 |
Maroney: “Rolling Joy” is a fun song. It is happy, and just “rolls” along. Coming up with names is always challenging, so I just took what I had in mind when I composed it. I think it expresses a jaunty, happy, walk. It rolls on down the path. It’s a great piece to open a concert with.
KP: How about “Crescent Moon”?
Maroney: This song has its roots in the twilight time, with the deep Persian blue sky, a crescent moon and a nearby twinkling star, perhaps Venus. Occasionally you see a sunset that is stunningly beautiful and makes you go “wow!” This is about the delightful moment when the day is finished and the night sky is starting to take over. A sliver of moon is coming out just over the horizon, and stars are starting to appear. A very magical time of the day!
KP: And “Tundra Swan”?
Maroney: When I started composing this piece, I was imagining the cold. Cold snow, cold sharp air, ice, frost, frozen lakes. We must have been having an exceptionally cold winter! Winter has a very stark beauty, very shimmering and sparkling. But on the other hand, the cold can be deadly if you are not prepared. The tundra swan lives in that kind of environment, and I thought the title would be a good representative of what I was trying to express in the composition.
KP: What inspired you to do another version of “Sanctuary Medley”?
Maroney: That’s a good question! After I initially recorded the piece for the CD “Wind Chimes,” I discovered that the wonderful little song “Simple Gifts” fit very well within the structure of the composition. I had been playing it that way for some time, using it as either the finale or encore piece. People have been asking for it to be recorded, so now it is!
KP: It’s so joyful and a lot of fun to play as well as to listen to! The last time we spoke, you said that performing was still making you very nervous. Now that you’ve played in numerous concerts with Whisperings Solo Piano Radio, do you still get nervous?
Maroney: Not as much as before. Performing frequently in solo concerts plus Whisperings concerts has been a real help. The first solo concert I gave, oh, probably ten years ago, I was nervous for a week prior to the performance date. I just did not know what to expect. Now, I have developed more confidence and realize that the world will not come to an end if I make an error. I just keep going through the mistake, or improvise until I find the song again. Or perhaps I can’t find the song, so I improvise and make a new one. Being the composer has its advantages! If you really look at composing, the process is all one big improvisation that eventually becomes solidified into a “piece” that you can write down.
But, interestingly, my songs seem to change over time, so how I played a piece at a concert last year may not be what I play this year. The songs seem to have a life of their own, and they evolve and grow. It’s often through “mistakes” that they change. Most mistakes sound bad and get thrown out, but occasionally you make one that really sounds good. If you can catch it, you can incorporate it into the fabric of the song. You really should not be afraid of mistakes!
KP: Do you find it less stressful to play with two or three other pianists rather than playing a solo concert?
Maroney: It’s great to perform with a few other people for a couple of reasons. First, it is wonderful to meet other pianists that are going through the same changes that I am. For example, we can talk about how well CD sales are going, discuss performance tips, what the economy is doing to our careers (both good and bad!), and give each other composing tips. It’s great to see how other pianists are coping with the problems and joys that I face on a day-to-day basis. Secondly, I do not have to carry the entire weight of the concert. It’s a fairly big memory load to have fourteen or fifteen songs ready in my fingers. I do have that on hand - I can play for a two-hour concert - but it’s nice to not have to stress about it and to just have fun playing four or five pieces very well.
KP: Did you find playing on the same bill as David Lanz daunting? He’s such a nice guy, but he is “da man”!!!
Maroney: It was a wonderful experience playing with David Lanz, and yes, it was daunting. He is a master at performing and composing, but he did not put on any airs, and just played with all his heart. I learned an incredible amount about performance from him. I also find it pushes me to perform with Michael Dulin, who is such an exquisite pianist. Technically and aesthetically, not many come close to his abilities.
KP: I couldn’t agree more! Both David and Michael are good friends of mine, but I don’t think I could play for either one of them without having a major panic attack! A dream concert for me would be you, Michael Dulin, and David Lanz. I know the three of you
|
|
