(updated November 28, 2007)

Currently, I am busy organizing my next European tour, which will take place during the entirety of the month of February (2008). The broad outlines of my plan are to be in Western European countries (including the UK) from 1-8 and 20-29 of February, and to be in central and eastern Europe (Hungary, Ukraine, and perhaps the Czech Republic) from 9-19 February. In addition to performing my usual classical music concerts, I will also be performing with a jazz quartet from America who will be travelling with me for part of the month of February. Very exciting! (For more information about the tour, please click here.

Last spring I went on a four-week tour of Europe, where I travelled through Paris, Amsterdam, Cologne, Budapest, Prague, Milan, and Zürich. The musical high point for me was a recital I gave in Budapest, which I felt was the best concert I’ve ever given in my life. I have sometimes in the past had the wonderful experience of my fingers feeling “in the zone” (as the basketball players say) where they can do no wrong: the fingers feel so supple they can translate any musical idea I may have into sound without any physical awkwardness. This rare sensation is generally short-lived, usually lasting only twenty minutes at most, as it is easy to fall out of the zone if your concentration is distracted, either externally, or more commonly, when your internal ego gets in the way. In this particular concert in Budapest, I found myself in this extraordinary state about two minutes into the first piece and the state continued for the entire concert - truly magical!

I kept a diary during my tour, chronicling many fascinating people I met - some real characters - while travelling through all these different countries. I hope, with the permission of the people I encountered, to turn these journal writings into something readable for those of you who would like to know how my trip went.

This travelogue should offer a bit of a glimpse into the world of the touring artist, plus provide me with a vehicle to write some personal observations and cultural commentaries. As a preview, here are a few short impressions of Europe: the pace of life there seemed surpisingly faster than even here in the USA (except for meals, where they do typically linger); everyone was talking about the Russians, who seem to be making up for lost time when they were forbidden to travel - this seems quite different than even two years ago (the last time I was on tour in Europe); and “reverb is your friend” - performing in the “live” medieval, renaissance, and baroque historic spaces of Europe is such a joy as a performer, compared to the very dry acoustical venues of the USA.

Once, when I was in Russia, I was interviewed on Russian television, and the reporter asked me if it felt different to give a performance to a Russian audience compared to an American one. What a great question! I have to admit I was expecting a string of “fluffy” questions, especially from a television journalist, and this one really made me have to think quick on my toes, partly to keep the conversation flowing, and partly as this interview was taking place right before I was to go on stage. My response was to say that people are people the whole world around. After the audience is seated and the hall becomes completely quiet before the first note of the concert, I can’t see how it should really make too much difference what country you’re in at that moment: in our cores, we all have a lot in common.

So, I will be returning to Europe for a tour this coming February (2008), and I am also planning a larger effort to tour Europe during the months of March and April of 2009. If you have any ideas for places I might be able to perform classical music or jazz in Europe, or know of people who might be interested in lodging touring musicians, please contact me at the telephone number listed in the contact information section directly above (or, if you don’t like the telephone, you can e-mail my manager).

The documentary film about my life and music, “Beyond 88 Keys,” was premiered at a film festival in March, 2004. The film, by Susan Bettmann, was two years in the making and contains footage from live concerts both in the United States and in Europe, along with excerpts from talks I have given about music at colleges and interview segments with myself, musical colleagues, and audience members.

The film has been screened at various film festivals and other venues such as arts centers, museums, and libraries. It was named Best Vermont Film of 2004 at the Vermont International Film Festival in Burlington, and has been broadcast twice on public television. “Beyond 88 Keys” received its European premiere in October 2005 in Ghent, Belgium. The film was recently released in VHS and DVD formats for home use. For further information about the film or to purchase a copy, please click here.

I went through quite a complex of emotions during the course of the making of this film. When I was first approached by the production company with their request for me to be the subject of this documentary, I was quite surprised. A little while later, I began to feel flattered by it all. Finally, both of these emotions passed and were replaced with occasional feelings of embarrassment. It’s hard to be natural and relaxed when one’s every slight move is the focus of the constant attention of lurking camerapeople, eager to capture a candid moment. The exploration of certain episodes of one’s past one regards as best forgotten can lead to more than a bit of blushing when seen on the big screen, and when the film was completed I was quite relieved when the line between one’s public and private lives was re-established. Most people who have seen the film really like the way it came out, and I feel sincerely fortunate the documentary was under the control of such a sensitive filmmaker as Susan Bettmann.

