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Salt Lake Town Classical Pianist Jed Moss has a great deal to get thankful for.

Learning a single new composition presents its own difficulties, but throw in ‘avant-garde’ pieces having a Balinese “East meets West” ballet and a flurry of performances about the road which has a classical Trio, and also you have a month filled with challenges, obstacles, anxiety, frenzy, excitement, accomplishment and, ultimately, full-blown pride.

For Moss, Tsontakis’ perform was an thrilling challenge, especially since he had certainly not heard the Tsontakis piece. Credited as one of his finest performances, Moss’ interpretation was well carried out and properly received.

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Throughout February, Jed Moss worked and done with Utah’s Ballet West. Ballet West’s latest production Madame Butterfly, with GONG.

A Balinese and Gamelan-inspired composition, Tabuh-Tabuhan, Toccata for Orchestra and Two Pianos, was earliest done by Carlos Chavez plus the National Orchestra of Mexico City in 1936 and brought around the world acclaim to U.S. composer Colin McPhee (1900-1964) who spent years immersing himself in Bali’s culture and music. Combining Balinese and classic Western musical elements, Tabuh-Tabuhan translates like a collection of percussive rhythms and sounds.

In McPhee’s notes about Tabuh-Tabuhan, he writes that “although Tabuh-Tabuhan makes a lot use of Balinese musical material, I consider it a purely personal function by which Balinese and composed motifs, melodies and rhythms have been fused for making a symphonic work. Balinese music by no means rises to an emotional climax but at the identical time has a terrific rhythmic drive and symphonic surge and this partly influenced me in planning the form of this work. Many with the syncopated rhythms of Balinese music use a close affinity with those of Latin American well-known music and American jazz, a background in itself, and these have formed the basic impulse in the perform from commence to finish.”

Mark Morris brings GONG on the stage combining formal and structured dancing with current dance. Described as being a ballet wherever “East meets West”, Jed Moss said, “It’s still ballet. Even even though the movements are heavily influenced by Eastern dance, every thing can be described inside a classic dancing move. It’s not classical dancing at all. It’s incredibly modern.”

Moss commented that in teaching GONG to Ballet West, choreographer Tina Fehlandt expressed the importance of posturing with men and women. Fehlandt wants the dancers for making contact with the audience, but not so much as to give away any of their power.

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