Here’s a small piano piece I wrote one evening back in early January. It means an awful lot to me because of reasons; this is an electronic rendering, and, strange to say, I think I curiously prefer it in this form (though it’s also nice to play acoustically, certainly).
14th-century depiction of the Dreamer and the Pearl-maiden from the Cotton Nero A.x. manuscript of the anonymous Middle English poem Pearl.
All these years later, I still think this site in and of itself would be sufficient cause for the internet.
Anonymous asked: how would you describe your relationship with the piano? is it like a life companion?
when i’m performing i treat the piano as an extension of my body. i’m a super physical performer, and i am really interested in the physicality of sound.
one of the things i think about most often w/r/t playing the piano is the false dichotomy of “technicality” and “musicality,” and this applies to the relationship between (a) my desire to demystify so-called “interpretive” choices by exposing the technical and material actions that comprise them and (b) my love for the intensely personal and physical sensation of performing
sometimes in performance i treat the piano as a conduit on some level – a medium, a tool, with which i can access that mysterious sensation. other times, the piano itself is an end. it really depends.
…Yes. I still get submissions every day, despite the fact that you have to go through the FAQ page (which states very clearly that I don’t accept submissions) to get to the ask page and that I’ve stated countless times that I do not accept submissions.
this is the best piece i have ever seen
Oh, yeah—molto tenuto on the big G-sharp. Might wanna open up that vowel, though, in exactly the way your blog is not open to submissions.
Symphony Nº 2 in E-flat, Op. 63
III. Rondo: Presto
London Philharmonic Orch.
Sir Georg Solti
Elgar’s Second Symphony (1911), dedicated to the memory of Edward VII, was influenced by sentiments and passages from Shelley and Tennyson. Tremendously popular in its day, it became the only one of Elgar’s large-scale works to be recorded in his lifetime untruncated and using the full forces. The symphony’s scherzo is an extended ternary-rondo, a sort of C minor existential crisis sandwich on C major country dance bread. Referring to a particularly ominous passage in the interior of the movement, Elgar told a violist in rehearsal that the throbbing rhythm should evoke a maddening fever. Overindulgence and passionate excess are recurring themes throughout the symphony — Elgar, in his typical way, described the process of composing it as “weaving strange and wonderful memories into very poor music.”
[Bosch | The Garden of Earthly Delights (det.)]
Alberto Ginastera taking a photo of a little girl.
"The violin section is divided in to the First Violins, who have the trickier parts to play, and the Second Violins, who are more fun at parties"