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 going to be there. According to Nadia, she "kind of Jedi Mind Tricked" me into recording another of Nico's drone pieces with her, Drones & Viola -- after I … [Read more...]
Practicing non-take-twoness
After I play through a program or a piece for someone (as a step in preparing for public performance), I don't return to the piano to practice. It can be difficult, if something went badly and I want to work on it. But the separation -- practicing for the real concert by preserving the "non-take-twoness" of the performing experience -- matters most. I've read of Busoni returning to the hall to play through an entire concert after the audience … [Read more...]
First Note
To conjure the first sound from the piano, at the beginning of a piece, at the beginning of a concert... In a live performance, this first sound can be made only once. In my mind, I do it over and over again. More than other instruments, the piano is an instrument of imagination. Most of us don't travel with our own pianos. Although we may have an ideal piano sound in our mind, we never hear it. So we're always adjusting, adapting -- … [Read more...]
Concert Accident
New York The Stone, last summer After the performance, I notice one of the screws that holds my glasses together is missing. Glasses still hanging together. During the hour-long set, somehow, tiny screw worked loose, jumped, disappeared. Metropolitan Museum Leaving to go across town, I lock myself out of apartment. No time. Must proceed to Grace Rainey Rogers and play recital. Miller Theatre Coming home after playing, I leave my … [Read more...]