International Piano Competition XThirty-FourXth KeyboardV FestivalI Seventeenth Piano Institute

July 24—31, 2016

Competition Jury Peter Collins Danny Driver Faina Lushtak Marianna Prjevalskaya Nelita True Daniel Weilbaecher, chair

Presented by the

P.O. Box 750698 • New Orleans, LA 70175-0698 • masno.org Cara McCool Woolf, Executive Director Daniel Weilbaecher, Artistic Director Hosted by Loyola University College of Music

STEINWAY & SONS the Official Piano of the New Orleans International Piano Competition — 2016 New Orleans International Piano Competition 11 steinway society 7-16_Layout 1 6/30/16 3:55 PM Page 1

S T E I N W A Y The Official Piano of the New Orleans International Piano Competition

From piano competitions for scholarships to providing Special musical and social events throughout the year, The Steinway Society of New Orleans works to further musical appreciation and education. Musical patrons across Louisiana have come together in advancing the musical arts for all ages. As a member of the Steinway Society of New Orleans you join an exceptional circle of friends. For more information call 1-800-STEINWAY, and join with us as we support the Arts and Artists of our communities.

S TEINWAY SOCIE TY New Or leans

1-800-SofTEINWAY Schedule of Events 4 T a

Welcoming Messages 7–16 b e l MASNO History 17

o

MASNO Board of Directors/Competition Committees 18 f C Guest Artists and Recital Programs 20–23 Danny Driver 20–21 N O

Marianna Prjevalskaya 22–23 e t

Competition Prizes 25 n s t Competition Jurors 26–28 Peter Collins 26 Danny Driver 26 Faina Lushtak 27 Marianna Prjevalskaya 27 Nelita True 28 Daniel Weilbaecher 28 New Orleans Piano Institute 30–34 Constance Carroll 31 Kevin Chance 31 Alan Chow 32 Frank Heneghan 32 Shearon Horton 33 Joni Jensen 33 Igor Resnianski 34 Judging Procedures/Requirements 36–37 Semifinalists 38–49 Scott Cuellar 38 Christopher Goodpasture 39 Matthew Graybil 40 Yewon Jeong 41 Saetbyeol Kim 42 Yejin Noh 43 Kyle Orth 44 Liana Paniyeva 45 Alexander Soares 46 Xiaohui Yang 47 Hyun Ji You 48 Re Zhang 49 NOIPC Semifinal Repertoire: A Program Guide 51–61 Become a Part of MASNO! - Charitable Giving 64 MASNO Donors 67–70 MASNO Endowment Fund 71 Acknowledgements 74–77 Past Competition Winners 78 Past Competition Jurors 80–83

— 2016 New Orleans International Piano Competition 3 2016 New Orleans International Piano Competition, Keyboard Festival, & Piano Institute

t s Schedule of Events n SUNDAY, July 24

e v e Guest Artist Recital Marianna Prjevalskaya 4:00 PM

f o

MONDAY, July 25

l e MASTER CLASS Faina Lushtak 10:45 AM

du MASTER CLASS Igor Resnianski 3:00 PM

h e MASTER CLASS Constance Carroll 4:05 PM

c NOIPC Semifinal Round 1, day one 7:00 PM s

TUESDAY, July 26 MASTER CLASS Marianna Prjevalskaya 10:45 AM MASTER CLASS Kevin Chance 3:00 PM MASTER CLASS Shearon Horton 4:05 PM NOIPC Semifinal Round 1, day two 7:00 PM

WEDNESDAY, July 27 MASTER CLASS Nelita True 10:45 AM PRESENTATION Peter Collins 1:15 PM MASTER CLASS Frank Heneghan 3:00 PM MASTER CLASS Alan Chow 4:00 PM NOIPC Semifinal Round 1, day three 7:00 PM

THURSDAY, July 28 MASTER CLASS Danny Driver 10:45 AM PRESENTATION Nelita True 1:15 PM Sponsored by the New Orleans Piano Teachers Association MASTER CLASS Shearon Horton 3:00 PM MASTER CLASS Constance Carroll 4:05 PM NOIPC Semifinal Round 2, day one 7:00 PM

FRIDAY, July 29 NOPI Concerto Competition 9:00 AM Sponsored by Hall Piano Company and the Steinway Society of New Orleans MASTER CLASS Frank Heneghan 3:00 PM MASTER CLASS Alan Chow 4:00 PM NOIPC Semifinal Round 2, day two 7:00 PM

SATURDAY, July 30 NOPI SHOWCASE RECITAL 11:30 AM Guest Artist Recital Danny Driver 7:00 PM

SUNDAY, July 31 NOIPC Final Round 2:00 PM Master classes are made possible by a generous gift from the Gauthier Family Foundation. All Events are held in the Loyola Music and Communications building. Master Classes and Presentations will take place in Room 240. The NOPI Concerto Competition, Showcase Recital, New Orleans International Piano Competition Rounds and Guest Artist Recitals will be held in Roussel Hall.

