from here on out (2019)
piano solo and piano four hands
The first 49 sections of from here on out are scored for piano solo.* Sections 50 and beyond are written for piano four-hands (two pianists at one piano).
From here on out is not yet completed and is conceived as a long open-ended work without a "last" section or conclusion. Therefore, I intend to compose more sections in future years. At present, 77 sections have been completed resulting in about 85 minutes of music. Each section (beginning with a rehearsal number and ending at the next rehearsal number) is a complete musical process.
From here on out is not to be played en toto, from beginning to end (i.e., to the most recently composed section). An adequate concert performance should last from five to ten minutes. Thus, only a fraction of the entire piece is performed at one sitting. The rule for performance is that the pianist begins playing at a given section (at a rehearsal number) and plays up to perhaps six to eight sections (ending at a subsequent rehearsal number).** One may not excerpt sections out of order or play non-contiguous sections. The break between sections 49 and 50 has no structural meaning; one plays section 50 attacca after section 49.
Just in case a pianist (or team of pianists) wishes to devote a concert to this piece, the concert will consist of a series of performances of the piece as described above. Each performance of sections of the piece should be separated by at least five minutes (with perhaps the performer(s) leaving the stage). Performances of sections that have contrasting characters would be a good way to program the concert. Including performances of the same sections may be an interesting way to present the organize the whole presentation. Another way to present more than one performance of from here on out in concert would be to program other pieces on the concert (and perhaps those not written for piano solo).
*A second pianist (who may be the page turner, may also help out playing some of the more difficult passages in sections 1-49.
**Longer and shorter and performances are possible. Shorter performances of even only one section are possible mainly for didactic and introductory functions. Longer performance would be mainly for specialists and new music enthusiasts, but probably not more than 20 minutes in duration. Since the piece is not concerned with long range formal plans involving climaxes and the result, and the degree of music detail is concentrated and often subtle, performances longer than ten minutes may tire or overwhelm the usual concert audience. If performances of the whole piece are recorded and available on media, listening to no more than ten minutes at a time is advised.