![]() remaining mostly still and silent on the piano bench, the first player does not touch the keys but only moves the right foot down two inches to raise the piano's dampers and enable a performance of Henry Cowell's The Banshee (1925). The player's hands disappear as a strange assortment of sounds emanates from the instrument. But this player moves too close to the piano, touches its curved edge, and reaches inside. While the audience waits, another player walks to the crook of the piano, as a singer might. ![]() a pianist walks on stage and sits at the keyboard, letting the hands lightly rest as the right foot lifts to touch the damper pedal in a small gesture of readiness. ![]() The piano's lid angles upward, the keyboard waits for someone's fingers, and the bench sits empty. MarIa CIzMIC an audience sits in the dark facing a grand piano on a brightly lit stage. Embodied Experimentalism and Henry Cowell's The Banshee Embodied Experimentalism and Henry Cowell's The Banshee
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