Maybeck Recital

After an enigmatic performance of all electronic media at the Luggage Store, I had the opportunity to perform at the Maybeck Recital Hall in Berkeley. I recorded and performed there with NIRUSU III about two years ago, so I know the space well. When I was booking concerts earlier this year it occurred to me that Songs of the Thirsty Sword 1 was pretty much designed to fit into that hall. I'd also heard from my close friend and NIRUSU III co-veteran, Susan Allen, that Gregory Moore (proprietor of the Hall) had recently performed an amazing vocal + electronics work - so I had the idea to split the marquis with him.

Greg was stellar. his performances were exciting and dynamic and I'm eager to hear more soon! I didn't know what to expect, but I knew, considering we were both educated in the same place and share many of the same musical philosophies, he'd be a sure bet. I also have to credit Susie for her endorsement - I trust her taste implicitly.

Songs was performed on the 7.5 foot grand with my back to the audience. I projected the video ambiently (sic) across the entire end of the hall so that the images became more surreal and environmental than distinctly recognizable - which proved to be really effective and dramatic. It cast shadows across the music and across my back, hands, onto the keys and through the inside of the piano while I played the stoic, melancholic strains of the piece. Greg complimented me on playing the specific instrument, as opposed to simply stroking the keys of a piano - I was up until 6am the night before recording Songs and had, of course, spent as much time as possible rehearsing and running the piece on that piano before hand. The truth is, I'm not a pianist, but I want certain things out of this piece when I perform it. In order for that to happen, I have to become very intimate with the instrument I play it on. I'm glad that carried.

Other un-official, verbal critiques were:

Pretty/Devastating! -Suki O'Kane

Different than any thing I've heard you do... a new direction! -Stephanie Lie

and

Like a really morbid Eric Satie! -John Benson

Glad to please! It was really tough to play, but the space was really accommodating and I think the listeners understood it environmentally as I intended. I have to say, they were the kindest, quietest audience I've ever encountered. Usually in an extensive, quiet piece of music, you will hear much scuffling, program waving and often coughing where the music is at its quietist. Last night, as I was sitting there sweating, holding my breath between infinitely soft and slow phrases, I could have heard a pin drop - I was tempted to turn around just to see if anyone was still there (or awake)! It's so hard performing with those eyes right on the back of your neck from just a few feet away. In Brno, I performed in a darkened hall on a small stage with the video blinding me from the gaze of the audience. I could just float away in that little pool of light on the stage, and I think I gave a great World Premiere for that reason (I was told it went over very well).

But last night - wow, I was in the room, just feet away from the listeners, I'm sure they could see the sweat on the back of my neck and I could watch the projections from the same angle that they could see them, spewing across the room, across my back and the piano onto the wall... it was a very different experience, sort of like driving a very large bus full of people on a very steep, windy, mountain road...