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Bruce Brubaker on all things piano

Drone

August 20, 2012 by Bruce Brubaker

Last summer, I went to Iceland to record Nico Muhly’s Drones & Piano. I planned to spend two days in the studio, walk around Rejkavik, go to the Blue Lagoon, and fly back to New York.

When I arrived at Greenhouse Studios, the door was opened by Nadia Sirota. I had no idea she was going to be there.

According to Nadia, she “kind of Jedi Mind Tricked” me into recording another of Nico’s drone pieces with her, Drones & Viola — after I finished my intended project.

I’d never seen the music. “Oh you can just about sight read it,” Nadia was heard to say. Simple or not, if I’d planned to do a recording with her, I would have practiced my part, a lot. And we would have rehearsed together before the mics were turned on!

Drones & Viola is made up of four parts, four movements. In each part, either the violist or the pianist is playing extemporized drones (the pitches are fixed), while the other player plays written-down lines and chords.

The night before we recorded, I did practice the piece for a couple of hours. I’m a bit surprised just how much I like the finished recording of D & V. So, a working process needs to include a lot of possible approaches. And then perhaps Jacob Lateiner was right. The thing he thought was most like a finished performance? Sight-reading.

Filed Under: Uncategorized Tagged With: drone, Drones, Drones & Piano, Drones & Viola, Greenhouse Studios, Iceland, Jacob, Jacob Lateiner, Lateiner, Muhly, Nadia, Nadia Sirota, Nico, Nico Muhly, non-take-twoness, Paul Evans, recording, Sirota, Valgeir, Valgeir Sigurðsson

Comments

  1. Justin says

    August 25, 2012 at 1:42 am

    It’s a beautiful recording!

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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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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