Journey of 100

Chaconne #4

July 25, 2012 NY NY private apartment at Lincoln Center for Russian friends and colleagues.  Played all four dance movements as part of performance …spieled  as well about Why 100?.  Deep concentration a bit of an issue.  Was confused about the balance of freedom and form, freedom and rhythmic pulse between the dance movements and the Chaconne….4 dance movements definitely set up questions and the Chaconne answers them.  Host reserved performance #97!

July 28 – comment: I had this sense that one of my Russian friends was trying to tell me something during the performance: and I think I just realized what it was:  regarding the artistic repetition of 100 – in this instance the *quantity* becomes a *quality* – this is precisely the language that one of Artist friends used about certain aspects of his own work – and I never made the connection until just now.

July 31 – In the course of our discussion, my Russian host informed me that all Russian school children were well informed about Hegel’s dialectic of “quantity, as it grows, becomes a quality” – and that in the USSR Marx adopted Hegel’s statement as part of his ideology.

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Chaconne Journal entry 7/17/12

July 17, 2012 I have started to hear the first four movements linked to the Chaconne…as one spirit….a sense of urgency within the music, within the lines…an urgency to travel ahead…to go, to move towards a destination distant and magnetic…Have never heard or felt these phrases in this way….

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Chaconne #3

Performance for colleague Hastings-on-Hudson, NY June 22, 2012 8:30 P.M.
He loved the purity of pitch and sound…his comment was that I used vibrato in some places but not others, and because he found the purity of my sound so persuasive,  it made him wonder if I might consider not using any vibrato.    Personally I have not even considered this and have to think it through.

Non-vibrato as an 18th century norm, or as an 18th century aesthetic never appealed to me, and I believe that the notion is flawed to begin with.

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Chaconne #2

The Players, NY …May 22 2012 7:30 pm

Program Dvorak Romance, Prokofiev Vocalise, Messaien Vocalise-Étude, Brahms G Major Sonata, Enescu Impressions D’Enfance, with photographic images by Peter Laytin.

Colleagues present.  In this performance and the previous one at Lincoln Center, I felt free to allow fancy to direct my timing and dynamics in many of the variations, and colleagues with whom I spoke approved.    The opening statement and the two dotted rhythm variations seem to function as an Introduction, the dotted rhythms recalling to my mind French Overture.

2 responses to “Chaconne #2”

  1. I heard both performances #1 and #2, at Lincoln Center and at the Players’ Club. One observation was how well the Bach complemented and yet stood out from the other diverse pieces on the program. I think this might be the case no matter what the other music! Also, hearing the piece twice within three days, I heard different things. This is partly that there is so much to hear, partly the room ambiance, and partly the spontaneous choices made by the artist in the moment. There seems almost to be an improvisatory possibility within the compexity of the music.

  2. Lenna says:

    People normally pay me for this and you are givnig it away!

Chaconne #1

May 19, 2012 2:30 pm   Lincoln Center, NY Bruno Walter Auditorium  Recital with Robert Merfeld
Many colleagues present!  Went really well, wonderful reception…great to have a resonant hall that allowed me to really push the envelope with the soft dynamics…Program Dvorak Romance, Prokofiev Vocalise, Messaien Vocalise-Étude, Brahms G Major Sonata, Enescu Impressions D’Enfance, with photographic images by Peter Laytin<

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