On 10/21/05 10:10 AM, "Otto Keyes" <okeyes@uidaho.edu> wrote: > Fred wrote: > >> that side of his "creative life" >> which came later, after most of the prepared piano stuff. He got heavily >> into chance as a "compositional tool." > > One thing leads to another.... > Well, okay, a certain experimental attitude will lead in any number of directions. But, as pointed out in Lawrence Becker's post, his piano preparations are anything but chance. He looked for very distinct sounds, and when he found them, he notated them (not always in an easily decipherable way, but there is no question he knew exactly what he was after). The prepared piano works, especially the Sonatas and Interludes, are very far from "random," "chance" pieces. As carefully crafted as anything by any composer. Yes, I know, you were just cracking a wee joke, and here I am lecturing up a storm. But I do think that we, in our position as "expert in things piano-related in higher education" need to have enough familiarity with these things to deal intelligently with students, faculty, and guest artists. And that, whether or not we like the music, we should put on a respectful attitude, and always take the act of performance seriously. (Always maintaining a good sense of humor behind the façade, as well). Regards, Fred Sturm University of New Mexico
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