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My first exposure to Prof. Svard was as a student at Bucknell University in the 80s. Part of an introductory music appreciation class involved going to several on campus concerts by faculty. Prof. Svard's performance made a huge impression on me because she did two pieces, one a Beethoven sonata (Appassionata possibly) and the second a set of the freshly published Ligeti Etudes. Prior to the Ligeti she explained to the audience some of the goals that Ligeti set in those etudes. The next semester I took a music theory elective with her which probably only revealed that I was not a composing prodigy, so nothing much to note there. About a decade later I saw Prof. Svard at a concert in NYC where she performed some pieces by living American composers (Johnson, Tyranny I think...), one of which involved her having a musical "conversation" with a pre-recorded tape. Fun stuff.Anyways, this recollection is only to highlight the fact that although Prof. Svard is using the piano primarily as a sounding board for percussion implements, she has a deep background in highly technical works, and she approaches Lockwood's piece with the same level of intense exploration and ownership. The video is a clear presentation of how Svard performs this piece, and the documentation includes score samples (with more in the video extras).I would say this is of great interest to both fans of prepared piano as well as Annea Lockwood's career, as Svard interviews Lockwood at length on her career as a "piano burner" and multi-disciplinary avant-garde artist. This sequence includes some pretty cool sounds from her "glass" pieces which I was not familiar with. They also discuss the level of interaction between the composer and performer in this particular piece.