KEYBOARD REPERTOIRE

+ denotes world premiere performance

solo

john adams
China Gates

j.s. bach
Aria with Diverse Variations ‘Goldberg Variations’ – selections
French Suite no.5 in G Major BWV 816
Well-Tempered Clavier – selections

justin barish
Six Mime Pieces +

martin bresnick
The Dream of the Lost Traveller

john bull
In Nomine XII

louis couperin
Piéces de clavecin – Passacaille en C Majeur

william duckworth
Time-Curve Preludes – selections

marti epstein
12 American Études – nos. 2, 4, 6, 7

philip glass
Mad Rush
Knee Play 5 (trans. Michael Reisman)
Satyagraha (trans. Michael Reisman)

leos janácek
Po zarostlém chodnícku (“On an Overgrown Path”) – selections

jo kondo
High Window

györgy ligeti
Études pour piano, no.5 ‘Arc-en-ciel’

alvin lucier
Music for Piano and Slow-Sweet Pure Wave Oscillators
Music for Piano with Amplified Sonorous Vessels

w.a. mozart
Sonata in A Major K.331

federico mompou
Musical Callada, Book I

西村 朗 nishimura akira
星の鏡 (“mirror of star”)

mischa salkind-pearl
Fugue in C Major +

domenico scarlatti
Sonata in G minor K.12
Sonata in A Major K.208
Sonata in D minor K.213
Sonata in G Major K.425

dmitri shostakovich
Preludes and Fugues op.87 – C Major, f♯ minor, F♯ Major

toru takemitsu
Rain Tree Sketch II

chamber

j.s. bach
Vierzehn Kanons BWV 1087

elliott carter
Elegy

philip glass
Music in Fifths

henryk górecki
Good Night

clifton ingram
Corrugator, Unrequited +
ex parture, the counted forest & fallow the soil, this squally bout of draughts +

keith kusterer
Echelon +
Études Photographiques

alvin lucier
Panorama
Fideliotrio

steve reich
Tehillim
Music for 18 Musicians

terry riley
In C

mischa salkind-pearl
Vierzehn Kanons BWV 1087: ‘Realizations and Elaborations on J.S. Bach’ +
The Botany of Desire
Bellows Pumped, the Bottom Approaches +
Toward
Iris +
Weft +

james tenney
Chromatic Canon

text

from the Alvin Lucier festival program (Baltimore/DC, 2022)
“I first heard Alvin Lucier's music in high school, when my father gave me a recording of I Am Sitting in a Room. As I've grown and my orientation to familiar music has changed with age, my experience with Lucier's music has remained entirely unchanged. It is an experience of wonder and utter bafflement; it is music that is immediately welcoming, with no illusions whatsoever, while at the same time it keeps the listener at arm's length. More than almost any other composer, Lucier's music fuses material with form. Understanding the materials does nothing to diminish the experience of hearing, nor does it heighten. Everything is always on the table; even if the music is inscrutable at times, it projects a vulnerability that I feel we should all strive for.”