{"id":2375,"date":"2012-08-20T04:50:25","date_gmt":"2012-08-20T08:50:25","guid":{"rendered":"http:\/\/www.artsjournal.com\/pianomorphosis\/?p=2375"},"modified":"2018-08-15T17:22:25","modified_gmt":"2018-08-15T21:22:25","slug":"drone","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/pianomorphosis\/2012\/08\/drone.html","title":{"rendered":"Drone"},"content":{"rendered":"

\"\"<\/a>Last summer, I went to Iceland to record Nico Muhly’s Drones & Piano<\/a><\/em>. I planned to spend two days in the studio, walk around Rejkavik, go to the Blue Lagoon<\/a>, and fly back to New York.<\/p>\n

When I arrived at Greenhouse Studios<\/a>, the door was opened by Nadia Sirota<\/a>. I had no idea she was going to be there.<\/p>\n

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

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!<\/p>\n

Drones & Viola<\/em> 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.<\/p>\n

\"\"<\/a>The night before we recorded, I did practice the piece for a couple of hours. I’m\u00a0a bit\u00a0surprised just\u00a0how much I like the finished recording of D & V<\/em>. 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.<\/p>\n","protected":false},"excerpt":{"rendered":"

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 […]<\/p>\n","protected":false},"author":2,"featured_media":2380,"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":[969,117,116,970,34,975,373,43,42,33,971,973,200,32,249,976,14,972,974,31],"class_list":{"0":"post-2375","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-uncategorized","8":"tag-drone","9":"tag-drones","10":"tag-drones-piano","11":"tag-drones-viola","12":"tag-greenhouse-studios","13":"tag-iceland","14":"tag-jacob","15":"tag-jacob-lateiner","16":"tag-lateiner","17":"tag-muhly","18":"tag-nadia","19":"tag-nadia-sirota","20":"tag-nico","21":"tag-nico-muhly","22":"tag-non-take-twoness","23":"tag-paul-evans","24":"tag-recording","25":"tag-sirota","26":"tag-valgeir","27":"tag-valgeir-sigurdsson","28":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/2375","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=2375"}],"version-history":[{"count":3,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/2375\/revisions"}],"predecessor-version":[{"id":4786,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/2375\/revisions\/4786"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media\/2380"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media?parent=2375"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/categories?post=2375"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/tags?post=2375"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}