Hello and welcome to Ars Electronica Home Delivery. Welcome to Season 2, Episode 2 of our Corona Concert Series, where piano music meets digital images. First of all, I would like to welcome and introduce our guest musicians. As usual, the wonderful piano duo Makina Mikawa and Dennis Russell Davies. Hello. Great. Thank you again. You are working with us on this project since the very beginning. Without you it wouldn't be possible at all. We enjoy very much being here. Let's go on another big journey into the music, into the world of piano music after last year's adventurous expedition into the ancient, in the world of ancient pagan tribes from Siberia with the Sacre de Printemps from Stravinsky, we are going back into the city, into the city, New York, and dance music. All the three pieces, actually, because we have a surprise piece at the end of the program, are related to dance, in particular to ballet music. First, we will hear a wonderful piece of piano music by John Cage, composed in 1947, The Seasons, which was actually composed on piano for ballet. But then he transcribed it to orchestra, and this was also his first orchestra piece. After this, performed by Dennis Russell Davis, we will move 70 years into our time to 2017, the year when Philip Glass composed his Passacaglia for solo piano, which is called Distant Figure and which will be performed by makinami cover so without any further ado and more information let's enjoy the music let's enjoy the evening and please then is start the program thank you Takk for ating med. I am the light of the world. I love you. Yn ystod y ddau oed, mae'r ffwrdd yn cael ei ddod yn ystod y ddau oed. Mae'r ffwrdd yn cael ei ddod yn ystod y ddau oed, mae'r ffwrdd yn cael ei ddod yn ystod y ddau oed. Mae'r ffwrdd yn cael ei ddod yn ystod y ddau oed. Mae'r ffwrdd yn cael ei ddod yn ystod y ddau oed. Mae'r ffwrdd yn cael ei ddod yn ystod y ddau oed. Mae'r ffwrdd yn cael ei ddod yn ystod y ddau oed. Mae'r ffwrdd yn cael ei ddod yn ystod y ddau oed. A C major موسیقی در موسیقی درسته I am the king of the world. A La Gjørens morf. موسیقی در موسیقی درسته PIANO PLAYS Un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, un, I'm sorry. I am the king of the world. موسیقی در موسیقی درسته piano plays softly Thank you. موسیقی در موسیقی درسته Thank you. Thank you. L'esprit de la vie I am the light of the world. موسیقی در موسیقی درسته Laudamus Dei. موسیقی در موسیقی درسته I am the light of the world. Læs mer på www.sdimedia.com I love you, my love, I love you, my love, I love you, my love, I love you. Gjødning PIANO PLAYS Gjødning PIANO PLAYS Terima kasih. PIANO PLAYS I am the light of the world. Gjødning I Takk for ating med. موسیقی در موسیقی درسته PIANO PLAYS I am the light of the world. Læs mer på min kanal. Lama موسیقی در موسیقی درسته Terima kasih telah menonton Læs mer på www.sdimedia.com Thank you. Nå er det en ny lyd som er på veldig stor nivå. موسیقی در موسیقی درسته Thank you. I am the light of the world. I love you. Terima kasih. L'esprit de la vie 1 tbs of butter 1 tbs of flour 1 tbs of butter 1 tbs of flour 1 tbs of flour 1 tbs of flour 1 tbs of flour 1 tbs of flour 1 tbs of flour 1 tbs of flour 1 tbs of flour 1 tbs of flour 1 tbs of flour 1 tbs of flour Thank you. 1.5 cm. I'm going to make a Teksting av Nicolai Winther Thank you. موسیقی در موسیقی درسته Teksting av Nicolai Winther Kjell Andersen Thank you. موسیقی در موسیقی درسته Thank you. Teksting av Nicolai Winther Thank you. Teksting av Nicolai Winther Thank you. Teksting av Nicolai Winther موسیقی در موسیقی در موسیقی در موسیقی در موسیقی درسته Teksting av Nicolai Winther Læs merks med.sdimedia.com Teksting av Nicolai Winther Thank you. I'm going to make a Gently press the dough into the mold. The dough should be smooth and elastic. The dough should be smooth and elastic. The dough should be smooth and elastic. Great that it takes some time to reset everything so we can start to breathe again. I mean, just from listening, I'm breathless. I don't know how it's for you playing this enormous music. I think it's so wonderful, these two pieces, so different, but both of them are so strong. And I think with Distant Figure, there is a little story that you heard from Philip, Philip Glass, the composer himself. Maybe you can tell us a little bit where this title comes from. Should I tell you the story which I heard from Philip? So the distant figure, that is actually the title, and the plan was there was a dancer, dance performer, as a distant figure would be appeared on the stage in the choreograph, but it didn't appear in the choreograph, but Philip loves this title and Philip inspired from this title very much and he kept this distant figure in the title. So I'm thinking that was in 2017, we are living in this time, we say distancing. Yeah, and it's interesting but very appropriate title so to say i think it's very likely that philip glass himself is our distant figure today because you talked with him before and he said