When I first conceived the project, I envisioned the write-ups as utilitarian, not much more than a web-based program archive, maybe with a pic of me standing before each venue to document my presence and thus the project’s reality.
Then I remembered that I don’t remember anything. That’s when I realized the write-ups could serve as a more substantive record of the project, with pictures, clips, description, and also the “about the piano” feature. (The last was my life partner Annelies McVoy’s idea, and has become the most popular feature of the write-ups. She said “every piano has a story” and so far that's checked out.)
In a way, the site, particularly the concert page, is the project for me, or at least its tangible, organic, integral manifestation. Which is good, because just the write-ups take about a full day of work each—selecting and editing the clips and photos, mostly. Since the start of this project, I haven’t been composing at all (other than to plan out the semi-improvised, ever-lengthening Scarlatti intros). Right now the site feels like my creative work.
From the inception, people have asked me if I was planning a long-form documentary film or a book. A documentary, maybe. But the book idea strikes me as last-century. If I find myself with that kind of time or energy or support, I would sooner bring the website to the next level of finesse and navigability than create a dead-trees edition.
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