PTNA NEWS LETTER 2016 www.piano.or.jp/english

Piano Teachers’ National Association of 1-15-1 Sugamo Toshima-ku, 170-8458 JAPAN Tel: +81 (0)3 3944 1581 Fax: +81 (0)3 3944 8838 [email protected]

PTNA (PIANO TEACHERS’ NATIONAL Commitment To the Entire Music Life ASSOCIATION of JAPAN), founded by The 50th Anniversary of PTNA Yasuko Fukuda, is a nonprofit organization of professional piano and music teachers. Our mission is to advance the value of piano and music teachers committed to furthering a higher level of the pedagogical skills, and to explore cultural and artistic activities by ways of piano. We encourage piano and music teachers in the community to improve the quality of piano pedagogy and performance studies, promote a rich humanism from music pedagogy, communicate with internal and external associations, and contribute to a broader cultural development.

-Established : 1966 -Chairperson: Nobuyuki Idei -Vice Chairperson: Yuichiro Hata, Yuko Ninomiya PTNA encourages all who -CEO : Seikoh Fukuda love piano. Its membership -Board Members: Trustees, Nobuyuki Idei service extends to families Treasurers. Advisor, and tuners this year. Councilors -Groups & Committees <1> Commitment to the performers, composers, researchers, *Administration and Organization Group students, amateurs, families, corporates *Research Group Enrichment of Musical Life *STEP Project Group and institutions, and tuners (added *Competition Group PTNA, established in 1966, com- in 2016). This year, a part of “sup- -Networks: Branches (124), Stations (449) memorates its 50 year anniversary port member”, a group of about 1,400 -Number of Members: 15,882 -Membership Status: Authorized member, this year. The association started with members, was shifted to “family mem- Teacher, Performer, Composer, Researcher, 30 teachers and now consists of over ber”. Their roles are considered to be Family, Student, Corporates and 15,000 members. Nowadays, the new more identical and important recently. Institutions, Tuner, GrandMuse (amateurs) members are increasing at the rate of In fact, it enhances children’s growth in as of Dec.2016 about 100 people per month (15% are many ways as the statistics show. In the in their 10-20s, 65% are in their 30- PTNA Piano Competition, the number The number of 40s, 20% are in their 50s and older). of participants whose parents were sup- 15,000 PTNA members

14,000 The wider the network becomes, the port members has increased twice as

13,000 more individual piano teachers become much as those of non-members in the

12,000 connected and collaborative. Like- last 5 years. It signifies that family sup-

11,000 wise, its commitment to and impact port enhances the continuation of piano

10,000 on the music field has also increased, learning. Nowadays, it further encour-

9,000 which led to an increase and diversity ages their collective participation as

8000 in membership services. At present, family ensembles (in STEP).

2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 membership covers piano teachers, PTNA News Letter 2016

