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SEVEN DAYS is an artwork we are invited to “do” — using music to point our attention to the present moment, the everyday, and the seemingly mundane.  Listeners are asked to listen to three movements a day according to an approximate schedule — one movement in the morning, one in the afternoon, and another sometime in the evening — for seven days.  The work is designed as a listening experience that tunes us into the passing of time, connecting us both to the present moment as well as the cycle of the week.  SEVEN DAYS is a work for solo piano in 21 movements, each lasting between three and eight minutes.  The piece was also inspired by the work of Morton Feldman and Chantal Akerman, whose large-scale works consider time, process, and stillness.  It is also an experiment in large-scale form, designed to draw attention to musical material developing across a week-long expanse, interspersed with vast silences.  It was also a year in which writings about time, penned by contemplatives like Henry David Thoreau and Thomas Merton, held new weight.  In that sense, it is an artwork born out of a year of relatively cloistered existence that seeks to preserve aspects of that experience as we move forward.  SEVEN DAYS was shaped by a year spent in relative isolation.  The experience invites music to inhabit and structure our everyday — to find us where we are in the world.  The morning-afternoon-evening schedule is meant to focus participants on the dawn-to-dusk cycle as well as to create a communal listening ritual.  The key players here are time and the listener’s own surroundings, starring together alongside music and art in a wordless drama.  The music is performed by Pedja Muzijevic and presented alongside paintings by Gloria Maximo.  It is a piece listeners are also asked to live within as it unfolds over a week rather than to witness it live.  All of this in turn resonated with Gloria Maximo’s profound paintings, which I've long admired.  Their art struck me with a fresh relevance during the silent stretches of 2020.