{"id":2301,"date":"2013-06-05T18:58:48","date_gmt":"2013-06-05T18:58:48","guid":{"rendered":"http:\/\/joelasqo.com\/blog\/?p=2301"},"modified":"2015-05-28T02:23:57","modified_gmt":"2015-05-28T02:23:57","slug":"msppiano-cage%e2%80%99s-two%c2%b2-w-patti-deuter-msppiano-auto-duets-meta-ragas-sun-23-june-fete-concert-le-piano-studio-russian-hill-sf","status":"publish","type":"post","link":"https:\/\/joelasqo.com\/blog\/2013\/06\/05\/msppiano-cage%e2%80%99s-two%c2%b2-w-patti-deuter-msppiano-auto-duets-meta-ragas-sun-23-june-fete-concert-le-piano-studio-russian-hill-sf\/","title":{"rendered":"MSP\/Piano: Cage\u2019s Two\u00b2 w Patti Deuter, MSP\/piano auto-duets, & meta-r\u0101gas (Sun 23 June, F\u00eate-Concert, @ Le Piano Studio, Russian Hill, SF)"},"content":{"rendered":"
\"\"<\/a>

Eliane Lust performs "Chronicle of a Piano Woman", Paris<\/p><\/div>\n

Internationally renowned concert pianist\u00a0Eliane Lust<\/a> was raised in Belgium and has performed to critical acclaim on the world\u2019s most prestigious concert stages from Paris to New York.<\/p>\n

Those who have been fortunate enough to hear her can attest to her amazing ability to melt into the piano<\/em> and control it from the inside.<\/p>\n

\"\"<\/a>

Le Piano Studio<\/p><\/div>\n

Her Le Piano Studio<\/em><\/strong> is the elegant epicenter of her rehearsal and teaching activities, and the site of a glorious F\u00eate-Concert<\/em> on Sun 23 June<\/span><\/em><\/strong>.<\/p>\n

Following on to playing Cage in the last 2 F\u00eates-Concert<\/em>, I\u2019m very excited to rejoin a party of some of the most fascinating pianists in the Bay Area who will together present an exciting and eclectic program ranging from classical to avant-garde, and spanning continents from Europe to Persia, India, and Japan (plus definitely\u2026 more Cage!<\/span><\/em><\/strong>)<\/p>\n

\"\"<\/a>

John Cage at the piano<\/p><\/div>\n

The event will start around 6:30pm<\/span><\/em><\/strong> and end around 11pm<\/span><\/em><\/strong>, during which many of the works will be repeated between bouts of food, laughter and good company.<\/p>\n

The F\u00eate-Concert<\/em> is a private rather than public affair, but I can wrangle some invitations<\/strong> to this unique event.<\/p>\n

If you\u2019d like to come, <\/strong>please contact me<\/span><\/strong> at <\/strong>joe@joelasqo.com<\/strong><\/a> <\/strong>as soon as possible<\/span><\/strong>, and I\u2019ll see what I can do to get you in and let you know more details.<\/p>\n

\"\"<\/a>

Patti Deuter performs Cage's "Four Walls" @ Berkeley Arts Festival<\/p><\/div>\n

My partner in crime for the two-piano\/two-pianist piece Two\u00b2<\/em><\/strong> by Cage\u00a0will be the delightful and brilliant pianist\u00a0Patti Deuter<\/em><\/strong>, organizer and ringleader of the last September\u2019s Satie\/Cage Vexations<\/em><\/strong><\/a> <\/strong>at Berkeley Arts.<\/p>\n

\"\"<\/a>

Patti Deuter (left, at toy piano): "Violette Nozieres, Revenant". (Performance-Installation with toy piano & projection of Surrealist Book; Patti Deuter & Anna Wexler @ Pierre Menard Gallery, Cambridge, MA, 2009) Photo: \u00a9Jane Wang<\/p><\/div>\n

Often found in Paris as well as California, and a student of Eliane Lust\u2019s, Patti is an indefatigable macherin<\/em> of the new music and piano scenes of the Bay Area. From her studio-cottage nestled in the trees, where everything is keyed to one of four vibrant synesthetic colors (forming, I would say, a visual rootless 13th chord in second inversion\u2026 Scriabin would approve), passionate strains of Rzewski, Cage, Wolff, and other masters of 20th and 21st century piano escape to infuse the air.<\/p>\n

\"\"<\/a>

John Cage and D.T. Suzuki (\u9234\u6728 \u5927\u62d9 \u8c9e\u592a\u90ce)<\/p><\/div>\n