<2> Commitment to Devel- introductory level students” / Zen-on opment of Careers in Music score. Gakufu), Atsuko Fujiwara (“One step Regarding 3) theoretical compre- forward to refined music making with -Teachers’ License Demands hension, the number of examinees Bastien Method” / To-on Kikaku), Ma- was increased 2.5 times as many as sayo Baba (“How to choose music to More Well-Balanced Skills last year. This trend also suggests they raise children’s motivation” / Yamaha Half a century ago, PTNA was would like to have more solid founda- Music Media), etc. a small study group which provided tions both in theory and practice. The 2nd session was titled “What lectures and seminars for piano teach- This program is also for young Should Piano Teachers Consider ers, but had no opportunity to assess people. Yoko Deguchi, a university Now?”, in which 4 PTNA executive themselves. In the 1990s, the Teach- student who majors in politics, is one members talked about the transition ers’ Examination was established to of them. She has not decided her future of the education trend and its future assess a set of teaching skills. It was career yet, but her teacher suggested prospects. The panelists were Katsuko transformed to the “Piano Teachers’ that the license program would help her Kaneko, Mitsuyo Esaki, Mutsuko License Program” a few years ago, in have multiple choices after graduation, Tozawa, and Hideo Sugiura. order to evaluate teaching skills in a either to work in the business industry The 3rd session had Akiko Ebi (pia- more well-balanced, structured man- or to work as a piano teacher. In the nist) as lecturer and Arisa Iida (music ner; 1) teaching demonstration, 2) stage process of studying, she learned how to writer) as interviewer, to discuss what performance, 3) theoretical comprehen- teach kids in an appropriate way, and and how young should learn sion, 4) essay writing. now she has one regular student. piano in order to achieve higher levels Then how do they prepare effi- of artistry. Ebi, who served as a jury ciently for these high goals? This year, -Various Topics in the 49th member in the Chopin Piano Competi- PTNA started introducing teachers who Piano Teachers’ Seminar tion and the Hamamatsu Piano Compe- give professional advice to candidates. tition both in 2015, encouraged young Yukiko Watanabe (representative of On April 24th, the PTNA Piano pianists to have a strong belief and a Hibiya-Dream Station), has already Teachers’ Seminar vol.49 was held in solid attitude in their music making. taught 28 candidates who passed all the Tokyo, having 300 piano teachers in She also showed a video of her teacher, categories and levels of examinations the audience. This event is one of the the late Aldo Ciccolini, performing prerequisite for the license. One of her special programs for commemorating Elger’s “Salut d’Amour” full of affec- students and a successful candidate, the 50th anniversary of PTNA. The 1st tion and humanity. Erimi Tsuchimochi (representative of session consisted of presentations and Chiba-Asumigaoka Station), already poster sessions by 8 piano teachers, -“Dual Career” to Support an experienced teacher and local music sponsored by 8 publishing companies Young Teachers leader, has completed all the license ex- (PTNA corporate members). The lec- ams this year. She asked Ms.Watanabe turers were Yuko Hisamoto (“Excellent A career as a piano teacher is not for advices before taking the advanced instruments created excellent music, built in one day, and not necessarily level exam in order to review her own from Mozart to Liszt” / Gakken), Mami by one way. There are approximately performance and teaching skills, which Imano (“Training techniques and ex- 4,000 graduates per year from music brought her success with the highest pressions through Gillock’s pieces for colleges in Japan, but it is not easy for them to become mentally, technically, and financially independent immedi- ately. Therefore, PTNA proposes “a dual career”, as one of the options. PTNA looks for a few employees who are able to work at the PTNA head- quarter 3 days a week, and 2-3 days as piano teachers. This is expected to help them learn the work ethics, communi- cate with experienced piano teachers, Yuko Hisamoto in the 1st session, and understand what is truly desired panel discussion in the 2nd session, Akiko Ebi (right) in the 3rd session for music education. Above all, they have “lesson review” time every week, , and professor of Tokyo College in which they report some challenges of Music, introduced a musical analysis discovered in lessons, and receive feed- on early works of Beethoven’s sonata, back from their colleagues. with scientist-like precision and detail. Narumi Uegaki has been working MuSIC is the first research center in at the PTNA office for 4 years after Asia that focused on music (location: graduation from the Graduate school Sophia University). Emiko Harimoto, a of a music college. While she serves as committee member of MuSIC, Execu- an operator of STEP advisors’ logistics tive member of PTNA, and professor (1,800 advisors for 550 venues / year), of Tokyo College of Music, expects Akira Wakabayashi, she learns the basic working skills this center to make enormous achieve- 2 participants, and and knowledge. At the same time, she ments, and bring assistance and encour- 2 accompanists teaches 24 students. She will leave the agement to pianists and educators. (Keina Sato & Yuhi office and become independent from Ozaki), at the event “The Concerto Day”. next year. -Learn Piano Concertos with Piano Accompaniment! <3> Commitment to Better- of Composers Inc. (JFC) on March 6th, ment of Learning Process On May 5th, “The Concerto Day - in which 10 composers gave lessons learn with piano accom- of their own pieces to young students. What to learn is important, but paniment!” was held in Tokyo. In the Naoto Omasa, composer and Executive how to learn is more important. PTNA 1st session, pianist Akira Wakabayashi Director of JFC, explains why it is so members including former prize win- gave lectures to two young pianists. important to work with living compos- ners, are now piloting younger genera- Wakabayashi himself was a former ers. “If one would know true messages tions for the betterment of their learn- PTNA prize winner in 1979. Based from living composers themselves, it ing process. on his orchestral experiences more could enrich your music-making in a than 400 times, he advised the pianists way that you would never experience -Scientific Approach to the to breathe deeply, feel the entire at- while studying Classical or Romantic Piano Performance mosphere of the music, and share its pieces”. image, structure, and direction with The 65th PTNA Piano Festival was orchestras. He also pointed out how it -Piano Arrangement Skills held on August 23rd in Tokyo. This helps to have orchestral ideas and per- Unveiled in the Audition festival combined two different fields, spectives when studying solo pieces. music and science. PTNA research In the 2nd session, three prize PTNA held the 2nd Piano Arrange- member, Shinichi Furuya, the chief of winners of the 2015 PTNA Piano ment Audition last March in collabora- the Musical Skill and Injury Center Competition played with an orchestra tion with a music magazine, “Monthly (MuSIC) and associate professor of conducted by Yoichiro Maeda. Sayako Piano”. Emiko Tamaru, the editor-in- Sophia University, gave a lecture titled Shinonaga (the Grand Prize winner), chief, observed the audition and was “Does Music Nurture the Brain?- light who performed Schumann Piano greatly impressed by works which were and shadow of practicing the piano”, Concerto op.54, read the orchestra simplified but never ignored enchant- whereas Eisuke Tsuchida, composer, score carefully in order to bring ideal ing elements, which were arranged in harmonization between the orchestra unexpectedly inspiring ways, etc. The Shinichi Furuya (right) and piano. prize-winning works from each of the Eisuke Tsuchida (below) 3 levels (beginner, intermediate, ad- -Learn Creative Process vanced) are featured on the magazine from Living Composers! or published through the on-demand publishing service “Musse”. This audi- Since the 1960s, PTNA has en- tion steadily captures attention from gaged in appropriate understanding, piano teachers, as this skill is indis- evaluation, and diffusion of Japanese pensable for adjusting technical levels works. PTNA held a special event in for students in need. partnership with the Japan Federation PTNA News Letter 2016