— 4 masno 7-16 spirio_Layout 1 7/6/16 2:49 PM Page 1

STEINWAY SETS THE STAGE

Warm. Rich. Powerful. Unmistakable. Incomparable sound and beauty are why handcrafted Steinway & Sons pianos are the overwhelming choice of today’s premier concert artists. Share the lasting joy and investment value of a Steinway with your family for generations to come. Visit HallPiano.com for details on all of our inventory, services, teachers and events.

Proud supporter of the Musical Arts Society of New Orleans!

901 David Drive, Metairie • 504.733.TUNE • www.HallPiano.com Congratulations to the 2016 New Orleans International Piano Competition participants.

Astral is a national intensive mentoring program that specializes in developing the early careers of extraordinary classical musicians.

Astral artist Viktor Valkov – Winner of the 2012 New Orleans International Piano Competition www.astralartists.org | 215.735.6999 | Philadelphia, PA

MIGNON FAGET

NEW BEE HIVE RING Supporting the Louisiana Beekeepers Association

HANDCRAFTED IN AMERICA

3801 Magazine Street 504.891.2005 • Lakeside Mall 504.835.2244 • Canal Place 504.524.2973 • mignonfaget.com W el com i n g M essages

— 2016 New Orleans International Piano Competition 7 NewNew OrleansOrleans && thethe WorldWorld

WWNOWWNO is isproud proud to to help help MASNO MASNO bring bring talentedtalented pianists pianists from from around around the the world world to to NewNew Orleans. Orleans.

WWNOWWNO is isNew New Orleans Orleans Public Public Radio, Radio, poweredpowered with with support support from from listeners listeners likelike you–people you–people who who care care about about our our communitycommunity and and our our world, world, who who enjoy enjoy arts arts andand culture, culture, clever clever humor, humor, and and music music from from classicalclassical to to jazz. jazz.

WWNOWWNO New New Orleans Orleans Public Public Radio. Radio. RadioRadio on on the the rise rise for for Southeast Southeast Louisiana. Louisiana.

WWNO 89.9 FM / KTLN 90.5 FM WWNO 89.9 FM / KTLN 90.5 FM CLASSICAL WWNO2 / JAZZ WWNO3 CLASSICAL WWNO2 / JAZZ WWNO3 NEW ORLEANS PUBLIC RADIO • WWNO.ORG NEW ORLEANS PUBLIC RADIO • WWNO.ORG MITCHELL J. LANDRIEU, MAYOR CITY OF NEW ORLEANS W el

Welcome ! com

i n

As Mayor of New Orleans, it is my pleasure to g welcome participants and guests of the 2016 New M Orleans International Piano Competition to the City essages of New Orleans.

Music plays an important role in our culture and brings joy to people of all ages. This competition provides a platform for musicians to showcase their talents, and be rewarded for their hours of hard work and dedication. I wish every musician the best of luck as they perform, and I commend the parents and teachers who have supported them along the way.

While you are here, I hope that you will take some time to relax and explore the City. Dine in our incomparable restaurants; enjoy some of the great music we have to offer, tour historic neighborhoods like the French Quarter and Treme and shop in our antique and specialty shops throughout New Orleans, including the bustling Magazine Street corridor. It is my hope that your stay will be memorable and that you leave with an unforgettable experience.

So on behalf of the entire city, I extend my best wishes for a successful and joyous event. Thank you for choosing New Orleans.

Sincerely,

Mitchell J. Landrieu

Mayor City of New Orleans1300 PERDIDO STREET | SUITE 2E04 | NEW ORLEANS, LOUISIANA | 70112 PHONE 504-658-4900|FAX 504-558-4938

— 2016 New Orleans International Piano Competition 9 LOYOLA UNIVERSITY NEW ORLEANS COLLEGE OF MUSIC AND FINE ARTS IS PLEASED TO HOST THE 26TH NEW ORLEANS INTERNATIONAL PIANO COMPETITION

You make music. We make musicians...and artists, music executives, actors, designers, music therapists...

