Why did Poulenc write a piece that sounded like he wanted to take it out on the piano? How does this fit to the sometimes even humorous streaks in his music? Did Dvorák use real folk dances from his native Bohemia when he wrote Op. 46, Book 1? And why do musicians switch sides when they play on one piano together?
These were some of the questions Timothy Brown and Justin Hartz answered following their wonderful piano recital on April 18. It was one of the days with fewer middle school students than usual in the audience. Subsequently, the questions asked were of a more academic nature. However, without the students having prompted the Q&A part of our rehearsals in the first place, it became quickly apparent that they shape the atmosphere of our recitals even while occasionally absent. So I conclude: Our concert series is a true intergenerational effort. What else could we wish for? Continue reading