Fit Into Various Purposes & Lifestyles and showed versatile techniques, PTNA Piano Competition & STEP mental strength, and sense of sophis- tication. The silver medal went to Shion Ota(16), and the bronze to Asaka Miyoshi. The rehearsal was open to the finalists of grade E - G (under 22). Another grade for discovering and nurturing young talents is Jr.G (under 16). The two-day-masterclass for the 14 chosen candidates was held in June, inviting Prof. Gabriel Kwok from Hong Kong as the lecturer of the masterclass, and Prof. Shinichiro Kato as the lec- turer of the musical analysis workshop. Moka Takubo got the 1st prize in the final round in August. A Trend Analysis On the in the long run. PTNA Competition 2016 The older they grow, the busier STEP--Highest Record of their lives become, and that urges them Number In the 20 Years PTNA Piano Competition is de- to consider how to maintain a good signed for pianists of all ages, and there balance between academic study and PTNA Piano STEP, the concert- were 44,919 participants this year, the piano. Therefore, the free repertoires style public stage, is a unique system highest number on record since 1977. category for 15-18 (J category in to encourage lifelong learning of piano. As lifestyles vary over time, competi- GrandMuse division, no required reper- It has been conducted in a more free- tion has reviewed its repertoires, levels, toires) got popularity nowadays, which spirited and inviting environment, com- divisions every year, and changed when resulted in the remarkable increase in pared to the competition, and has trans- necessary. Here is the trend analysis the age group of 15. formed the mind-sets of piano teachers, of 2016: In the youngest age group students, amateurs, and even pianists. (up to 6), the number of participants Misora Ozaki Won the The total number of participants has in the duo division has increased by Grand Prize! reached 514,458 since its inauguration 16% as compared to last year. The age in 1997 (as of September 2016). group of 11-12 decreased slightly in The grade superior boasts the Mutsuko Tozawa, the chairperson the solo division, but increased in equal highest standard in the PTNA Piano of the STEP Committee who advo- proportion in the duo division. Teach- Competition. This year, Misora Ozaki cated starting this new system in the ers noticed that young children likely (20) won the Grand Prize. She played 1990s, says that the most innovative enjoy playing together with someone, Prokofiev’s piano concerto No.3 with achievement in the past 20 years was which makes it easier for them to take the Tokyo Symphony Orchestra under to establish STEP Stations across the on a first challenge and keep motivated the baton of Maestro Chikara Iwamura, nation (449 in total). The 1st Station

