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 W e l c o m e   t o     P i a n o n o i s e ! upcoming events:
Saturday, April 28, 3 P.M.
Central Illinois Children's Chorus Spring concert

4 weekend services at Faith UMC in Champaign, Illinois Sat 5:15, Sun 8, 9 & 10:30 as guest musician (my former church)
Now on Pianonoise Radio: an hour of relaxing piano music
 

The week's featured recording: (4/20)


Variations on "Mio Caro Adone" by Salieri 
by W. A. Mozart




This past weekend's concert in which I played the organ part for the Mozart Requiem got me thinking about the movie "Amadeus" and that wonderful line where Mozart meets Salieri for the first time and mentions that he has written a set of variations on one of his melodies. "It's a quirky little tune" he blurts, "but it yielded some good things!" The thing is, Mozart actually did write a set of variations on a tune by Salieri, even if the script writer/dramatist took a bit of license in other ways. I recorded this a few years ago, on a piano in Illinois (to which I return next weekend), although I haven't posted this recording until now. And yes, despite Tom Hulce/Mozart's thoroughly undiplomatic brashness, it really is a quirky little tune! Enjoy.
p.s. We've just gotten news that director Milos Forman has passed, so let's consider this a memorial to him, too.
This week on the blog:    FRIDAY APRIL 20, 2018

Mediocrities, I absolve you!
You can't get your history from Hollywood. Everybody knows that.

But we do anyway.

At the intersection of myth and fact is a wonderful movie that was released in 1984 by the name of Amadeus, whose director, Milos Forman, died this week. It is hands down the best movie ever made that isn't really about the life of a composer. If it was a more careful biography it would have been a snooze, just like all of the bad Beethoven movies I've seen. But its writer Peter Schaffer, also deceased, was expert at sifting facts, legends, rumors, and just making stuff up in a way that makes Amadeus a fascinating film. It works wonderfully well as drama. As history, it should be approached with caution.
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"classic" blog: from April 22, 2013
We've been discussing G major chords and the first movement of Robert Schumann's "Scenes from Childhood" for the last two weeks on Mondays here on Pianonoise: the blog. It's more intriguing than it sounds.

I'm not a big fan of unmitigated hero worship, so I should warn you Mr. Schumann will be on the hot seat today. We've already seen him avoid the obvious by pulling a diminished chord out of his pocket in our first blog, and then find a way to affirm it in a way that made it more than just a musical nicety in part two. Today, we have to answer the question, "when is a chord not a chord?" Or worse...

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There have been those times when after merely typing the title of a blog entry I am called away by some unexpected obligation. Does this happen to you? You have just settled in to make use of some stolen bit of time to go on a creative jag when some other member of the animal kingdom, on two legs or four (such as the one currently out to steal the milk from my bowl of breakfast cereal) makes a demand on your time which may only take a few minutes, a few hours, or perhaps change the character of the entire day. This poses a difficulty for creative artists trying to concentrate on something they are trying to produce, compose, write, bring forth, et cetera.

There are known obligations aplenty as it is, and it is often hard to negotiate productivity around these. Sure, I'll think crossly, Dmitri Shostakovich wrote 15 symphonies, but did he have to mow his lawn?
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Blogger, interrupted

Mike's Ballpark
Hotdog Review


Jacobs Field, Cleveland
If you are in the mood for something with the consistency of paste, the taste of recycled poster board, and an appearance that will make you marvel about what they can do with plastics these days, the hotdogs at Jacobs Field are your item. If you are not so inclined, not to worry. You can always wash it down afterward with something like the hottest, flattest soda ("pop" in the Midwest, "coke" in the South) I have ever had the inverse privilege to consume.

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