“Beyond 88 Keys” was shown in September at The Anthology, a nice theater in New York City on 2nd Street in the East Village. A week and a half after the film was shown, I performed two live concerts in New York City at Hunter College on the Upper East Side. I gave one concert of solo classical piano music entitled “Reflections on Time” and one of improvisation with the jazz tenor saxophonist John McKenna. Both concerts went really well musically, and I also enjoyed re-connecting with many old friends I hadn’t seen in years.

I have revised and greatly expanded the written material on this site about my jazz performance programs. If you’re interested in what I’ve been up to in the realm of improvisational music, I encourage you to click here to read descriptions of my latest jazz program ideas. I am seriously considering making a recording of my original jazz tunes; I recently wrote up little descriptions of my originals, which you can read on this site by clicking here.

Other news: My piano playing has been recently used as music beds for two DVDs of visual art. Some of my Beethoven playing, from a recording I made of the “Pastoral” Sonata, is the soundtrack for a DVD by the veteran Vermont photographer Daniel Neary, Jr. entitled “VisioNEARY: Vermont in Black and White.” The disc’s 66 exquisite images, shot between 1994 and 2004, are grouped by the season of the year. These visual scenes marry well with the Beethoven piano music, and since I live in Vermont, I’m naturally quite partial to the landscapes of this part of the world. You can order the DVD for $23 (includes shipping and handling) directly from Daniel A. Neary, Jr., 170 Perkins Rd., Montpelier VT 05602.

The unique art of Janet Van Fleet’s recent exhibits based on buttons and other real-life circular objects is the subject of two short DVDs utilizing my piano recordings. “Quantum Entanglement,” a short art film by Gail Schwartz using photographs of Van Fleet’s exhibits as the visuals, contains my playing of the first movement of Anton Webern’s reflective “Variations for Piano,” while “Circular Statements” is a brief three-part document of the art shows, with voice-over interview segments with the artist and music by Orlando Gibbons and William Byrd. The Webern, Gibbons, and Byrd music in these DVDs are material recorded in London, Ontario that will eventually be released on a commercial 2-disc recording entitled “Homage to Glenn Gould.”

In recent years, I have begun a collaboration with the author and photographer Marjorie Ryerson. Her new book, “Water Music,” contains her photographs about water along with written thoughts about water from over sixty wonderful musicians such as Vladimir Ashkenazy, Mark O’Connor, Taj Mahal, Midori, Renée Fleming, Pete Seeger, Carol Maillard (of Sweet Honey in the Rock), Brad Mehldau, and Bobby McFerrin. The book has been receiving a lot of attention from environmental organizations, arts groups, and government officials interested in this cultural look at water, our planet’s most essential element.

Our collaboration presents a live performance where I play water-related piano music interspersed with her reading excerpts from the book, while some of the water photographs from her book are projected by a Power Point CD onto a screen as a visual backdrop to our live readings and music, making this a true multi-media performance. I play compositions of Debussy, Chopin, Ravel, Rzewski, Britten, plus some jazz improvisations. Click here for more information about this program. We most recently performed Water Music at the Mahaffey Theater in St. Petersburg, Florida, where we added Native American flutist Mary Youngblood to the program. This concert was specially broadcast simultaneously on the internet where people from many countries from around the world viewed the performance on-line.

I am on two tracks of a new compact disc entitled Garden of Delights by the Canadian percussionist Beverley Johnston. We play arrangements of compositions by Astor Piazzolla. I also play piano on the song “Checking In” as a duet with the guitarist and songwriter Jon Gailmor on his new CD of the same name.

New thoughts: I am wondering if it is possible to do a performance where I improvise piano music simultaneously with an artist painting or drawing art spontaneously, with both performers reacting to each other. A year ago, I wanted to do a related idea with music combined with poetry improvisation, but I couldn’t find any poet willing to improvise poetry live in public. I don’t know if any good artist might feel that to do art so quickly might be similarly embarrassing.