PTNA Grand Prize 2016 International Jury Members 2016

Misora Ozaki Diane Andersen Born in 1996, Misora began playing the piano Honorary Professor of the Royal Conservatoire Brussels at the age of four. She is a prizewinner of many (Bergium) competitions throughout Japan and abroad, Wolfgang Manz including 5th Prize Ettlingen (Category A, 2008), Gold Professor of Hochschule fuer Musik Nuernberg (Germany) Prize PTNA Jr.G Grade(2010), 4th Prize e-Piano Junior(2011), 3rd Prize Ralf Nattkemper Chopin for Young Pianists Moskow(2012) and 3rd Prize Hamamatsu Professor of Hochschule fuer Musik and Theater Hamburg International Academy Competition (2016). She is currently studying (Germany) at Showa University of Music under Fumiko Eguchi. was formed in 1998 by Haruko Kazusa song “Aete Yokattane” (So Happy to play the full movements and take the (Tokyo), which held the 31st STEP Meet You) written by a pianist, Takashi masterclass from a jury member. The this year. Kazusa has a belief that it Obara. This song expresses the appre- preliminary round was held in October- is not only for their incentive, but ciation for encounters with friends in November, followed by the final round also contributing to society at large. this world, and celebrates the eternal in December. Keiko Hanasaki, the representative of friendships. Obara dedicated it to the Likewise, The Japan Bach Music Sanuki Takamatsu Station which held people in Tohoku who suffered from Concours exclusively requires pieces the 20th STEP this autumn, witnessed the earthquake and tsunami in 2011, by Bach. Naomi Ishii, the chief ad- that teachers have become more self- and also Kumamoto in 2016. This song ministrator, published Bach’s selected motivated and inventive toward music has been sung in several STEP events piano works last year that omit articu- making, and more open-minded toward so far, and will be sung altogether at lation, dynamics, tempo, or any other other teachers, their students, and all the end of the commemoration concert descriptions, so as to encourage stu- the music loving people in the com- next February. dents to do independent-minded learn- munity. ing. The Burgmüller Competition also STEP is also supported by over 700 PTNA Acquires New Affili- solely focuses on the works of Burg- advisors. At more than half of the STEP ated Competitions müller. Yukiko Watanabe, the represen- venues, advisors give 10-15 min “talk tative, suggests the advantage of study- concerts” or “demonstration lessens”in PTNA has expanded the network ing his works in depth, since those are between the sessions. They also evoke of affiliated piano competitions across frequently played in daily lessons. a feeling of enthusiasm of participants Japan since 2010. The types of com- 110 The total number of and audience. petitions are various; some are locally 100 venues of affiliated based, some are internationally ori- 90 competitions ented, and some are single-purpose. 80 Sing Same Song in STEPs 70 for PTNA’s Anniversary One of the more recent joined competi- 60 tions, “Sonata concours”, is designed 50 To commemorate the 50th anni- for participants from 10-20 years old 40 versary of PTNA, it proposes a special who would like to study sonata form 30 20 program to PTNA Stations to sing a exclusively. Finalists will be able to 10

