Piano Composition by Hood & Gudgalis (1984)
Musical Influences: Vivaldi, Bach, Beethoven
Art by BB Hood
One day, many years ago, not long before I would give birth to my first child, and then my second, I waited for the man I would later marry, who was editing a film at a studio in Chicago. Had I stayed put, I could have spent that time reading a heavy load of English Literature for my final quarter in college. Instead I wandered through the silent suites of the night and discovered another room. That’s where I remained long after the sun had set, for a period of three weeks, perhaps — alone in a room with a piano. That is where I conceived the theme of Threshold.
I shared that theme with a friend of mine, Judy, who was trained in Classical piano. And so I sat beside her, while she occupied centre stage, and together we inhaled and exhaled, until the piece fully came to life. At that stage, I was nothing more than a mere speculator, another ear, tuned into hers, but perfectly synchronised. The composition developed quickly, and within a couple of months, we recorded at a studio in Chicago. Her condition was that she would only do one take of the score she had stored in head.
The studio had a Yamaha Grand, which she immediately tested, and expressed her displeasure about. The instrument was significantly inferior to the Chickering she had. And I agreed. Later I also discovered there was a technical imperfection, a glitch, and which created much distress for me, especially — you can hear the pedal work.
Judy has long since been gone, and what I lost when she left was not only a dear friend, but a musical collaborator, whose death I still mourn.
And so here it is, the door below for all to open, a room to visit, however briefly, and listen to the imperfections of beauty.