In all these works, played magnificently by Jing Yang, Vigeland makes conscious and effective use of the piano's acoustical properties to create sound worlds that couldn't exist in the same way if played by orchestral instruments.
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When is an improvisation more than an improvisation? When a spontaneous collaboration gels into something that's more the sum of its parts.
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If we don't really have an atlas in the end, we have an idea for one – a set of maps drawn in the shifting sands of sound.
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Even the most familiar of instruments harbors endless possibilities. Mining them is a task that never ends, and never should.
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