As is well known, John Cage was heavily influenced by Zen Buddhism and Japanese culture in general, and the piece we\u2019ll perform, Two\u00b2<\/em><\/strong>, is his remarkable musical re-imagining of the fascinating traditional Japanese linked-verse form, renga (<\/em><\/strong>\u9023\u6b4c<\/strong>)<\/em><\/strong>.<\/p>\n

With beginnings in the time of the\u00a0Man\u2019y\u014dsh\u016b\u00a0(<\/em><\/strong>\u4e07\u8449\u96c6<\/strong>)<\/em>, <\/strong>c. 760 A.D., renga <\/em><\/strong>evolved into a very sophisticated game played by connoisseurs who used its 5-line stanzas consisting of a 5-7-5 syllable haiku (<\/em><\/strong>\u4ff3\u53e5<\/strong>)<\/em><\/strong> + a 7-7 syllable response in an interplay of group-improvised linked-verse, exchanged among the members of a (usually sak\u00e9-soaked) poetry party (not unlike the similar game of\u00a0cadavre exquis<\/em><\/strong><\/a> played in graphical form by the Paris surrealists).<\/p>\n

\"\"<\/a>

Renga paper of poet Nishiyama S\u014din (\u897f\u5c71\u5b97\u56e0\u9023\u6b4c\u61d0\u7d19)<\/p><\/div>\n

Japanese poetry fiends took renga <\/em><\/strong>to remarkable heights of sophistication, defining an elaborate aesthetic of seasonal symbolism, pivot-stanzas referring to moon and cherry blossoms, and special gold-and-silver dusted papers of different shapes, sizes and colors, corresponding to distinct parts of the symbolic program, to brush their poems onto whilst sipping from cups of sak\u00e9 brought to them sushi-boat-style by special garden streams constructed for this purpose.<\/p>\n

\"\"<\/a>

John Cage performs "Water Walk" on "I've Got A Secret"<\/p><\/div>\n

Cage\u2019s luminous and serene\u00a0Two\u00b2<\/em><\/strong> for 2 pianists uses the 36-stanza kasen (<\/em><\/strong>\u6b4c\u4ed9<\/strong>)<\/em><\/strong> form of renga,<\/em><\/strong> re-imagining each of the 5-line stanzas as 5-measure musical units, each filled with 5 or 7 piano sound-events which replace the syllables of the original poetic form.<\/p>\n

\"\"<\/a>

Say hello to my little friend...<\/p><\/div>\n

Like many of the other Cage \u201cnumber pieces\u201d, the timing of the musical events in Two\u00b2<\/em><\/strong> is not strictly determined, but unlike the \u201ctime bracket\u201d approach to indeterminacy found in many of the number pieces,\u00a0here instead Cage sets up a marvelous game of simple rules to let the two pianists create an interlinked joint control of fluid time, a game in which they can support or subvert each other, creating meditative kaleidoscopic ripples of piano sound which will be uniquely different in each performance.<\/p>\n

Similar to Western classical music forms having 3 movements, renga<\/em><\/strong>-sequences employ 3 sections, called\u00a0J\u014d-ha-ky\u016b<\/em><\/strong> (<\/em>\u5e8f<\/strong> \u2022 <\/em><\/strong>\u7834<\/strong> \u2022 <\/em><\/strong>\u6025<\/strong>)<\/em>.<\/p>\n

While Patti and I will do the full hour+ version of Two\u00b2<\/em><\/strong> in a concert setting later in 2013, for this event, we\u2019ll do stanzas 7-18 of the ha <\/em><\/strong>\u201cmovement\u201d, including one of the three \u201cmoon stanzas\u201d and one of the two “flower stanzas” of the kasen<\/em><\/strong> <\/em>form. (In Eliane\u2019s last F\u00eates<\/em>, we did the final and first movements, so naturally here we continue with the middle\u2026)<\/p>\n

\"Modern<\/a>

Modern Renga Banquet at the Shusuitei in the Kyoto Imperial Park (\u9023\u6b4c\u306e\u4f1a\u5e2d\u301c\u4eac\u90fd\u5fa1\u82d1\u5185\u306e\u62fe\u7fe0\u4ead\u306b\u3066\uff09<\/p><\/div>\n

And we will honor<\/em><\/strong> the tradition of alcohol-assisted creativity, as we\u2019ll be marking the end of each stanza with ceremonial libations (which may lead to some interesting musical results as we repeat performances during the event\u2026).<\/p>\n

