This performance was part of a larger program of chamber music at the home of two wonderful music lovers on the West Side.
I was bugged that I did not have time in our pre-performance rehearsal to run the opening a few times – but in fact it started out ok. Over the last month or so of *not* playing the piece (Wagner’s Ring operas and Handel Julius Ceasare at the MET) the independence, clarity and flow of the bass line in the theme and the first dotted-rhythm variations has taken shape.
The overall Arch of the work felt intact: kept the first section cadence in d minor from being too big and felt that the cadence in D major had it rightful peak – leaving me lots of room to unwind the energy and dynamic in the return to the minor. I also tried whipping the tempo back in the groove at mm149 and that seemed to work as well.
There were a number of fascinating comments from listeners afterwards that I hope will appear on this blog – comments about Divinity of Mathematics (Newton), and “…the human, spiritual tumblers aligning…” words to that effect.
it is to bad that i missed it.
Nancy commented on Shem Guibbory:
An extraordinary composition played with remarkable artistry. At first I found myself moved literally to tears.Read more…
An extraordinary composition played with remarkable artistry. At first I found myself moved literally to tears. And as the playing progressed I was amazed at the patterns being spun, morphing beyond the repititions. As another audience member remarked, and I agreed, the music actually seemed edgy and modern. What a great treat to hear. Thanks for your virtuoso performance, which gave me a newly found respect for Bach.
Wow thank you everyone, for these beautiful words! I should add that in this performance I did feel successful, for the most part, in “emptying my mind” and allowing the music to “play me”, as it were…and your responses are encouraging to me: they suggest that the notion behind my Journey of 100 is truly meaningful. Sincerely, with appreciation for All,
Shem