17 tone piano project: video etc.

Now complete, on google video:
<http://video.google.com/videoplay?docid=1646106630574374261&hl=en>

The masts of the pianos have flags with giant #/b on them. Between
each piece I am holding up a photograph of the composer that most of
the audience isn't able to see, either.

Program notes, once again:
<http://xenharmonic.wikispaces.com/space/showimage/17tppp2.pdf>

Sadly, out of the 60 or so that came to the event, only 25 had program
notes. They were in the dark in more ways than one. Nevertheless
seemingly positive response.

State of the Project: The pianos should remain tuned to 17 (more or
less) for the rest of this year on into spring 2007. There will
probably not be a concert as early as January because I just realized
I have a senior recital to worry about. If there is another concert
(let's call it Phase Three) it will be focused on longer, more
in-depth works (less of a whirlwind variety show), and also maybe some
chamber music (start dreaming and scheming!). Ideally this music will
be prepared more ahead of time, and we'll get matching pianos.

In the meantime (let's call it Phase Two-and-a-half), I will happily
act as 17 tone piano consultant and will record readings of any short
pieces or tentative excerpts you may offer.

I am also interested in learning from this project how to best have a
project like this. Shall there be more projects like this? How could
this have gone better? I only basically advertised the call for scores
to the swarm of internet microheads and my own friends.

What do you think of the two-piano constraint? Interesting or
distracting to the tuning and the music? Enforced hocketing is an
unusual technical challenge for most pianists. I myself am most proud
of the 32nd notes that we were able to alternate across two pianos in
Free Lancer. That and one perfect moment in Chris Bailey's Waltz.
Should I have held out for a natively xenharmonic keyboard instrument?
(rhetorical question)

-Jacob