Some of the most exciting pianists in the Bay Area will be joining us. A full list is not in hand, but here are some of the pianists who will perform:<\/p>\n

<\/strong><\/p>\n

\"\"<\/a><\/strong>

Luciano Chessa performing Joan La Barbara's "Hear What I Feel" @ Pamela Z's VOICECAGE, 21 Aug 2012<\/p><\/div>\n

Luciano Chessa<\/a><\/strong>: 3 pieces by 2 Argentine composers – Miguel Galperin:<\/strong> El preludio como Eco<\/em><\/strong>, + Federico Salesi: Tucuman 2032<\/em> <\/strong>and Novembre-Dicembre ’84<\/em><\/strong><\/strong>.<\/p>\n

<\/strong><\/p>\n

\"\"<\/a><\/strong>

Frank Clare<\/p><\/div>\n

Frank Clare<\/strong> \u2013 Original compositions and improvisations<\/em><\/strong><\/p>\n

Patti Deuter<\/strong> (solo) \u2013 Satie: <\/em><\/strong>Gnossienne <\/em><\/strong>n\u00ba<\/em><\/strong> 4, Morton Feldman: Piano Piece (1952)<\/em><\/strong><\/p>\n

<\/strong><\/p>\n

\"\"<\/a><\/strong>

Lynea Diaz-Hagan<\/p><\/div>\n

Lynea Diaz-Hagan<\/strong> (special guest vocalist) – Duets<\/em><\/strong> with Ramin Zoufonoun (\u0631\u0627\u0645\u06cc\u0646\u00a0\u0630\u0648\u0641\u0646\u0648\u0646)<\/a>,\u00a0see below.<\/p>\n

Trained from a young age as classical vocalist, Lynea made the transition to jazz after several years of vocal exploration and experimentation in New York, where she was influenced by the avant-garde jazz scene.<\/p>\n

Her influences range from jazz greats Sarah Vaughan, Ella Fitzgerald and Betty Carter,\u00a0to the hard-edged Betty Davis and Gal Costa<\/a>, to contemporary vocal pioneers Bobby McFerrin<\/a>, Iva Bittov\u00e1<\/a>, Meredith Monk<\/a>, and Sussan Deyhim (\u0633\u0648\u0633\u0646 \u062f\u06cc\u0647\u06cc\u0645)<\/a>.<\/p>\n

.<\/p>\n

<\/em><\/strong><\/p>\n

<\/strong><\/p>\n

<\/strong><\/strong><\/p>\n

\"David<\/a>

David Hatt<\/p><\/div>\n

David Hatt \u2014 Marcel Dupr\u00e9: Prelude in F Minor<\/em> &<\/em> works by <\/em>Cornelius Heinrich Dretzel<\/em><\/strong><\/p>\n

\n

<\/strong><\/p>\n

\n
\n
\"\"<\/a><\/strong><\/dt>\n
Jim Jowdy<\/strong><\/dd>\n<\/dl>\n<\/div>\n
Jim Jowdy<\/strong> \u2013 Fugue from Brahms-Handel Variations, Op. 24<\/em><\/strong><\/div>\n
\n

\n

\"\"<\/a>

Joe Lasqo @ Meridian Gallery, 11 Jan 2012 (Photo: PeterBKaars.com, http:\/\/www.peterbkaars.com)<\/p><\/div>\n

Joe Lasqo<\/a> \u2013 Original MSP\/piano electroacoustic and Indo-modernist pieces:<\/strong><\/p>\n

\n

\u2014\u00a0Auto-duets, <\/em><\/strong>laptop\u00a0& piano<\/p>\n

\"\"<\/a>

The Saturnian meta-r\u0101ga \u015aani-Ha\u1e6daka\u1e45gi (\u0936\u0928\u093f-\u0939\u091f\u0915\u0919\u0940).<\/p><\/div>\n

These electroacoustic auto-duets are often based on extended meta-r\u0101gas incorporating timbal as well as pitch-based melodies, and employ a variety of signal-processing and AI techniques for direct electronic synthesis as well as the processing of diverse sound sources such as space probes, manipulated vowel formants, crowds and animals, etc.<\/div>\n
\n
\"\"<\/a>

Formants - Hot, Hat, Hit, Head<\/p><\/div>\n

Also, an Indian classical piece adapted for the piano:<\/div>\n
\n

<\/em><\/strong><\/p>\n

\"\"<\/a><\/em><\/strong>

Ty\u0101gar\u0101ja (\u0c24\u0c4d\u0c2f\u0c3e\u0c17\u0c30\u0c3e\u0c1c\u0c41)<\/p><\/div>\n

