When I began work on my album Canons I expected that its main audience would consist of three groups of experienced classical listeners:
- those with a particular interest in counterpoint (folks who own multiple recordings of Bach’s Well-Tempered Clavier, Bach’s Art of The Fugue, Shostakovich’s Preludes and Fugues, Hindemith’s Ludus Tonalis, and so on)
- those with a particular interest in the harpsichord, and in new repertoire for early keyboard instruments (folks who own a recording of Lambert’s Clavichord by Herbert Howells, for example)
- those with a particular interest in math-music connections (folks who own the book Gödel, Escher, Bach by Douglas Hofstadter)
At the same time, I hoped that I could turn some new listeners on to counterpoint, including those who don’t consider themselves classical music buffs and who might not know what a harpsichord is.
On the evening of April 3, 2017 I had my first success towards that latter goal. Continue reading