12/10/2023 0 Comments Moment by moment musical![]() Rachmaninoff might disagree if he could be here, but I feel quite strongly about it. Without the repeat, the piece is more compact and has more impact. So to me, the repeat is, well, too repetitive. The piece moves along at a leisurely pace, and those sigh motifs become well ingrained in the listener's brain after awhile. This morning I was thinking: In this rendition of the "Moment", I didn't do the repeat because I never liked it. But in any recording, the pianist is the key ingredient for better or worse. There are variables, of course, in any recording-the piano, the mics, the recorder, room acoustics, and even sometimes extraneous noises. Thanks so much for your comments! I appreciate that. Believe it or not, this recording was made on a small Sony cassette tape stereo "boom box" recorder! This "Moment Musical" was my first recording since my senior recital in 1963, without much piano playing in between. I also recall at that time being influenced by the recording made by Ruth Laredo. ![]() with old names like that and you having been only 3 in 1984, I'm feeling a bit ancient here! But my playing you hear in this instance, given the style of the piece, comes down from Matthay for sure. (She also studied at the conservatory with Miklos Schwalb, a student of Ernst von Dohnanyi and David Barnett, a student of Howard Brockway and Alfred Cortot.) My second teacher (later in life) studied with Anthony di Bonaventura, a pupil of Isabelle Vengerova. From the time I was very young, I definitely got a full training in that! And I apply it to this day, even though over the years Matthay's stock has slipped a bit among current pedagogues. He was a student of Tobias Matthay, who developed the approach of using relaxed arm weight in producing a rich tone. One of my first teacher's teachers was Albion Metcalf at the New England Conservatory of Music in Boston. ![]() The cast album for his song cycle, Moment By Moment, is available for purchase on iTunes and Amazon.OK, you're forcing me to give up my secrets. His theatrical rock band, Discount Ghost Stories! can be seen playing through every borough and the astral plains. His music has been heard at Lincoln Center, Goodspeed Opera House, Symphony Space, 54 Below, Joe’s Pub, Playwrights Horizons, The Signature Theatre, New World Stages, The Laurie Beechman Theatre and venues in Thailand, London, The Netherlands and all across the world. Additionally, he was a 2017 Jonathan Larson Grant Finalist. He was named one of Playbill’s “Contemporary Musical Theatre Writers You Should Know,” and he was selected for the 2014 Johnny Mercer Songwriter’s Project. He and collaborator James Presson were awarded the 2013-2014 Dramatist Guild Fellowship and their musical, Outlaws, was the recipient of the 2014 ASCAP Workshop. Production at Mahidol University, Bangkok, Thailand). Noah Himmelstein), Archie's Final Project (Book by James Presson and David Lee Miller), Diva (Theatre for the New City, 2017, book by Sean Patrick Monahan, directed by Daniel Goldstein), A Night Like This (book, music, lyrics, directed by Blayze Teicher, 54 Below) and Moment By Moment (directed by Brandon Ivie, 54 Below. His musicals include Outlaws (Goodspeed Festival of New Musicals- book by James Presson, dir. Alexander Sage Oyen is the recipient of the 2014 ASCAP Foundation’s Lucille and Jack Yellen award for lyricists and the Lotos Foundation Prize in Arts and Sciences for his lyrics.
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