{"id":2162,"date":"2012-06-25T06:11:47","date_gmt":"2012-06-25T10:11:47","guid":{"rendered":"http:\/\/www.artsjournal.com\/pianomorphosis\/?p=2162"},"modified":"2020-07-20T15:45:04","modified_gmt":"2020-07-20T19:45:04","slug":"piscatorial","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/pianomorphosis\/2012\/06\/piscatorial.html","title":{"rendered":"Piscatorial"},"content":{"rendered":"

\"\"<\/a>It’s hard to remember musical life before the Poisson Rouge<\/a>. Four years ago this summer, I started playing and hearing music at the club (the former Village Gate<\/a>). It’s not overstatement to say that LPR has reflected, and also played a role in big changes in American musical life.<\/p>\n

The range of people who stop by is crazy. After I played in a performance of the Quartet for the End of Time<\/em><\/a>, Nico Muhly’s mother introduced herself. One night it was Chuck Close, another night Mrs. Earle Brown<\/a>, Bill Duckworth<\/a>, Marian Seldes…<\/p>\n

To mark the first anniversary of the club on June 15, 2009, I played a CD release event for my recording of Duckworth’s Time Curve Preludes<\/em><\/a>. At Philip Glass’s 75th-birthday party<\/a>, I played with Tim Fain. At LPR, I did the first New York performance of Nico Muhly’s Drones & Piano<\/em><\/a>. With Francesco Tristano, I played an overlapping performance of classical and newer piano pieces we called “Simultaneo”<\/a> that seemed to rile the techno experts even more than the classicos in the audience.<\/p>\n

I’ve heard amazing sounds at LPR: Glenn Branca’s battalion of electric guitars<\/a>, the Rite of Spring<\/em>, rearranged, reconstructions of Russolo’s instruments<\/a>, Gavin Bryars’ Sinking of the Titanic<\/em>, on the night of the 100th anniversary of the boat’s demise.<\/p>\n

\"\"<\/a>I played on shows or double bills that included performances by Max Richter, Sylvain Chauveau, the Kronos Quartet, Ashley MacIsaac<\/a>… At LPR, I met writers that wanted to write about me, and photographers who took my pic.<\/p>\n

Congratulations to Justin, David, and Ronen! LPR’s been and continues to be the place to be.<\/p>\n","protected":false},"excerpt":{"rendered":"

It’s hard to remember musical life before the Poisson Rouge. Four years ago this summer, I started playing and hearing music at the club (the former Village Gate). It’s not overstatement to say that LPR has reflected, and also played a role in big changes in American musical life. The range of people who stop […]<\/p>\n","protected":false},"author":2,"featured_media":2208,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[184,945,940,116,388,518,944,6,943,181,946,154,32,402,938,185,942,190,939,941,519,188,722],"class_list":{"0":"post-2162","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-uncategorized","8":"tag-le-poisson-rouge","9":"tag-ashley","10":"tag-chuck-close","11":"tag-drones-piano","12":"tag-earle-brown","13":"tag-francesco","14":"tag-givony","15":"tag-glass","16":"tag-justin-kantor","17":"tag-lpr","18":"tag-macisaac","19":"tag-messiaen","20":"tag-nico-muhly","21":"tag-philip","22":"tag-poisson","23":"tag-poisson-rouge","24":"tag-quartet-for-the-e","25":"tag-ronen-givony","26":"tag-rouge","27":"tag-time-curve-preludes","28":"tag-tristano","29":"tag-village-gate","30":"tag-william-duckworth","31":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/2162","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/comments?post=2162"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/2162\/revisions"}],"predecessor-version":[{"id":5370,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/2162\/revisions\/5370"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media\/2208"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media?parent=2162"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/categories?post=2162"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/tags?post=2162"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}