2010 2011 2012 2013 2014 2015 2016

Why “4 Periods” in PTNA Competition? Baroque music thrived before the piano appeared as the mainstream of keyboards, the Classical period is the time The objective of the PTNA Piano Competition has never before printed scores went into circulation, the Roman been changed since 1977; that is, to have well-balanced and Modern/Contemporary periods are distinguished study of 4 musical periods (Baroque, Classical, Roman, by whether there existed recording techniques or Modern/Contemporary). Recent statistics show that not. According to her, those elements imposed a huge more than 80% of teachers, out of 65 respondents, think impact on musicians to the point that their ways of it important to respect the 4 periods and teach them music making were transformed remarkably. Taki says, accordingly. 42% of them try to teach the appropriate “This is just an idea. How to divide the period is an open performance styles, 27% of them help students study question, though, I think that these ‘4’ periods are most the music history and historical backgrounds, and 21% desirable. We would like to use this framework in order to of them let students play the instruments of those days. meet new repertoires and to enhance in-depth learning”. One of the teachers owns a spinet in her lesson studio Atsushi Mitani, pianist, admits that 4 periods are a good in order to study and feel the historical transition of way to understand and compare the varieties of different keyboard instruments. values in music, but also points out that people could become too loyal to a specific way of performance such Then, why the period is divided into 4, not 3, or even as “Baroque music should be played like this”. According 5? Yasumi Taki, one of the jury members of the PTNA to him, performance practice has been changed along competition, poses a question. She analyses that this with time, so it is important to stay open to new ways of division is based on social and cultural background; interpretation and expression all the time. PTNA News Letter 2016

Committee For Society and International Stages of PTNA, News & Achievements served as a chief judge Ryota Yamazaki won at the Thomas and Evon at the 1st Cooper International Competition / Yukine Kuroki won the Balys Dvarionas International Danubia Competition / Yuhi Ozaki played at FACP Talents International Music Competi- conference / at the La Folle Journée au Japon tion in Hungary. This competition was ( left to right) inaugurated this year with solo, duo, and chamber music divisions. In Hun- gary, Akamatsu gives masterclass every spring in partnership with the Academy, and will play with the Danube Symphony Orchestra next spring.

