April 13 - Bartok's Sonata for Two Pianos and Percussion

David Kaplan, Julian Pellicano, Greg Anderson, Eric Beach

Wow, wow, wow, wow! I didn't think I'd be able to go on following the first movement of today's performance; my heart was pounding so hard I was nervous my hands would shake right off the piano. I can only think of a few instances in my life in which I experienced such an incredible flow of adrenaline. (It went really well.) I was, as they say, "swept away by the music," ... swept away by the really intense, loud, and tight performance.

Bartok's Sonata for Two Pianos and Percussion takes a great deal of work to put together and an unimaginable level of concentration to perform, but it's worth it.

On a side note, check out this photo I took from backstage while they were setting up:


Yes, that's the stage. You can't even see the second percussionist's setup for the Bartok or the marimba at the front of the stage. Percussion recitals, it seems, have a significantly more cluttered stage than piano recitals do.

April 10 - Degree Recital at Yale

With the incredible load of obligations I currently face (working on two commissions for The 5 Browns, preparing for performances of Bartok's Sonata for Two Pianos and Percussion later this week, preparing for lectures and a piano duo recital in L.A. next week), it was a miracle I made it through this recital in one piece. I allowed myself 2.5 concentrated days of practice to relearn the program after having set it aside for a month.

Those moments when you forget you are on stage and enter another world are wonderful. Regardless of preparation, there were moments that when all fears dissipated and inspiration took over in tonight's concert - specifically in the Menuett and Toccata in the Ravel, Bach's "Sheep May Safely Graze," and the theme from Schumann's Symphonic Etudes. Those moments are why I love to perform.

There are also those moments when you *realize* you are on stage and there's an audience watching your every move. In situations of little preparation, those moments can be truly terrifying ... such as midway through Schumann's Symphonic Etudes.

That's what sets live performance apart from recordings - the unknown - spontaneity. I wouldn't give it up for anything.