FC1

Called 'FC1' because there is never much of a good reason that I can see or hear to even attempt to use full words or any at all whenever music or any type of artistic sound is hanging around.

I did not intend this specifically to be that which is commonly referred to as 'music'. It seems only a presentation of various musical entities that come and go as they please, what comes after not necessarily connected to what came before, an idea that has been percolating for a number of years now, each one not being a variation of previous things but instead, some sort of comment on those notes either in extension or refutation or non-committal response. Perhaps it is a only a collection of short groupings of musical sound.

Beethoven is referenced in the early parts of part 2 but makes no personal appearance. There was no pre-thought decision for him to show up, sometimes here I seem to hear his famous motif making an appearance from some hidden spot of the tone landscape. Maybe that picture you see at the beginning of part 2, a-fixed to a wall to the rear and stage right of the Steinway model M on which these tones were first and only time played, has something to do with it.

Bach is quoted once about half-way through part 2 and again in the final bars. I did not begin with the idea of playing the theme from his Art of Fugue but it does appear. On my third review of the performance, as that theme arises out of surrounding tones, I seemed to almost feel a presence of that old master, like an apparition had come to deliver some sort of communication, a wordless one, passing back and forth through time and space through the D A F D C# and following. I can't say that I have ever been affected as much by any other passage of organized sound as I am by this one - I imagine his presence every time.

The piano in part 4 was prepared for 3 strings utilizing metal, pointed violin sound post adjusting tools which had been placed there previously before FC1 was executed.