The Forgotten Nocturne
Many of my listeners are familiar by now with my two piano nocturnes, both of which can be heard on
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Coming Back
In past posts to this blog, I have described the musical soirées I started putting on in my home in
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Vincenzo Galilei and the Lament
I composed my Lament for Flute and Piano in 1991 but did not attempt to get it performed at the
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A is for Ambiguity
An intriguing feature of my Romance for Oboe and Piano is the ambiguity between A-natural and A-flat. In the piece’s home
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Rhapsodic Harmonies
Harmonically, a typical classical work begins by defining the tonality to the listener, through the use of tonic flanked by
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Equal Divisions of the Octave
A significant feature of the chromatic harmony in late Romantic music is the use of nontraditional harmonies to convey subdominant
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Remembering Katherine Bacon
During my year at Juilliard (1970-1971), I studied with English pianist Katherine Bacon. Bacon had been a child prodigy and
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Fiddler in the Storm
I have posted here before about the musical soirées I put on in my home in the early 1980s, which
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Fearful Symmetry
“What immortal hand or eye Could frame thy fearful symmetry?” — William Blake Based on the principle of octave equivalence,
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Deep Practice and the Pianist
In a previous post to this blog, I discussed why attaining the highest levels of musical performance requires not just lots
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Music of the Night
We usually think of piano nocturnes as tranquil pieces, typically featuring a lyrical melody over left-hand arpeggios. Yet some of
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My Time with Edward Kilenyi
Acclaimed pianist Edward Kilenyi, known for his interpretations of Debussy, Chopin, Liszt, and Beethoven, was born on May 7, 1910.
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From Scarlatti to Scriabin
This program is from a solo recital I gave in Atlanta almost exactly 30 years ago, on April 23, 1988.
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