20 December, 2009
I recently attended a concert of contemporary chamber music. I knew all the musicians and had performed with most of them.
In one work, the pianist and percussionist had, periodically, about a half dozen notes that were obviously intended to be in unison, but were not. I assumed the culprit to be the percussionist. Why?
The pianist and his instrument, simply by virtue of their position in the hierarchy of Western Art Music, received the benefit of my doubt; it simply stood to reason the percussionist was wrong.
I wonder if other members of the audience made the same assumption.
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Robin Engelman 
Piano – Percussion
20 December, 2009
I recently attended a concert of contemporary chamber music. I knew all the musicians and had performed with most of them.
In one work, the pianist and percussionist had, periodically, about a half dozen notes that were obviously intended to be in unison, but were not. I assumed the culprit to be the percussionist. Why?
The pianist and his instrument, simply by virtue of their position in the hierarchy of Western Art Music, received the benefit of my doubt; it simply stood to reason the percussionist was wrong.
I wonder if other members of the audience made the same assumption.
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Posted by robinengelman on January 8, 2009 in Articles, Commentaries & Critiques