piano
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“Graceful Ghost Rag” – William Bolcom (2004)
“The External World” by David O’Reilly (2011)
“I bought a really flashy piano that I couldn’t play at all.”
“I read an interview with Tom Waits, around the time of his album “Rain Dogs,” in which he talked about how you come to a point on an instrument where you have to stop playing it and find another instrument that you don’t know what you’re doing with. Part of songwriting is having that naïve excitement about not quite realizing why you’re getting off on it, because you haven’t had time to pull it apart yet. Songwriting relies on not pulling things apart: the best ideas are the simple ideas.”
“Sensology” by Michel GagnĂ© (2006)
“The creation of this film was a true spiritual and artistic journey. Sometimes, I felt like I was channeling the images. I did no storyboards and virtually no preliminary work. I animated in a stream of consciousness, one frame at a time at a rate of 30 frames per second. The shapes revealed themselves as I listened to the music over and over again. The process was intensely focused and required large amount of concentration. I was becoming part of the music and expressing my creativity at its rawest and most primal. Like Kandinski tought us, every shape and sound has a equal vibration in the soul. When Paul Plimley saw a portion of the film for the first time, he said to me with tears in his eyes, “It’s like you read my soul.””
— Michel GagnĂ©
Radu Lupu — Beethoven’s Piano Sonata No. 8 in C Minor, Op. 13 – “Pathetique” II. Adagio Cantabile
“Wichita vortex sutra” by Philip Glass (1989)
via ekstasis
Score for prepared piano by John Cage
“The phrase prepared piano is also sometimes applied to other kinds of preparations. Lou Harrison, for example, used something he called the tack piano, a piano with small nails stuck in the hammers to produce a more percussive sound. Conlon Nancarrow adapted his player pianos in a similar way, covering the hammers with metal and leather.”
Paul Greer 