At Loyola’s College of Music and Fine Arts, you’ll experience: • World-renowned faculty and resident artists • Small class sizes with individual emphasis • Opportunities to perform or exhibit your art • Valuable mentorship from faculty and peers

apply.loyno.edu W el com i n g M Greetings! essages

It is my pleasure once again to welcome the Musical Arts Society’s 26th New Orleans International Piano Competition to Loyola. Few artistic events in New Orleans capture the attention and loyal support like the New Orleans International Piano Competition. Loyola University and the College of Music and Fine Arts are indeed proud to be a part of this very auspicious cultural event.

I would like to take this opportunity to invite you to join us for the 2016–17 Montage Performance Season. The theme of this year’s season is the Creative American Spirit. Our season will feature World-renowned violinist and Resident Artist, Nadja Solerno-Sonnenberg and her unique style of orchestral performance – the conductor-less orchestra. In October, Ellis Marsalis and David Torkanowsky will perform – Marsalis and Torkanowsky Together on our Jazz Underground Series. The Theatre Arts Department will perform Eugene O’Neill’s play Beyond the Horizon, and Marcus Gardley’s The House that will not stand. We will usher in the Christmas Season with our ever-popular Christmas at Loyola.

In the spring, the Theatre Arts department also will perform James Valq and Fred Alley’s The Spitfire Grill. We are very proud to announce that we will co-sponsor the Harlem String Quartet with the New Orleans Friends of Music. Later in the spring, the Loyola Chorale will perform Handel’s Messiah. The spring will draw to a close with a performance by the Boston Brass and our own Loyola Wind Ensemble.

These are only a few of the exciting and top-notch performances scheduled for the 2016–17 Montage celebration of the Creative American Spirit.

Once again, welcome to Loyola and the 26th New Orleans International Piano Competition.

Sincerely,

Anthony DeCuir, PhD Charles E. Braswell Distinguish Professor of Music Therapy Dean of the College of Music and Fine Arts Loyola University New Orleans

— 2016 New Orleans International Piano Competition 11 presents Inon Barnatan Nocturne XIV

Sunday, November 20, 2016 Ritz-Carlton, New Orleans Celebrated for his poetic sensibility, probing intellect, and consummate artistry, Israeli pianist Inon Barnatan currently serves as the first Artist-in-Association of the New York Philharmonic. This unprecedented three-season appointment sees him appear as soloist in subscription concerts, perform across the country with other American orchestras as ambassador for the orchestra. We are most fortunate to welcome Inon Barnatan as our Nocturne XIV Gala artist in his first New Orleans performance. W el com

New Orleans International Piano Competitions i n g M Dear Friends of the Musical Arts Society of New Orleans, essages

Welcome everyone to the 26th New Orleans International Piano Competition. Throughout the week you will hear twelve very talented young pianists competing for the gold. This year’s semifinalists come from North America, Asia and the United Kingdom.

In addition, fulfilling the MASNO educational mission, we reach out to high school and college age piano students for a week of master classes, lectures and performances as part of the Keyboard Festival and New Orleans Piano Institute. These events are open and free to the public.

You are in for a special feast of piano music and will experience with us the best that MASNO offers to our community. Bringing world-class young musical talent to New Orleans is our highest priority. We also bring to New Orleans audiences established and acclaimed talent in the many other musical events we sponsor during the year. Please mark your calendars for upcoming events in MASNO’s 2016–17 season: our annual elegant fundraising gala, Nocturne XIV featuring acclaimed Israeli pianist Inon Barnatan on Sunday, November 20th. Salon concerts during the fall and spring will bring more world-class performers. This year’s Piano Competition winners will return to play three piano concertos with the Louisiana Philharmonic Orchestra in January’s Concerto Showcase. I hope you will visit our website, www.masno. org, for all the details of these upcoming events and will join us at many of them.

I want to thank you, all of sponsors and individual supporters, for making it possible for this exceptional organization to serve our community for over three decades. We owe profound gratitude to Dr. Daniel Weilbaecher, the Artistic Director for his leadership over the years. I also thank Cara McCool Woolf, our dedicated Executive Director. Thanks also to the leaders of the Piano Institute and the Board of Directors whom I have had the privilege to serve with during my time as President. Thanks also go to the judges, the Institute faculty members, all our volunteers who provide housing and dinners, and assistance in many other ways. As always, we are grateful to Hall Piano, the Steinway Society of New Orleans, and Loyola University College of Music and Fine Arts, for their longstanding support. Welcome and enjoy the week!