\u2014\u00a0Brochev\u0101revarur\u0101 by Ty\u0101gar\u0101ja (R\u0101ga: \u015ar\u012branjani) <\/em>[<\/strong>\u0c24\u0c4d\u0c2f\u0c3e\u0c17\u0c30\u0c3e\u0c1c\u0c41: <\/em><\/strong>\u0baa\u0bcd\u0bb0\u0bcb\u0b9a\u0bc7 <\/em><\/strong>\u0bb5\u0bbe\u0bb0\u0bb5\u0bc6\u0bb0\u0bc1\u0bb0\u0bbe <\/em>(<\/strong>\u0bb0\u0bbe\u0b95\u0bae\u0bcd: <\/em><\/strong>\u0bb8\u0bcd\u0bb0\u0bc0 <\/em><\/strong>\u0bb0\u0b9e\u0bcd\u0b9c\u0ba9\u0bbf, <\/em><\/strong>\u0ba4\u0bbe\u0bb3\u0bae\u0bcd: <\/em><\/strong>\u0b86\u0ba4\u0bbf)]<\/strong><\/p>\n

(Ty\u0101gar\u0101ja, <\/em><\/strong>1767\u20131847, was a member of the South Indian \u201cTrinity\u201d of composers, contemporaneous with Haydn-Mozart-Beethoven and occupying a similar position in S. Indian music history.)<\/p>\n

<\/strong><\/p>\n

<\/strong><\/p>\n

\"Roger<\/a>

Roger Rohrbach at the piano<\/p><\/div>\n

Roger Rohrbach<\/a> \u2014 Toru Takemitsu <\/em>(<\/strong>\u6b66\u6e80\u5fb9<\/strong>), Litany I. Adagio & II. Lento misterioso, 1989<\/em><\/strong><\/p>\n

<\/strong><\/p>\n

\"\"<\/a><\/strong>

Melissa Smith<\/p><\/div>\n

Melissa Smith<\/a><\/strong> \u2014 <\/strong>J.S. Bach:\u00a0Toccata in E minor<\/em><\/strong><\/div>\n
\n

<\/strong><\/p>\n

\n
\n
\"\"<\/a><\/strong><\/dt>\n
Kelly Walker at the piano<\/strong><\/dd>\n<\/dl>\n<\/div>\n
Kelly<\/strong> Walker<\/strong> \u2014 Corigliano: Fantasia on an Ostinato, 1985<\/em><\/strong><\/span><\/div>\n
\n

\n

\n
\n
\"\"<\/a><\/dt>\n
Ramin Zoufonoun (\u0631\u0627\u0645\u06cc\u0646 \u0630\u0648\u0641\u0646\u0648\u0646)<\/dd>\n<\/dl>\n<\/div>\n
Ramin Zoufonoun (<\/strong>\u0631\u0627\u0645\u06cc\u0646<\/strong> <\/strong>\u0630\u0648\u0641\u0646\u0648\u0646<\/strong>)<\/strong><\/a>:<\/em><\/div>\n
\n

\u2014\u00a0Persian classical music adapted for piano<\/em><\/strong> and duets<\/em><\/strong> with Lynea Diaz-Hagan<\/strong> (see above), with whom he’ll perform selections from his suite \u00ab \u0628\u064a\u062f\u0627\u062f\u200e<\/strong> \u00bb<\/em> (Bidad<\/em><\/strong>, “Injustice”).<\/p>\n

I must call a bit of attention to Ramin\u2019s pioneering and inspiring work in adapting the unique modes (dastg\u0101h<\/strong> (\u062f\u0633\u062a\u06af\u0627\u0647\u200e)), motivic inventories (rad\u012bf<\/strong> (\u0631\u062f\u06cc\u0641)), and microtonal tunings of Perisan music to the piano.<\/p>\n

It has been fascinating to compare notes with him in our respective journeys in the encounter between perhaps the most Western of instruments and aspects of Asian and Middle Eastern music which fall between the cracks of the piano keys.<\/p>\n

\"\"<\/a>

Ramin Zoufonoun (\u0631\u0627\u0645\u06cc\u0646 \u0630\u0648\u0641\u0646\u0648\u0646) with tools for Persian-tuning a piano<\/p><\/div>\n

In this endeavor, Ramin has become adept at retuning pianos to accommodate the super-flat thirds and other microtonal intervals of Persian music.<\/div>\n
\n
\"\"<\/a>

