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Some 80 people had a great treat tonight in Berkeley. Sarah Cahill and Joseph Kubera performed 5 piano four hands pieces by Terry Riley inside an old Mission-style bank on Shattuck Avenue that is undergoing deconstruction. It was one of those really great experiences.
Part of the ongoing Berkeley Arts Festival series run by Bonnie Hughes, Sarah and Joseph gave this performance in preparation for the Triptych Festival in Scotland.
Ms Hughes has been finding odd spaces in downtown Berkeley to hold these small, intimate events for years. Every old decommissioned bank provides an opportunity for a music event. And some of these spaces are quite impressive. Tonight's was no exception. The former Fidelity Loan Assoc building was built in 1925 in California Mission style, with carved wooden rafters and ceiling. Enough room was cleared for folding chairs and a space made for the borrowed grand piano. Some retro Japanese globe lamps provided all the lighting, and there was no heat or bathroom. The floor had a carpet remnant and a makeshift curtain was tacked up to block off the back of the room, which we were led to understand was not inhabitable. All this made for a wonderfully informal atmosphere.
Still, about 80 of us arrived and took our seats. Sounds of the street were not far from us, but the performance, with Terry present, was, at least for me, quite a surprise. These pieces were remarkably gnarly, not something I would have expected. Rhythmically and harmonically they seemed quite complex, something between Conlon Nancarrow, Franz Liszt, and Lennie Tristano. And, they also seemed quite difficult.
They played "Cinco de Mayo", "Jaztine", "Tango Doble Ladeado", "Waltz for Charismas", and "Etude from the Old Country".
Playing piano four hands (as opposed to two pianos) introduces some interesting choreography, both with the pedaling and the occasional crossing arms. Add to it the complications for the page turner (Jerry Kuderna), and you have really three performers at the piano. The concentration on all three faces during these pieces was priceless.
The program was followed by an impromptu improvisation by Terry that ranged from Indian ragas to stride piano (did I hear "Mama's in the kitchen bake'n shortbread, shortbread.."?) to cascades of Lisztian proportions ... all done with half a tongue in cheek.
And then afterward everyone assembled at the Venus Cafe next door for coffee and cookies.
It was a wonderfully civilized event, and everyone left smiling.
I sure hope Sarah and Joe will be recording these pieces soon. They were quite remarkable.
