and Casa do Lindo
Conrad Tao, piano
J S Bach: Toccata no 1 F sharp minor BWV 910
Carter: Two Thoughts About the Piano
- I Intermittences
- II Caténaires
Carter: Two Thoughts About the Piano
- I Intermittences
- II Caténaires
J S Bach: Choral Prelude G major BWV 641 "Wenn wir in höchsten Nöten sein"
Tao: Improvisation
Debussy: Arabesque no 1
In these times of self isolation it's amazing to almost every night being able to hear many of the world's greatest musicians play concerts from their homes. From all over the world.
Tonight I was lucky to hear the fabulous pianist, musician and composer Conrad Tao play a very intelligent program from his home on Manhattan.
The initial toccata by Bach has something profound in it's core. Even in the more withheld parts it has a steady pace. This is music that is never standing still, it is always pointing forward. Even leaning forward.
Conrad Tao is the ideal pianist for it. He has the ability to create direction even when holding back. In the more outgoing parts he is not dwelling in the big sound. He uses it for moving on. In his hands the fugues are not fugues for their own sake, instead form is being an organic part of musical progression and expression.
The two pieces of Elliot Carter are (according to me) central pieces in the music for piano through all ages. Conrad Tao is bringing out a multitude of sounds using his superb technical skills in combination with a deep understanding of what music is and can be. He is using all ways of pushing down a key - from the short and distinct to the soft and sensual. He creates soundscapes by using combinations of open strings and rapid pedal technique. He makes music in the release of keys.
And Caténaire is a true virtuoso piece. One single line in full speed. And during that wild drive he is in full control - all the time.
The short choral prelude by Bach has been on several of his programs lately. And knowing that he never puts together a program without deep thinking we should take it seriously. The first vers of that hymn would in translation be:
"When in the hour of utmost need
We know not where to look for aid,
When days and nights of anxious thought
Nor help nor counsel yet have brought..."
It's not unusual for Conrad Tao to pair it with pieces by Frederic Rzewski - music also with clear messages. Times of dire need. Times for change.
His approach to the prelude is not sentimental or introvert. It's played from within, but still open and not without hope.
His improvisation picks up on a simple phrase before it gets more dense and intense. He fills it with sound and emotion. It's as if the "hour of utmost need" is singing through the piano. He builds bridges over to even more intensity. The piano is almost asking for reinforcements before he is letting it all end in a few very simplistic bars.
This improvisation could very well be developed into a piano concerto. It has the idea as well as much of the material for that.
Conrad Tao is ending the concert with a piece by Debussy. This was one of the very first pieces he got to learn with the piano teacher he had for four of his early years, from when he was five years old. This Arabesque needs a pianist able to give a feeling of total freedom in tempo as well in sound through its fast shifting emotions. Conrad Tao is that pianist.
Tao: Improvisation
Debussy: Arabesque no 1
In these times of self isolation it's amazing to almost every night being able to hear many of the world's greatest musicians play concerts from their homes. From all over the world.
Tonight I was lucky to hear the fabulous pianist, musician and composer Conrad Tao play a very intelligent program from his home on Manhattan.
The initial toccata by Bach has something profound in it's core. Even in the more withheld parts it has a steady pace. This is music that is never standing still, it is always pointing forward. Even leaning forward.
Conrad Tao is the ideal pianist for it. He has the ability to create direction even when holding back. In the more outgoing parts he is not dwelling in the big sound. He uses it for moving on. In his hands the fugues are not fugues for their own sake, instead form is being an organic part of musical progression and expression.
The two pieces of Elliot Carter are (according to me) central pieces in the music for piano through all ages. Conrad Tao is bringing out a multitude of sounds using his superb technical skills in combination with a deep understanding of what music is and can be. He is using all ways of pushing down a key - from the short and distinct to the soft and sensual. He creates soundscapes by using combinations of open strings and rapid pedal technique. He makes music in the release of keys.
And Caténaire is a true virtuoso piece. One single line in full speed. And during that wild drive he is in full control - all the time.
The short choral prelude by Bach has been on several of his programs lately. And knowing that he never puts together a program without deep thinking we should take it seriously. The first vers of that hymn would in translation be:
"When in the hour of utmost need
We know not where to look for aid,
When days and nights of anxious thought
Nor help nor counsel yet have brought..."
It's not unusual for Conrad Tao to pair it with pieces by Frederic Rzewski - music also with clear messages. Times of dire need. Times for change.
His approach to the prelude is not sentimental or introvert. It's played from within, but still open and not without hope.
His improvisation picks up on a simple phrase before it gets more dense and intense. He fills it with sound and emotion. It's as if the "hour of utmost need" is singing through the piano. He builds bridges over to even more intensity. The piano is almost asking for reinforcements before he is letting it all end in a few very simplistic bars.
This improvisation could very well be developed into a piano concerto. It has the idea as well as much of the material for that.
Conrad Tao is ending the concert with a piece by Debussy. This was one of the very first pieces he got to learn with the piano teacher he had for four of his early years, from when he was five years old. This Arabesque needs a pianist able to give a feeling of total freedom in tempo as well in sound through its fast shifting emotions. Conrad Tao is that pianist.
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