{"id":401,"date":"2010-05-17T06:43:34","date_gmt":"2010-05-17T06:43:34","guid":{"rendered":"http:\/\/www.artsjournal.com\/pianomorphosis\/wp\/2010\/05\/clubbing\/"},"modified":"2020-07-19T17:02:51","modified_gmt":"2020-07-19T21:02:51","slug":"clubbing","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/pianomorphosis\/2010\/05\/clubbing.html","title":{"rendered":"Clubbing"},"content":{"rendered":"<p>Not an habitu\u00e9 of nightclubs, bo\u00eetes, or other dens of musical iniquity &#8212; I have played 4 times at New York&#8217;s <a href=\"http:\/\/lepoissonrouge.com\/\">Le Poisson Rouge<\/a> since it opened. In case you didn&#8217;t know, this is the &#8220;it&#8221; place of the new millenium. A club (in the expensively refurbished premises of the former <a href=\"http:\/\/en.wikipedia.org\/wiki\/Village_Gate\">Village Gate<\/a>) where music, high-toned classical, alt classical, and bands comingle, and drinks are served. It&#8217;s caught the attention of the Establishment. Countless mentions and reviews in the <em>New York Times<\/em> (almost to a point of parody &#8212; LPR performances are more often covered than concerts at Carnegie). I first played as an opening act for <a href=\"http:\/\/www.maxrichter.com\/\">Max Richter<\/a>. The place was full of fans &#8212; his. And that&#8217;s been a strategy for <a href=\"http:\/\/ronengivony.com\/\">Ronen Givony<\/a>, one of the LPR masterminds &#8212; start an evening with some relatively friendly new classical and follow with music of greater commercial appeal.<\/p>\n<p><iframe loading=\"lazy\" title=\"Bruce Brubaker at New York&#039;s Poisson Rouge EXTREME PIANO!\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/SkNQy_e6irg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>LPR is not without parallel elsewhere. The <a href=\"http:\/\/www.yellowlounge.de\/\">Yellow Lounge<\/a> in Berlin &#8212; although held in changing venues and supported by Deutsche Grammophon. And, in London, <a href=\"http:\/\/www.londonlimelight.co.uk\/\">Limelight<\/a> and some events at the much larger <a href=\"http:\/\/www.roundhouse.org.uk\/\">Roundhouse<\/a>.<\/p>\n<p>In New York, I&#8217;ve played at John Zorn&#8217;s converted Chinese restaurant <a href=\"http:\/\/www.thestonenyc.com\/\">The Stone<\/a>. It&#8217;s hip (?) but not as swanky as LPR, and no refreshments to wash down the art. Sonic conditions in these &#8220;alternative&#8221; venues may not be as fine as uptown concert halls. I&#8217;ve usually amplified subtly to give a bit of added ressonance. The impact of the performances is something else. After <a href=\"http:\/\/online.wsj.com\/article\/SB123819267920260779.html\">I played Messiaen&#8217;s <em>Quartet for the End of Time<\/em> at the Poisson Rouge<\/a>, after nearly an unbroken hour of music, the listeners &#8212; many of whom had never heard of Messiaen before and never heard anything like this music before &#8212; stood and cheered.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Not an habitu\u00e9 of nightclubs, bo\u00eetes, or other dens of musical iniquity &#8212; I have played 4 times at New York&#8217;s Le Poisson Rouge since it opened. In case you didn&#8217;t know, this is the &#8220;it&#8221; place of the new millenium. A club (in the expensively refurbished premises of the former Village Gate) where music, [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1642,"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":[184,187,186,181,154,182,183,185,189,190,188],"class_list":{"0":"post-401","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-alt-classical","10":"tag-alternative-classical","11":"tag-lpr","12":"tag-messiaen","13":"tag-new-york","14":"tag-new-york-city","15":"tag-poisson-rouge","16":"tag-quartet-for-the-end-of-time","17":"tag-ronen-givony","18":"tag-village-gate","19":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/401","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=401"}],"version-history":[{"count":1,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/401\/revisions"}],"predecessor-version":[{"id":5323,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/401\/revisions\/5323"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media\/1642"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media?parent=401"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/categories?post=401"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/tags?post=401"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}