Int’l Masterclasses at Ya- Achievements in Interna- Audition 2015) won the Grand Prize suko Fukuda Foundation tional Competitions! at the Balys Dvarionas International Competition for piano and violin in The Yasuko Fukuda Foundation, We are delighted to announce suc- Vilnius, Lithuania / Mai Koshio (2015 which conducts Scholarship Audition cessful achievements in international silver prize) won 2nd Prize at the every two years for young promising competitions by PTNA former prize Mauro Paolo Monopoli Prize in Barlet- pianists under 18, regularly conducted winners in the Grand Superior. Tomoki ta, / Yurika Kimura (2012 finalist) special masterclasses by overseas pro- Sakata (2011 PTNA Grand Prize) won won Grand Prize at the International fessors. Here is a list of international 1st Prize at the Liszt International Rosario Marciano Piano Competition masterclass and seminars conducted Piano Competition in Budapest, Hun- in Wien, Austria / Vitaly Yushmanov in Tokyo ; Janina Fialkowska (Feb.) / gary / Ryota Yamazaki (2014 Grand (performer member) won 1st Prize at Michel Dalberto (April) / Aquiles Delle Prize) won 1st Prize at the Thomas and the Italy-Japan Singing Competition. Vigne (May) / Louis Lortie, Gabriel Evon Cooper International Competi- Kwok (June) / Piotr Paleczny, Gabor tion in Ohio, U.S. / Tomoyo Umemura Adjudication At Interna- Farkas (July) / Wolfgang Manz (Aug.) (2010 Grand prize) won 2nd Prize at tional Competition / Joaquín Achúcarro, Stanislav Ioude- the Schumann Piano Competition in nitch (Sep.) / Mats Jansson, Lee Kum- Zwickau, Germany / Yukine Kuroki Rintaro Akamatsu, a councilor and Sing (Oct.) /Ronan O’Hora, Pascal (1st in the Yasuko Fukuda Scholarship member of the Performance Research Rogé (Nov.)/ Kevin Kenner (Dec.) -Special Lectures in Tokyo; “Play on Silbermann Piano” by Genzo Take- Dual Career; Teaching Piano & Working in A hisa (Keyboard player) / “How To Read Non-Music Field Scores and Deliver Their Messages?” by Shohei Sekimoto (4th prize at the There are a variety of paths to choose after Chopin International Piano Competi- graduation. Nana Fukuyama was determined to tion in 2005, 1st prize at the Yasuko work for an airline company, seeking a wider view Fukuda Audition in 2003) toward her career and life. She visited many cities across the world as a cabin attendant, and wherever PTNA Member Inaugurated she stayed, she tried to find studios to practice. At the same time, she studied for the PTNA Teachers’ License. After retirement, she began to teach A Festival in Thailand more than 60 students a week and serve for the representative of a Station. This topic catches attention nowadays. Seikoh Fukuda, CEO of PTNA, Atsuko Seta, pianist and professor attended a symposium titled “Piano and Its Future” at the Music of Payap University, launched “The College, and talked about various possibilities including “dual career”. Chiang Mai Ginastera International Music Festival“ in October 2016, in commemoration of the 100th anniver- of nature. Takashi Obara, pianist and including the Hamamatsu International sary of Alberto Ginastera (Due to the radio personality who has been offer- Piano Competition as a chairperson. passing of the King, the festival was ing charity concerts in the Tohoku area PTNA was scheduled to hold the Cho- partly cancelled). This festival holds a damaged by the earthquake and tsu- pin Special Seminar in October, having piano competition at the same time, and nami, replayed a part of those programs her as the special lecturer. those who won prizes in the regional in Tokyo. Several PTNA Grand Prize -Hideo Arashino, composer and final round of PTNA Piano Competi- winners performed duos ; Yuhi Ozaki PTNA executive member, passed tion were exempt from the preliminary and Keina Sato played Rachmaninov’s away at the age of 81. He composed rounds, and were automatically eligible Rhapsody on the theme of Paganini, in versatile styles, taught in several to take the 1st round in Chiang Mai. Ichiro Kaneko and Kyoko Kaise played music colleges, and has served as the Debussy’s “Prelude a l’apres-midi chairperson of the New Composition PTNA Member Received An d’un faune”, Mizuho Nakada and Law Committee of PTNA for many years. Award In France Matthew played excerpts of Messiaen’s He was awarded by MEXT (Ministry “Vingt Regards sur l’enfant Jesus”. In of Education, Culture, Sports, Science Mahoko Nakano was awarded the addition, PTNA chose an extra 11 play- and Technology) for his dedication and “Ligue Universelle du Bien Public” in ers/ groups by a special audition. achievement in music education. France. She gave charity concerts in support of cultural heritages, human Contributions to Support Special Concert for the 50th rights in Tibet and Cambodia, people Kumamoto After Earth- Anniversary of PTNA! injured in natural disasters, medical quakes patients, the elderly, etc. She also en- To celebrate its 50th anniversary, gaged in translating and writing books Due to the PTNA will hold a special concert on about Chopin and his contemporaries unprecedented February 28th, 2017! For this unique in Paris. large scale earth- occasion, a PTNA special orchestra quakes in Kuma- will be formed in cooperation with FACP Japan Branch Estab- moto and Oita in musicians who have displayed great lished April. A PTNA member saw her piano dedication to our activities, and past damaged, one-third of her students PTNA grand prize winners will ap- The annual conference of FACP forced to evacuate, and several concert pear and perform in duos and concerto (Federation for Asian Cultural Promo- halls suffer severe damage. To help pieces. The program includes; Filming tion) was held in Penang, Malaysia in PTNA branch offices in Kumamoto “50 Years of PTNA History” / Duo August. Seikoh Fukuda attended as a repair and restart their activities, PTNA performances; Stravinsky: excerpts FACP governor, and Yuhi Ozaki, the called for contributions of up to 2 mil- from “Le Sacre du Printemps” (Aki PTNA Grand Prize winner in 2007, lion yen. 189 PTNA members have Kuroda & Rintaro Akamatsu), Mozart performed with two Japanese singers. contributed so far, which added up to : ‘Hai già vinta la causa’ (“Le Nozze Prior to this event, the FACP Japan a total of over 4 million yen including di Figaro”) (Jumpei Niimi & Tomoyo branch was established in June aiming a matching gift of 1 million yen by Umemura), Ravel : Rhapsody Espag- at further commitment to the cultural PTNA. Mutsumi Miyamoto, one of the nole No.4 ‘Felia’ (Yuhi Ozaki & Keina exchanges between Asian countries and members of Kumamoto branch, deeply Sato) / Concerto performances; Mozart regions, education of personalities who appreciates this contribution and says : Piano concerto No.26 K.587 (Tomoki engage in arts and art institutions, and that the power of music is really in Sakata), Rachmanoniv : Piano concerto student exchanges. need now to support the mental recov- No.2 (Ryota Yamazaki) , Liszt : Piano ery of children and people there. concerto No.1 (Shohei Sekimoto), per- PTNA Pianists Express The formed by the PTNA Special Orchestra World of Nature in LFJ Obituary for the 50th Anniversary under the baton of Maestro Chikara Iwamura. At “La Folle Journée au Japon” was -Hiroko Nakamura, pianist, passed the end of the concert, all members of held in early May, on the theme of away in July. She had been very active the audience will sing a song together-- “Nature and Music”. A number of in playing around the world, serving “Aete Yokattane” (So Happy to Meet PTNA members interpreted their affec- as an educator, and as a jury member You) by Takashi Obara. tion for and perceptions of the world of major international competitions, PTNA News Letter 2016 Creat the Synergy for 50 years

