Many artists have written and spoken about the joys and perils of studio recording. In extreme cases, some pianists have chosen to focus entirely on studio recording because the conditions are easier to control thus the musical product can presumably be more true to the artist’s intentions. Other pianists have chosen to discontinue studio recording citing the artificial nature of recording. Being removed from an audience, cutting and pasting the best takes for a “perfect” product, and being too under the microscope can drain the life out of music.
Over the past decade, I have recorded seven CDs alongside an active recital schedule, and I understand both perspectives. For me live performance and studio recording complement each other. Studio recording give more life to my live performances by pushing me in new directions of musical growth. I also appreciate the opportunity to combine the “best of” into a cohesive whole. Live performances give studio recordings a sense of being “alive” as well. The goal in both cases is the same - for the music to have life.
While my studio recordings have been available, I have not had a venue to share live performances with a larger audience. The Music Living Project celebrates and documents live performances. “Music Living” encapsulates both the idea of “live” performance and also the goal that music in performance should have a sense of “aliveness”. For music to feel alive, each variable of expression must constantly be in motion, or in flux – nothing can be static for even a moment. This includes among other things touch, pedal, dynamics, timing, voicing, color, phrasing, and emotional states. The performances shared as a part of the Music Living Project have this goal in mind. It is not a definable or achievable goal, however. Instead it is a never-ending process of discovery and experimentation. The Music Living Project features unedited live performances in hopes of retransmitting the spontaneity of a musical moment in its entirety as it was, and was intended to archive my live performance of the Beethoven Sonata Cycle, which began in 2012 and will feature eight concerts over four years.
Over the past decade, I have recorded seven CDs alongside an active recital schedule, and I understand both perspectives. For me live performance and studio recording complement each other. Studio recording give more life to my live performances by pushing me in new directions of musical growth. I also appreciate the opportunity to combine the “best of” into a cohesive whole. Live performances give studio recordings a sense of being “alive” as well. The goal in both cases is the same - for the music to have life.
While my studio recordings have been available, I have not had a venue to share live performances with a larger audience. The Music Living Project celebrates and documents live performances. “Music Living” encapsulates both the idea of “live” performance and also the goal that music in performance should have a sense of “aliveness”. For music to feel alive, each variable of expression must constantly be in motion, or in flux – nothing can be static for even a moment. This includes among other things touch, pedal, dynamics, timing, voicing, color, phrasing, and emotional states. The performances shared as a part of the Music Living Project have this goal in mind. It is not a definable or achievable goal, however. Instead it is a never-ending process of discovery and experimentation. The Music Living Project features unedited live performances in hopes of retransmitting the spontaneity of a musical moment in its entirety as it was, and was intended to archive my live performance of the Beethoven Sonata Cycle, which began in 2012 and will feature eight concerts over four years.
THE BACH - BRAHMS PROJECT (LIVE and UNEDITED)
Concert No. 1
Bach Partita No. 1 in B-Flat
Bach Partita No. 2 in C Minor
Brahms Op. 10 Ballades
Brahms Op. 39 Waltzes
Brahms-Godowsky: Wiegenlied ("Lullaby")
Concert No. 2
Bach Partita No. 3 in A Minor
Bach Partita No. 5 in G Major
Brahms Eight Pieces, Op. 76
Brahms Op. 79 Rhapsodies
Concert No. 3
Bach Partita No. 4 in D Major
Brahms Seven Fantasias, Op. 116
Brahms Three Intermezzi, Op. 117
Brahms Hungarian Dance No. 7 in F Major
Concert No. 4
Bach Partita No. 6 in E Minor
Brahms Six Piano Pieces, Op. 118
Brahms Four Piano Pieces, Op. 119
THE COMPLETE SONATAS OF BEETHOVEN (LIVE and UNEDITED)
Concert No. 1
Sonata in F Minor, Op. 2, No. 1
Sonata in A Major, Op. 2, No. 2
Sonata in C Major, Op. 2, No. 3
Sonata in E-Flat Major, Op. 7
Concert No. 2
Sonata in C Minor, Op. 10, No. 1
Sonata in F Major, Op. 10, No. 2
Sonata in D Major, Op. 10, No. 3
Sonata in C Minor. Op. 13
Concert No. 3
Sonata in G Minor, Op. 49, No. 1
Sonata in G Major, Op. 49, No. 2
Sonata in E Major, Op. 14, No. 1
Sonata in G Major, Op. 14, No. 2
Sonata in B-Flat Major, Op. 22
Concert No. 4
Sonata in A-Flat Major, Op. 26
Sonata in E-Flat Major, Op. 27, No.1
Sonata in C# Minor, Op. 27, No. 2
Sonata in D Major, Op. 28
Concert No. 5
Sonata in G Major, Op. 31, No. 1
Sonata in D Minor, Op. 31, No. 2
Sonata in E-flat Major, Op. 31, No. 3
Sonata in C Major, Op. 53
Concert No. 6
Sonata in F Major, Op. 54
Sonata in F Minor, Op. 57
Sonata in F# Major, Op 78
Sonata in G Major, Op. 79
Sonata in E-flat Major, Op. 81a
Concert No. 7
Sonata in E Minor, Op. 90
Sonata in A Major, Op. 101
Sonata in B-flat Major, Op. 106
Concert No. 8
Sonata in E Major, Op. 109
Sonata in A-Flat Major, Op. 110
Sonata in C Minor, Op. 111
