On April 4, Brooklyn College piano adjunct professor Jeffrey Biegel performed his fourth #StayAtHome Saturday Concert, a series of weekly performances live-streamed via YouTube.
Beginning on March 14, after CUNY moved classes online for the rest of the semester due to the spread of COVID-19, Biegel started the concert series as a way to comfort people stuck at home during this time.
“What can I do? I can play piano! I can make music!” Biegel said.
Most recently, Biegel, a longtime pianist, performed as a soloist in Kenneth Fuchs’s “Spiritualist,” a piano concerto which won a Grammy for the Best Classical Compendium.
Unlike his previous three concerts, this one was different. Biegel set out to play new music from “Eleven Words,” an album released on April 3 by David Foster.
Foster, a Canadian musician, composer, and music executive, has been active in the music business since 1971. As the producer of stars like Celine Dion, Whitney Houston, and Barbra Streisand, Foster has been nominated for 47 Grammy Awards, winning 16 of them.
Before the concert began, Biegel decided to make a switch. Instead of performing Foster’s music at the beginning as planned, Biegel decided it would be best to save it for later on — a decision that proved to work out in the end.
Instead, Biegel began the concert with “Hymne a L’amour,” a song written by Marguerite Monnot and popularized by Edith Piaf. This song was one of many included in Josh Groban’s “Closer,” released in 2003, and produced by David Foster.
“Josh [Groban] did a fabulous recording of this piece,” Foster revealed. “I decided to turn it into a piano solo piece.”
Soon after, Biegel performed pieces by George Gershwin, such as “Novelette in Fourths,” “Rubato,” and “Prelude: Melody No. 17.” Following the Gershwin was a four-hour compilation of music that he loved playing when he was younger, called “A Pianist’s Journey,” which are selections from a Spanish set.
From this, Biegel performed “Spanish Dance No. 5” by Granados, “The Maiden and the Nightingale” by Goyescas, and “Dance of Spain” by Jose Iturbi.
The piece that stood out the most, however, was Beigel’s performance of Chopin’s “A-Flat Polonaise.” Unlike the pieces before, Biegel was quick to toss the sheet music aside and played it from memory.
While the piece carried on for nearly seven minutes, Biegel did not miss a beat, playing with passionate and swift movements, but also with careful and exacting technique. With fast shifts in dynamics and repetition, Biegel established a theme in the piece that allowed for a strong finish. If it was not obvious in his performance, Biegel expressed his love for this piece with a simple line after finishing.
“That’s why I play piano,” Biegel said smiling.
The real surprise of the concert, however, came just moments after as Biegel was beginning to play “Song of Hope,” and his phone went off.
“No way!” Biegel said as he answered the phone.
Biegel pulled the camera closer to introduce viewers to his friend, David Foster, who had called him via FaceTime to say hello and discuss the release of his album. Initially, Foster only had one concern.
“I wasn’t watching. Did I interrupt you in the middle of a piece?” Foster said.
“It doesn’t matter! It’s David!” Biegel replied.
“Jeffrey, you play the music so beautifully,” said Foster, who at first apologized for interrupting, but went on. “We love you, and we love what you’re doing. I’m a fan. I am such a fan of yours!”
Biegel said the feeling was “mutual” and referred to Foster as “the greatest.” Despite his busy schedule, Foster agreed to stay on the phone with Biegel to listen to him play “Everlasting,” a piece from Foster’s album.
In its entirety, the piece is soft and beautiful, like the opening of a movie. With a peaceful melody, it acts as a reflection of the passing of time and the feelings of both happiness and sadness that come with it.
After Biegel’s strong finish, Foster had to leave, but Biegel stuck around for one last piece. He concluded the concert with a performance of his “Song of Hope,” which was written on March 27 and has not been recorded yet.
Similar to Foster’s “Everlasting,” this piece was true to its title as the melody started softly, but progressed in strong dynamics waves, like an allegory of hope, coming and going.
With a soft finish, the piece made clear that there is still uncertainty and hope is dwindling, a relevant message in today’s world with the spread of COVID-19. Despite this, however, Biegel’s music serves as a reminder that despite social distancing, the Brooklyn College community is still connected.
Biegel was gracious towards everyone that tuned in and ended the live stream saying, “God Bless you all. Stay well. Stay safe.”