Another idea I have for a future project is to create an educational video about a piece of music with some interactive content so the viewer can control the depth and direction of exploration of each educational point presented. Possible pieces that might be good candidates for the subject of the disc are: Beethoven’s Fourth Piano Concerto, Chopin’s 24 Preludes, or Bach’s Goldberg Variations. If any of you know of someone with experience doing the computer programming for such an educational product, please contact me.

Two years ago I had the thrill of playing a tune with Pete Seeger at a memorial event for a mutual friend at the Cathedral of St. John the Divine in New York City. As always, his wonderful, lively sense of rhythm and phrasing got everyone singing with true feeling.

This past summer I worked on a program of music of Beethoven and Chopin (which always brings back memories of the old student days at the music conservatory). Over the fall and winter months I will be continuing to learn the piano études of Ligeti and also some pieces by Ferruccio Busoni and Joan Tower. I am also working on a new lecture-demonstration entitled “The Music of Poetry,” about the rhythms and sound qualities of classic poems through the centuries.

I have posted on this web-site a number of music essays and articles I have written. Please respond to these essays with your comments, and I’ll post excerpts from the most interesting replies. I am sure people would be interested to know the town and country you are from, so, if you’re willing, perhaps you could mention that when you e-mail me your comments.

There is a link on this site to the Ursa Minor Records web-page; this company carries most of my recordings. In addition to what is available there, there’s about 40 minutes of excerpts from various live piano performances on the audio track of the “Beyond 88 Keys” film, now available on VHS or DVD.

This is my first release of live material: all my other recordings are not from live concerts, although they have all been recorded in real halls (no added reverb), not studios. My disc on the Musical Heritage Society label, “Classical/Jazz,” unfortunately, may be out of print - at least, it was when I last asked about five years ago.

Over the years, I have appeared on a variety of other musicians’ recordings, playing individual pieces here and there. I can’t totally endorse these albums as good examples of what I am trying to create artistically, as they are generally released without my being consulted about which takes to use or how to edit segments together. (Yes, I know, welcome to the real world...) So, to get the best impression of what my music-making is like, stick to my solo piano recordings.

In general, if you wish to contact me, I greatly prefer telephone communication. If you have to e-mail me, use the e-mail address for my manager Susan Reid listed in the contact section of this page, and she will convey to me the content of your message (or forward it to me if appropriate).

Would you like to help?

If you have an idea for where I might be able to perform a classical concert or play a jazz engagement (particularly if you have any friends in Europe), feel free to write or telephone me; for my contact information, skip to here).

Also, if you have a suggestion as to where the documentary film about me might be shown, we’re trying to get more screenings and broadcasts of the film. There seems to be good interest from arts groups in showing the film, optionally in conjunction with some sort of live piano performance or question and answer period with me after the film is viewed.

The filmmakers have made an attractive brochure oriented towards organizations that might consider showing the film. If you have a connection to an arts organization, theater, school, library, or film festival that you think might be interested in hosting a film screening, let me know and I’ll send you one of these brochures.

Table of Contents

General
Photographs and Biography (updated November 2007)
    auf Deutsch (bioraphy in German)
    en français (biography in French, révisée 2007)
    in italiano (bioraphy in Italian, aggiornata: febbraio 2007)
Jazz Biography
Calendar of engagements (last updated, January 11, 2008)
Information on my recordings - link to Ursa Minor Records
    web-site
Description of new documentary film “Beyond 88 Keys”
Lecture-Demonstrations Information Page
    to include many new offerings)
Concerto repertory


Reviews and testimonials
Reviews from THE PENGUIN GUIDE TO COMPACT DISCS, London, England,
    the RHEINISCHE POST, Düsseldorf, Germany, and more
Lecture-demonstration information page and testimonials


Concert Program offerings - detailed descriptions
New classical piano programs
Europe Tour February 2008 Information Page
Description of György Ligeti And His Influences program
Chopin Bouquet program for August 18, 2007 concert
Three Programs for Europe Tour - April and May 2007
Information on New York City performances and film screening
Program Notes for Reflections on Time
A Trip Through The Four Seasons (3 versions)
The Composer’s Menagerie
Water Music
Three Programs for European Tour - October 2005
    2005 tour programs auf Deutsch (translated into German)
    2005 tour programs en français (translated into French)
    in italiano (translated into Italian)
New Music program of Contemporary American Music
Music & Letters
Beethoven and Arnowitt VI
The Goldberg Variations
Three New Non-Thematic Programs
Autumn Blessing
With Four Hands


