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6th Annual Fall Experimental Music Festival (Nov 7)

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John Cage / Morton Feldman / John Adams
Maximal/Minimal Piano

November 7, 2015 at 8:00 p.m.
Tickets: $10- $20 sliding scale (available at the door)
thefidget space (1714 N Mascher Street)

Please join us on Saturday November 7 for a very special evening featuring performances by three young new pianists, each known for their precision and intensity of performance style. The works you’ll hear span four decades of experimentalism in piano music, yet share an approach to the instrument which is perhaps most perceptible in these pieces’ commonality of mood and feeling.


Melinda Faylor tackles the monolithic, rippling, minimalist arch of John Adams‘s 1977 work Phrygian Gates. Her performance will be accompanied by a responsive video projection created with the use of MAX and Jitter. Melinda holds a Masters from the Manhattan School of Music (2005) and a BM from the Oberlin Conservatory (2002). An enthusiastic performer of new music, she has performed with the TACTUS, Delancey, Lunatics at Large, Tenth Intervention, Ensemble 212 and Mimesis Ensembles, and has performed solo and chamber music at numerous venues in New York.

Guam-born pianist Michael Tan will perform three early works by John CageIn a LandscapeA Room, and Dream. Cage composed these works in the 1940s, during a period of his compositional output when he hadn’t yet separated himself from music as emotional expression or representation of affect. These three piano works reveal Cage’s personality at the time as wistfully romantic. Tan specializes in modern and contemporary music, and has performed extensively as a soloist and chamber musician both in the US and abroad.

Adam Tendler will perform Palais de Mari by Morton Feldman.  London critic Frances Wilson described Tendler’s performance of Palais de Mari as “a concentrated listening experience… meditative, intense and beautifully poised,” and his skill as a pianist has been heralded by the Los Angeles Times (“exuberantly expressive”) and the New Yorker (“intrepid… outstanding”). Feldman’s work of this kind is notoriously difficult to memorize, and Adam’s mastery of it was no small feat: see one page of his coded memory “map” of the score, pictured above. Read more about Adam’s journey with this project in this excellent article.