Lately my lovely wife has been coming home merrily singing the praises of two new piano solos she’ll be performing at NYU’s Black Box Theater, 82 Washington Square East in New York on Sunday, February 23 — they’re difficult but divine, she insists, and promises a good time. She’s never wrong.
The big piece on the program (which is called American Spectral: Works for Piano and Electronics, by the way) is the hour-long “Music for Piano with Slow Sweep Pure Wave Oscillators,” a new “extended mix” of a shorter 2010 work by highly-regarded avant-garde tunesmith Alvin Lucier. Marilyn will raise the curtain with Philadelphian Ellen Fishman‘s “Ruptures” (2018-19). These works, Marilyn says, “explore how technology changes our sense of time, consciousness, and sonic reality.”
Admission? Gratis. The trouble begins at eight o’clock. I’m told that there’s a new-fangled thing called social media that’s taking the place of the hardworking press agent, so if you visit the Facebook page for the event, please “like” it (whatever that is) and “share” it with your “friends.” Me, I’ve got to get my tuxedo to the dry cleaners; the composers will be present, after all.
I confess to you that I use the word “solo” advisedly here; she will be accompanied by some electric gewgaws. But they aren’t human, and I’m going to maintain my distinction between man (or, in this case, woman) and machine, so matter how complicated the box of wires is. After the show, we’ll all head out to the local tavern (except the computers, of course), where we’ll explore how wine and vodka change our sense of time, consciousness, and sonic reality, though I doubt the sensations will be quite as profound.