Use Stage Opportunities in Various Contexts and Styles they understand harmonic progres- become more interrelated. And these sion, musical structure, and appropriate days, PTNA affiliated competitions The PTNA Piano Competition was phrasing / How to keep physical form further provide opportunities for inten- established in 1977, and 20 years later, during performances, etc. Miwa Yugu- sive studies of specific composers and the PTNA Piano STEP was established chi, a pianist, picked up 3 points that musical forms (see page 5). in 1997. These two are different in she thought important. “1. potential terms of policy, repertoires, and evalu- ability, 2. intellectuality, 3. personality. Japanese Creativities in ation systems; the competition is for Regarding intellectuality, it is signifi- Classical Music Framework musical development in a competitive cant to observe if they have their own environment, whereas STEP is for ideas, and express them accordingly. Understanding and appreciation of musical appreciation and continuation The important thing is the natural flow Japanese compositions was one of the of lifelong learning. Therefore, people of music and its image; in other words, initial aims of PTNA, and has been who love to study piano take advantage how to understand the music with realized through the competition and of both opportunities according to their objective perspectives, well-balanced STEP. The PTNA Piano Competition own purposes and lifestyles. sensibility, and clear images.” proposes at least one Japanese pieces On the other hand, STEP has nei- in each grade. So far, over 420 pieces Then how do competition juries ther a point system nor a pass/fail have been selected for the required evaluate performances? This year, evaluation, but encourages the learning repertoires, among which 122 pieces PTNA sent out questionnaires to jury process of participants. Shinji Urakabe, were written for the competition. On members to survey their criteria of a pianist educated in Conservatoire de the other hand, the PTNA Piano STEP judging. The questionnaires, based on Paris, clarifies the difference of each picks up one Japanese song as “A piece a multiple choice system, ask which event; “STEP advisors do not evaluate, of the year”, and is arranged by several element(s) they put priorities on when but help them be aware of their good composers to fit in various levels of listening to performances. Here are points and some issues to be improved. STEP. The song for this year is “Night the top 5 answers (473 responses). 1. It is up to the participants themselves to with a Misty Moon”, composed by Beauty of the sound and sonority / 2. evaluate their own stage experiences”. Teiichi Okano, with lyrics written by Appropriate musical time and rhythm Recently, there is an increasing Tatsuyuki Takano in 1914, which has / 3. Understanding of musical struc- tendency that regular participants of been sung in elementary schools for tures / 4. Balance between melody and the competition use STEP for their over a century. This imaginary song accompaniment / 5. Stylistic under- rehearsals in order to make mental and illustrates the moon vaguely lighting up standing of four periods / additional physical preparation on stage, whereas the rapeseed fields in early spring. In responses (How they identify and play regular participants of STEP try to this way, Japanese compositions have each voice line in counterpoint-formed take part in competition so as to reach been written and performed among pieces in the Baroque period/ Whether higher goals. In this way, these two pianists of all ages and levels.