he's very curious and excited to hear your interpretation and i'm sure he is excited as we all are listening to this really wonderful interpretation of this really great piece. I should have said to Maki that he was thinking that after she performed it perhaps the distant figure would appear. So I think it did. He's listening now. Thank you very much for making her appear thing and I think also the first piece that we heard is really beautiful piece I think both pieces are not naturally the type that you would think they are composed for a ballet but also in 47 this was actually the reason for John Cage to compose it. Yes, he was, of course, since years had been working with Merce Cunningham, and Merce wanted this music, wanted this piece. I'm sure they worked on the shape of it together. There's a lot of rhythmic elements in the piece you don't hear because the spaces between the music are very carefully notated with different meter changes and all of that. It sounds quite rhapsodic and quite free, but where it sounds free, it's not. You have to be right on the button. Actually, I have a little bit sometimes the impression when we rehearse this piece that it's actually two pieces at the same time. So they're like the black and the white like in a woodcut where you have the positive and the negative and it's actually two pieces at the same time. So they're like the black and the white, like in a woodcut, where you have the positive and the negative. And it's not only the notes, the sound that you hear, but all these separations, the void between it. And I think that's also very closely related, actually, to his original idea, the four seasons that he compared with quiescence, creation, preservation, and destruction, a very ancient, again, motif that I think is very strongly expressed in the music as well. What I was fascinated by was I originally knew the piece as a conductor. I had conducted the orchestral version of it, and I wasn't aware that there was a actually that it was originally a piano piece but Margaret Lang Tong did a wonderful edition of Cage piano pieces and this was in there and I discovered that this was actually the original and what's quite extraordinary is that the orchestration is extremely skillful It was John but also Lou Harrison and Virgil Thompson helped him with it. But the piano piece in itself is extremely skillful. It's written very cleverly. One of those pieces, it is difficult. Fortunately, it sounds difficult, which I hate pieces that are difficult and sound easy. But this piece is difficult and sounds difficult, but it's very skillfully done, so that it's quite easy to arrange the fingerings and the hands and all of that if you analyze a little bit what's going on. Maybe that's also a nice difference to the Basacaglia because sometimes this sounds so easy but then looking all your acrobatics, I think it's really actually a very complicated piece to play, I think. Right, it's very complicated to control everything and then the figure in the music, in the phrase, to, yeah, Philip told me once, the left and the right hands have different personalities, so which the key point is. Easy to say, but hard to play. But this is one of the pieces that is also on your latest recording. Right. You just released the CD with the piano sonata from Philip Knauss Dance and there is also the bassocalga and you also put out a vinyl, so not only the digital disc but also the gold analog. It sounds very different. I didn't know that, I didn't realize the sound is different between CD and vinyl. So I'm very interested. The aficionados know that. So please to all our audience, look into the internet, order the new CD. It's really a very, very wonderful piece of music that you recorded here. And I think we are here for music and not for our talking. So let's come to the surprise piece of today. But before we announce it, we announce the next episode of our concert series, which is not next Sunday, but next Friday. But again, 7 PM here, Central European time. So I hope you will all join us and we are in a certain way We are staying on New York and we are staying with dance music. So please Dennis. What do you have prepared with the composer? Who as many musicians and composers? Who are not born in New York, but came to New York lived in New York in New York but came to New York, lived in New York. Antonin Dvorak spent several years in New York and just not very far from where we live when we're in New York. There's a wonderful statue of Dvorak not far from the house that he has. I took a photo of myself standing next to Antonin. And so we thought we'd play one of the Slavonic dancers of Dvorak who is an adopted New Yorker. Great, I think it's number eight. Number eight. That you are presenting, wonderful, thank you. So for you there. Teksting av Nicolai Winther Thank you. Teksting av Nicolai Winther Læs mer på www.sdimedia.com Teksting av Nicolai Winther Teksting av Nicolai Winther Thank you.