Here’s what I did on the Easter weekend. Well, not just the Easter weekend. There may have been a little bit of practice during the previous year or two.
In this piece I’ve crossed a line: you’re no longer hearing sounds that are possible on an acoustic piano. It starts off sounding normal enough, but a couple of minutes in you’ll notice something interesting.Continue reading “K by Dylan Crismani”
Here are three calm, reflective pieces (with some turbulence under the surface, because life is never perfect).Continue reading “Brahms. Very serious. Or … ?”
I first discovered this piece late last century, when soprano Natalia Bezrodnova invited me to accompany a recital of Russian songs. A decade later, I was delighted to find out that Rachmaninoff had transcribed it for piano solo. Rachmaninoff’s most famous transcriptions are the ones of Bach and Kreisler’s violin pieces, and of course The Flight of the Bumblebee, but I’m surprised that this one isn’t played more often.Continue reading “Tchaikovsky’s Lullaby and the art of piano transcription.”
Flinders University are having live concerts again! I’ve just been asked at very short notice to join the party. If you’re in the neighbourhood, book your ticket now, and come and listen to some piano music.
If you’re far away, watch the live stream instead, or catch up later on Flinders’s YouTube channel. (Edited 30th September: sorry, they are unable to record this one. I’ll post a YouTube version later in the year.)
Over the years, I’ve been privileged to play a number of piano works by John Polglase. This year it’s a shame I can’t do the premiere performance in a live concert. But the silver lining is that instead it’s going out online to an international audience.
John has a style all of his own, and I struggle to describe it in words. So I’ll let the music speak for itself (-: But I will say a few words about how I prepared this performance.Continue reading “Andulko Variations by John Polglase”
Haydn variations and virtual pianos
Today I published my first 100% digital recording.
By “100% digital”, I mean that no acoustic pianos were harmed in the making of this recording (*). All the sounds are computer-generated. This is both exciting and a little bit scary for me.Continue reading “Haydn variations and virtual pianos”