Adam Basilisks Michael Century Bach and Beyond Performance Review The venue for the event was held In the Impact studio 2, which I think was a great venue for the night, as it was a more intimate setting for the music to be enjoyed in. The night started off with a classical touch playing J. S. Bach’s Overture (Parfait) in the French style. It was a nice opener for the night, acting as a foundation of musical theory and technique.
It was very pleasant to listen to and enjoyed sitting in the rent row, being able to see the piano’s strings being played from the reflection from the highly glossed piano’s top. I have never heard live classical music before and thought that it was quite pleasant. He then transitioned into a few selections from the 48 preludes and fugues Bach had composed. I thought that these were a bit livelier than the overture, and I enjoyed the expression that he played with.
Another advantage to being In a small environment to listen was that I could really hear and appreciate the reverberating strings when the chords and notes were held out for a erred of time. The next part to the performance was an accordion interpretation to Terry Oriel’s second keyboard study. He was sitting in between two microphones and used a foot controlled looping component to really give the song life.
Granted he did forget to place the microphone in front of his right hand, but I didn’t even notice that anything was wrong with it until he commented on it at the end, so he played a quick version with the correct microphone placement and it did sound much more vibrant and compelling. I really enjoyed this piece and thought that it was the Dream song y cage because of the trance like feel to it, which seemed like a dream. The complex finger placements and timing that must have had to go Into that song was baffling. It was by far my favorite piece of the night.
After the Intermission, he began with John Cage’s Dream also Interpreted for the accordion. This piece was also very unique, as Michael wandered through the crowd and around the extremities of the room, almost serenading us with his soft and careful playing. The next piece was titled Interval from Times to Come (1970), by Carnelian Steakhouses. This piece was very interesting as it required two players on the same piano and involved them following a set of written instructions to compose a very unique and original improvisation piece.
It seemed very sporadic and harsh at times, however it had a pleasant quirky feel to it. The icing on the cake for me in this piece however was the humming of both musicians as they both stood up and left the stage maintaining the hum. The hum was at the same note as the last player had hit. The performance of Pal’s De Mari by Morton Feldman was very creepy to me. The candles in the front of the room were 11th and the eerie notes really gave the room a creepy vibe.
It reminded me In one moment of a very tranquil scene, to very unusual from the different keys of notes being played. It was a very bipolar sounding song In my opinion. The last performance very again very pleasant and the night was sealed off very well with that n all a well-rounded evening of very varying forms of music. I am glad I attended and look forward to going to my next classical concert, hopefully next time I’ll be allowed to drink a few glasses of wine in the theater.