Why do some conductors think that conducting technique is superfluous? What if, instead of a simple set of rules, the music made the technique?
Il canto del nibbio: 3 romanze for tenor and piano on poems by Guido de’ Cavalcanti with some harmonic explorations a la Bill Evans
It took me quite a bit of time to write this post. I was really close to him, and honestly I’m still coping with his passing.
A small and easygoing piece for cello and piano: uncomplicated, relaxed atmosphere from a delightful spring afternoon.
This piece came out of a memory: a crisp late afternoon in Central Park. For piano and string quartet.
“If You Miss a Cue”: it was a pleasure to be a guest on Podium Time, a podcast for conductors from conductors, discussing the importance of imagination, the most important aspect of score study, and how we expect people to listen to concerts.
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