New jazz programs
Description of Jazz Programs
   this page includes information on the following jazz concerts:
   The Five Chinese Elements
   A Trip Through The Four Seasons
   The World of Bill Evans
   The Music of Billy Childs
   Exploring Jazz and Classical Music, with Fred Haas
   Ella Fitzgerald Night
   Tribute to Art Blakey and the Jazz Messengers
   Improvisation with the Spoken Word #1: Langston Hughes
      (Jammin’ with Langston)
   Improvisation with the Spoken Word #2: Sylvia Plath
   Improv with the Spoken Word #3: Live with David Budbill

Other jazz pages:
Jazz Biography
List of jazz tunes I play
Europe Tour February 2008 Information Page
Descriptions of original jazz tunes
Classical/Jazz
Essay: Why I Love Bebop
Essay: Jazz in Mud Season
Article: Jazz in Vermont: Part 1
Article: Jazz in Vermont: Part 2 (under construction)


Educational Talks
Lecture-Demonstrations Information Page - recently revised
New lecture-demonstrations include:
    Frederic Chopin’s 24 Preludes
    The Evolution of Jazz, Part 1: 1900 - 1950
    The Evolution of Jazz, Part 2: 1950 - 2000
    Beethoven’s Sketchbooks
    The Artistry of Ella Fitzgerald
    Music & Letters


Other concert programs (classical piano):

• "1911"
• Classical/Jazz
• Latin American Classics
• All-Brahms
• Charles Ives’ "Concord Sonata"
• Beethoven & Arnowitt V
• Folk-Inspired Classical
• Halloween
• Music of Jewish Culture
• Homage to Glenn Gould
• A Program of Preludes, featuring Chopin’s 24 Preludes
• Celebrating the Century
• American Kaleidoscope - a program of contemporary American music (under construction)
  
• A New Program of American Music
• A Program of American Music
• Gershwin at the Keyboard
• Duo program with Beverley Johnston, percussionist

Specialized repertoire lists
Concerto repertory
List of jazz tunes I play
Contemporary music repertory (link to my page on
    Kalvos & Damian web-site)



Essays and Articles:
Why I Love Bebop
Yom Ha-Shoah (Holocaust Remembrance Day) in Music and Silence
Vulnerability (plus three comments on same)
Jazz in Vermont: Part 1
The Sound of Silence (under construction)
Jazz in Vermont: Part 1
Jazz in Vermont: Part 2 (under construction)
Sample excerpt of speaking notes to "Classical/Jazz" program
Beethoven CD liner notes (excerpt)
Beethoven Journal
Beethoven’s Sketches
Jazz in Mud Season
hy I don’t play chamber music
Thoughts on the Close of the Century
Philosophy of concert program construction (under construction)
The Ideational School of interpretation (under construction)
I’m hearing concertos everywhere?
Program notes for "Perspectives On Our Machine Age"
Report on the 1997 Boston Early Music Festival
Winnie-the-Pooh / Erik Satie project (under construction)
A shocking attitude (under construction)
Lighter fare: four one-page "Lives of the Great Composers"
      pieces, intentionally written in a modern, hip style;
     originally published in the literary magazine "Big Fish"
     Satie
     Mozart
     Beethoven
     Ives

---

What’s New (non-music related)
     Nothing new here at present - I’m working on a page of my favorite quotations.


Non-music personal interests

The death penalty and the case of Mumia Abu-Jamal
     Death Penalty Nothing More Than Administrative Murder
     Ten Reasons Mumia Abu-Jamal Is Innocent
     Links to further information on Mumia Abu-Jamal
Privacy issues
     Two articles on privacy issues: Part 1 (Big Brother’s
     Coming To Visit) & Part 2
Human rights
     Links to information about human rights in Indonesia
          and East Timor
     Shop 'Til Someone Else Drops?
Typography
     Signs of the Times - A Typographical Tour of
          Montpelier’s Downtown
Michael’s Bridge Sanctuary (over a dozen articles)



Photo credits: top of this page - Wayne Fawbush;
top of "Photograph and Biography page" - Charley Freiberg;
middle of Photograph and Biography page - Robert Eddy