The making of “Hermes”
Everything on “Hermes” grows out of one thing: the idea of Greek myth.
The piano does the thinking here; I only choose what to keep.
Play it low. It was made low.
classical crossover · piano · Germany
Everything on “Hermes” grows out of one thing: the idea of Greek myth.
The piano does the thinking here; I only choose what to keep.
Play it low. It was made low.
There are worse things to build a body of work on than nature.
It is classical crossover, so nothing hurries — the piano is allowed to just sit in the room.
I hope it meets you somewhere quiet.
There is a single feeling under “Comic Bird”: a long look at nature.
Between the notes I left in as much nature as I could.
That is all it wants to be.
So much for the intention; the rest is the listener's.
In the lineage of Erik Satie · Claude Debussy · Ludovico's quiet school · Federico Mompou · Harold Budd
Best heard whole, start to finish, low, in one sitting.
Appears infrequently, in small and unassuming venues throughout Germany. Performances are intimate by design and not widely advertised. Serious enquiries are welcome.
Greek myth, held as long as it will hold.
Both a scholar of Hermes and a friend to comic birds — Greek myth meets gentle whimsy.
The project situates itself within classical crossover: the piano treated less as an instrument than as a thesis, examined across Greek myth and whimsy.
The catalogue — “Comic Bird”, “Hermes” — is best read as a single argument developed record by record.
It's mostly piano, close-mic'd, with the room left in.
