Individual tickets for my February 23rd Carnegie Hall recital just went on sale today. Get ’em while they’re hot.
A brief note to say that I’ve just put up a 2023–24 season calendar, which includes a few rather exciting things. As usual, more to come as dates are confirmed.
UPDATE, 6/16/22: everything in the store should be up and running smoothly. As always, please let me know if you think something is not as it should be. I may even reward you with a “bug bounty.”
A quick word of advice for those of you here to purchase scores: the Andres & Sons Bakery shop is in the midst of a transition to a new backend service, which should be completed in the next week. In the meantime, you may find that certain pieces are unavailable; rest assured our crack team of webmasters is on the case. For urgent inquiries, please contact the bakery. Thank you for your patience.
The composer Ingram Marshall died last week at 80. Ingram was my teacher, mentor, friend, and needless to say, an enormous influence on my music and life. I’m working on writing an appraisal of Ingram’s music, explaining why it meant so much to his small but passionate audience. In the meantime, here is a new film of his solo piano piece Authentic Presence from 2002.
When I performed the piece at Wigmore Hall in 2012, I wrote in the program note:
Authentic Presence is one of Ingram’s few purely acoustic pieces. The electronic-music tools of delay, reverb, and sampling are integral to his composing style, taking their place alongside 1970s California minimalism, Balinese and Javanese harmonies, and early American hymns in his musical nature preserve. Hazy memories of the civil rights protest song “We Shall Overcome” cycle through the dramatic episodes of Authentic Presence; the piece has a pleasantly un-rigorous formal logic to it, concerned perhaps with following a train of thought rather than any set musical program.
NPR has a beautifully-written obiturary by Lara Pellegrinelli.
Here’s a quick heads up: I’ll be doing a teaching residency at the Atlantic Center for the Arts in New Smyrna Beach, Florida from February 13-March 5, 2022. If you’d like to come study with me, please apply! I should mention that everyone gets a full scholarship. Here’s my “residency statement”:
The music world is vast, and it’s important to remember that composers have a special set of skills with which to move through it. Yes, we can sit in our studios and be lone geniuses, but our experience and training are most useful in contact with the outside world. Studying composition must mean studying how to be a complete musician: how to collaborate, interpret, communicate about music, and help others bring not only your ideas but their ideas to fruition. This isn’t just high-flown idealism; it is, in my experience, the surest way to make a life in music.
This residency is open to anyone working in music creation (not necessarily in “Classical Music,” though that is my field), particularly those interested in collaborating with performers, writing for instrumentalists, and communicating with live audiences.
Today’s new Youtube video is my set of Moving Études from 2017. The three études are pianistic studies not on specific technical challenges, but on the idea of tempo, rhythm, and rubato as expressive tools.
I Facetimed with The New York Times’s Joshua Barone to talk about my recent YouTube foray and the current state of non-concertizing.