Now Playing

I've been listening to a new recording of David Macbride's works for solo piano played by the composer on the Albany label. The first two tracks are sonatas written "after Scarlatti," and they manage to combine the vibrancy and energy of Scarlatti sonatas infused with a modern, jazzy edge. I remember attending a private performance at the composer's home in Hartford soon after these pieces were completed (about eight years ago). Prof. Macbride performed his new works alongside Scarlatti's (although I've forgotten now exactly which sonatas he chose), underscoring his use of the Baroque works as pivot points for his own compositions.

The sonatas are followed by a more introspective work, Still Night Thoughts. For Watson Morrison is a short piece written for a former teacher of mine and captures his personality (optimism tinged with sadness) beautifully. I only studied with Dr. Morrison for one year, yet I often find myself repeating his many caveats to my students ("Five minutes of performance are worth five hours of practice" is one of my favorites). For Wen-Chao Macbride is dedicated to the composer's mother, and assuming her picture is the one gracing the CD's cover, she was quite striking (sort of a Chinese Elizabeth Taylor).

The disc closes with Chartres, a large-scale work in three movements. Maybe I've been exposed to too much Lachenmann lately, but I did notice some similarities, particularly in "Mazes." The recording is available on Naxos' music library site, however you must be a member to listen.

Proof of Life

I haven't exactly had a stress-free existence lately, so in place of an actual post I've decided to share more photos from my last visit to the Boston MFA. The first is of an ornately decorated Hensch harpsichord from 1736, one of only five surviving.





My other favorite in the MFA's instrument room was a 1796 Broadwood piano. At first I was perplexed by the middle pedal- surely a piano this early could not have been outfitted with a sostenuto?- and I think the security guard was wary of me peering underneath the instrument on my hands and knees. According to a book on the collection's keyboard instruments (which I did ultimately find and order online, after great effort), the middle pedal actually controlled a drumstick that would strike the underside of the piano. It may have also been linked to a cymbal or triangle. Evidently it provided a bit of "Turkish music" to accompany the pianist. It reminded me of some old player pianos I've seen that also included percussion sounds.




The media was full of stories last week about the NY Phil's trip to North Korea. I don't think the orchestra has enjoyed that much attention since Bernstein was alive. I listened to parts of the broadcast and enjoyed Maazel's attempts to speak Korean. I'm not sure what he was trying to say and I'm fairly certain the audience wasn't either. Maybe the Music Director will return to NY with an Asian rock star haircut. Or wig.

All Hail The Queen

Of American contemporary pianists, that is.

Amidst preparations for my own performance, I haven't had a chance to write about Ursula Oppens's recital of the complete piano works of Elliott Carter at Symphony Space. The audience was practically a who's who of musicians, a score-toting bunch that included many familiar faces, some that I hadn't seen in years. [An aside about the scores: why? I understand that the details of Carter are not easily grasped without a map, even when played by someone with the amazing precision of touch and rhythm Ms. Oppens possesses; but one audience member nearly ruined my concertgoing experience with the sheer volume of his page turning. Why not just buy a recording rather than spend the entire evening with your nose buried in a score?]

I was completely inspired by Ms. Oppens's total control of the instrument, particularly in Carter's pianistic tour de force, Night Fantasies. Her performance of the early jazz-inspired Piano Sonata was also exhilarating. Mr. Carter was in attendance, and although I couldn't actually see him, a swarm of admirers near the stage assured me of his presence. A video of Retrouvailles, a delicious morsel written for Boulez's birthday using themes from the Esprit Rude/Esprit Doux pieces, appeared on YouTube remarkably quickly after the concert. This was the first in what looks to be a season of Carter celebrations leading up to his 100th birthday this December. As I expected, Ms. Oppens has set the bar incredibly high.

New baby!

I'm officially living in a piano warehouse. I'm beginning to feel a bit claustrophobic.
Here's my new best friend:

This means my ex-best friend is up for adoption. We had a few special years together, but it's time for me to move on. Please let me know if anyone's interested, I'll enjoy being able to see out of my living room windows again.