Getting In Tune by Ramin Zoufonoun (\u0631\u0627\u0645\u06cc\u0646 \u0630\u0648\u0641\u0646\u0648\u0646)<\/p><\/div>\n

The wonderful results can be heard on his album, Getting In Tune<\/em><\/strong><\/a>.<\/div>\n
\n
\"\"<\/a>

Eliane Lust at Old First Church, San Francisco (Photo credit: Panithi Damrongkul)<\/p><\/div>\n

The highlight of the F\u00eate-Concert<\/em> will no doubt be the brilliantly intimate sound of Eliane Lust<\/a>, who\u2019ll play selections from her brilliant Hot New Tangos<\/em><\/strong> program and\/or Chopin<\/em><\/strong>. Those who heard the premier of this program at Old Saint Mary\u2019s in November will attest to it\u2019s vivid freshness and virtuosity.<\/p>\n

Eliane\u2019s innovative programming and adventurous musicianship have garnered her award recognition from the California Art Council and invitations as the featured piano soloist in several multi-media productions. Her uncommon piano repertoire ranges from classical masterpieces to brand new works being written for her by today\u2019s leading contemporary composers. As concert curator Eliane has also created groundbreaking musical events such as the \u201cO Solo Milhaud<\/em><\/strong>\u201d 100th Anniversary Piano Marathon, to the Musicalliance Concert Series<\/em><\/strong>, to Mozart Madness<\/em><\/strong>, simultaneously presenting her dynamic master classes, lecture-recitals and clinics throughout the United States, Europe and French Polynesia.<\/p>\n

Eliane has participated in the Aspen, Banff, Ernen, Montalvo, Spoleto and Tanglewood Music Festivals and performed at Carnegie Recital Hall, the Paderewski Festival, Chateau LaGesse, the Dame Myra Hesse Series, Musiconcerts, the Legion of Honor, Les Journ\u00e9es de P\u00e9rigueux, and others. She\u2019s appeared as soloist with the NJ Philharmonic, the Schubert Society of New York, Boston\u2019s Orchestra & Chorale Society, the Diablo Symphony & the New England Contemporary Ensemble, among others. Her chamber music collaborations include performances with such luminaries as Anner Bylsma<\/a>, Walter Trampler<\/a>, Ron Leonard<\/a>, Aur\u00e8le Nicolet<\/a> and Frederic Rzewski<\/a>.<\/p>\n

A graduate of the New England Conservatory of Music in Boston, Eliane\u2019s musical roots lead directly to the historic pedagogies of both Beethoven and Liszt through her close studies with legendary pianists Gy\u00f6rgy Seb\u00f6k <\/a>and Leonard Shure<\/a>. Other important influences include American pianists Richard Goode<\/a>, Claude Frank<\/a>, Aube Tzerko<\/a>, Leon Fleisher<\/a>, Joseph Kalichstein<\/a>, Menahem Pressler<\/a> and chamber coaches Yo-Yo Ma (\u99ac\u53cb\u53cb)<\/a>, Gilbert Kalish<\/a>, Eugene Lehner (L\u00e9ner Jen\u0151)<\/a> and Louis Krasner (\u041b\u0443\u0438\u0441 \u041a\u0440\u0430\u0441\u043d\u0435\u0440)<\/a>. A notoriously inspiring coach, Eliane maintains an active master class studio for highly dedicated musicians and performers in San Francisco, California. More information at elianelust.com<\/a>.<\/p>\n

Join us for a unique gathering of musical friends at this F\u00eate-Concert<\/em> by contacting me at<\/strong> joe@joelasqo.com<\/a> as soon as possible<\/strong> for one of a limited number of invitations.<\/p>\n

\u3058\u3083\u307e\u305f\u306d\u3002\u3002\u3002<\/strong><\/p>\n

Joe<\/p>\n<\/div>\n<\/div>\n<\/div>\n

\n<\/div>\n

\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Internationally renowned concert pianist\u00a0Eliane Lust was raised in Belgium and has performed to critical acclaim on the world\u2019s most prestigious concert stages from Paris to New York. Those who have been fortunate enough to hear her can attest to her … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts\/2301"}],"collection":[{"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/comments?post=2301"}],"version-history":[{"count":20,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts\/2301\/revisions"}],"predecessor-version":[{"id":2303,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts\/2301\/revisions\/2303"}],"wp:attachment":[{"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/media?parent=2301"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/categories?post=2301"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/tags?post=2301"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}