Mužijević’s imaginative curatorial hand was especially evident here, shaping a programme that traced rhythm in its many guises: beginning with the obsessive drive of Andy Akiho’s The War Below (from the film Prospects of a Misplaced Year), proceeding to the nostalgic grace of Joseph Lanner’s Marien-Walzer(published in 1839) – its Viennese lilt rendered all the more poignant in that elemental space – and then to Guillaume Connesson’s witty mimicking of a rave in Techno-Parade, a trio for clarinet, flute and piano…

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The musical program is overseen by Pedja Mužijević, the irrepressibly charming pianist whose deft mixing of the old and the new is a central part of Tippet Rise’s ability to get Neanderthals like me to soak in contemporary works that push comfort zones alongside classics we all know and love.

The other components are the intimacy and the brevity. The programs are kept to one hour, and the concerts are the classical musical equivalents of Miley Cyrus performing for her friends in a room at the Chateau Marmont.

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Can we envision the future while remaining attached to highly conventional structures—sometimes even completely stuck in tradition—based on preconceived notions and the certainties of "experts," while audiences and their listening habits evolve? Pedja Mužijević responds with a resounding no and allows himself choices that surprise—and stand out!

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At the 45th Piano aux Jacobins festival, American pianist Pedja Mužijević offers us his playlist and takes us on a journey back to the future.

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