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Salt Lake Town Classical Pianist Jed Moss features a good deal to get thankful for.

Finding out a single new composition presents its individual difficulties, but throw in ‘avant-garde’ pieces using a Balinese “East meets West” ballet along with a flurry of performances for the road by using a classical Trio, and also you possess a month filled with challenges, obstacles, anxiety, frenzy, excitement, accomplishment and, ultimately, full-blown pride.

In early February, Jed Moss carried out while using Canyonlands New Music Ensemble for the Maurice Abravanel Visiting Distinguished Composer Series.

This February, celebrated composer George Tsontakis was welcomed to Salt Lake City as the Maurice Abravanel Visiting Distinguished Composer. For Moss, Tsontakis’ perform was an exciting challenge, especially mainly because he had in no way heard the Tsontakis piece. Credited as just one of his finest performances, Moss’ interpretation was nicely done and perfectly received.

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Throughout February, Jed Moss worked and executed with Utah’s Ballet West. Ballet West’s latest production Madame Butterfly, with GONG. A Mark Morris ballet, GONG has been executed by the American Ballet Theatre and The Royal Ballet, generating Ballet West only the third firm globally to perform the piece.

A Balinese and Gamelan-inspired composition, Tabuh-Tabuhan, Toccata for Orchestra and Two Pianos, was initial conducted by Carlos Chavez along with the National Orchestra of Mexico Town in 1936 and brought throughout the world acclaim to U.S. composer Colin McPhee (1900-1964) who spent many years immersing himself in Bali’s culture and music. Combining Balinese and standard Western musical elements, Tabuh-Tabuhan translates as a collection of percussive rhythms and sounds.

In McPhee’s notes about Tabuh-Tabuhan, he writes that “although Tabuh-Tabuhan makes significantly use of Balinese musical material, I think about it a purely personal do the job where Balinese and composed motifs, melodies and rhythms have been fused to generate a symphonic work. Balinese music by no means rises to an emotional climax but at exactly the same time has a terrific rhythmic drive and symphonic surge and this partly influenced me in preparing the form of this work. Many of the syncopated rhythms of Balinese music possess a close affinity with individuals of Latin American popular music and American jazz, a background in itself, and these have formed the simple impulse in the do the job from start out to finish.”

Mark Morris brings GONG towards stage mixing formal and structured dancing with current dance. Described as a ballet wherever “East meets West”, Jed Moss said, “It’s still ballet. Even nevertheless the movements are heavily influenced by Eastern dance, everything is usually described in a classic dancing move. It’s not classical dancing at all. It’s quite modern.”

Moss commented that in teaching GONG to Ballet West, choreographer Tina Fehlandt expressed the value of posturing with males and women. Fehlandt wants the dancers to produce contact using the audience, but not so very much as to give away any of their power.

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Incorporating the vibrancy and beauty of common Balinese clothing, designer Isaac Mizrahi’s bold, bright and colorful costumes are a stark contrast towards the frequently similar-colored costumes of dancers.

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