified subtly to give a bit of added ressonance. The impact of the performances is something else. After I played Messiaen’s Quartet for the End of Time at the Poisson Rouge, after nearly an unbroken hour of music, the listeners — many of whom had never heard of Messiaen before and never heard anything like this music before — stood and cheered.

Filed Under: Uncategorized Tagged With: (le) poisson rouge, alt classical, alternative classical, LPR, Messiaen, New York, New York City, Poisson Rouge, Quartet for the End of Time, Ronen Givony, Village Gate

Comments

  1. Laura Gilbert says

    May 18, 2010 at 9:38 am

    Another attractive feature of Le Poisson Rouge is the low ticket price. I heard Thomas Andres last night for $15. (Now that I’m on LPR’s email list, I’ll be sure to catch your next gig there.)

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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