41st PTNA Piano Competition for Promising Pianists Final Round : 18th-21st August, 2017 Tokyo Grand Prize: 1,000,000 Yen, Concerts in Japan and abroad

Past prize winners and Past Jury further careers Second Preliminary 2013 Ronan O'Hora Schedule 2017 Aimi Kobayashi (Finalist, Chopin, 2015) Boris Petrushansky Round Solo Jerome Rose First Preliminary Kaoru Jitsukawa (3rd, Long-Thibaud, 2015) Dates: August 2 (Wed) + 3 (Thu) Ryota Yamazaki (1st, Thomas & Evon Cooper, 2016) 2014 Aquiles Delle Vigne Rounds Solo Place: Katsushika Symphony Hills Akihiro Sakiya (1st, Jaén, 2014) Gilead Mishory (1) (Tokyo) Ewa Pobłocka First Round Tomoki Sakata(Finalist, Van Cliburn, 2013 /1st, Liszt, 2016) Dates: June 10 (Sat) + 11 (Sun) Soojung Shin Kei Takumi (6th, Hamamatsu, 2012) Deadline: May 8 (Mon) Semi-Final Round Solo 2015 Stanislav Ioudenitch Date: August 18 (Fri) Keina Sato (2nd, HongKong, 2011) Jan Jiracek von Arnim First Round (2) Place: Dai-ichi Seimei Hall (Tokyo) Masataka Goto (1st, Liszt, 2011) Michael Lewin Dates: June 24 (Sat) + 25 (Sun) Mami Hagiwara (1st, Geneva, 2010) 2016 Diane Andersen Deadline: May 22 (Mon) Final Round Concerto Nobuyuki Tsujii (1st, Van Cliburn, 2009) Wolfgang Manz Ralf Nattkemper First Round (3) Date: August 21 (Mon) Hibiki Tamura (1st, Long-Thibaud 2007) Dates: July 5 (Wed) + 6 (Thu) Place: Dai-ichi Seimei Hall (Tokyo) Rina Sudo (5th, Dublin 2006) Jury 2017 Deadline: June 5 (Mon) The Tokyo Philharmonic Orchestra Yuhi Ozaki (1st, Ettlingen 2006) James Anagnoson Kazumasa Watanabe (cond.) Shohei Sekimoto (4th, Chopin 2005) Hortense Cartier-Bresson 2016 Grand Prize Winner Kotaro Fukuma (1st, Cleveland 2003) Henri Sigfridsson Misora Ozaki