Sincerely,

James A.H. Farrow, MD President, Musical Arts Society of New Orleans

P.O. Box 750698 • New Orleans, LA 70175-0698 • Phone (504) 899-4826 • masno.org — 2016 New Orleans International Piano Competition 13 Recent Winners - First Place, Choongang Competition Korea A Passion for Pianos - First Place, International Chopin Competition , Poland Visit… - First Place, National Chopin Competition Play One… - International Piano Competition Hamamatsu, Japan

A QR Introduction to The Piano

@ LAFARGUE PIANOS

Pianos, Stringed Instruments, Music Lessons, Sheet Music, Service and Repair, and Musical Gifts & Accessories

Vintage restored piano brands including Steinway, Baldwin, Mason & Hamlin, and more Pianos presented and restored by the craftsmen who build and service them. 1828 Veterans Blvd. • Metairie (one block from Bonnabel) 504.831.3008 www.lafarguepianos.com W el com

New Orleans International Piano Competitions i n g Welcome to the 2016 New Orleans International Piano Competition and M

Keyboard Festival! I am delighted that you have joined us for what promises to be essages a most magnificent week of piano playing and music making! Being in its 26th year, the New Orleans International Piano Competition brought in a record number of 186 applicants this past spring representing 28 different countries! With the level of playing being extremely high, it was no easy task for the preliminary jury to choose the Top 12 Semifinalists who you will hear this week! This biennial event has really put New Orleans on the map in the world of classical piano and the musical arts, and has played an integral role in the future careers and livelihoods of many top artists. What a treat it is for us to welcome these emerging artists to our city and present these kinds of opportunities not only for them, but also for all of us in New Orleans! Concurrently with the NOIPC runs the annual New Orleans Piano Institute (NOPI) and Keyboard Festival. We are so pleased this year to welcome guest artists Marianna Prjevalskaya of Spain and Danny Driver of the UK as part of our Keyboard Festival as well as the internationally esteemed NOIPC Jury and NOPI Faculty. I hope you will join us for the guest artist recitals as well as the wonderful master classes and student performances presented by NOPI. I would like to extend my personal thanks to the NOPI Directors Alan Chow, Igor Resnianski and Joni Jensen for their top work in organizing this internationally regarded institute for young pianists. I also want to thank Hall Piano Company, the Steinway Society of New Orleans, the New Orleans Jazz and Heritage Foundation, and the Gauthier Family Foundation for their partnership with and sponsorship of NOPI. I am also thrilled to mention a wonderful upcoming 2016–2017 MASNO Season full of fabulous concerts and events! These include our annual celebrated gala NOCTURNE, some really special Salon Concerts, orchestral performances of 2014 NOIPC Gold Medalist Marianna Prjevalskaya, Concerto Showcase IX with our 2016 NOIPC Medalists and the Louisiana Philharmonic Orchestra, the 2017 New Orleans Piano Institute and Keyboard Festival and MORE! Please see our Season Highlights page in the program book for more details and mark your calendars! As wonderful as all of this is, it certainly would not be possible without the dedicated work of so many. I want to convey my sincerest thanks and gratitude to our Artistic Director and my dear friend Daniel Weilbaecher. Daniel’s excellent vision and outstanding leadership of MASNO and the NOIPC for many years has established us Pianos, Stringed Instruments, Music Lessons, Sheet Music, with a firm foundation on which I could not be more honored to continue to build. I also want to thank our board President Jim Farrow and all of the members of the MASNO Board of Directors for their support, enthusiasm, and Service and Repair, and Musical Gifts & Accessories participation throughout the year. We surely could not operate without the incredibly generous support from our Partners and Sponsors. Huge thanks to Hall Piano and the Steinway Society of New Orleans, Loyola University and WWNO 89.9 for their sustaining sponsorships as well as to our many other event sponsors. Thank you to the Louisiana Philharmonic Orchestra, the Baton Rouge Symphony Orchestra, the Acadiana Symphony Orchestra, Astral Artists, Richard Goula, Nigel Rogers and Wigmore Hall in for their NOIPC prize collaborations. To all of the NOIPC dinner and Semifinalists Hosts, thank you for playing such a benevolent role. Thank you to all the staff and volunteers of the NOIPC who have been invaluable and worked so hard to make this week run smoothly. And to all of YOU, our donors and friends, we would not be here without you! Not only are we thankful for your generosity, but also for your presence and support by being with us! So please sit back and enjoy this wonderful week! Thank you for being a part of the New Orleans International Piano Competition, and thank you for being a part of our MASNO Family!

All the very best!

Cara McCool Woolf, Executive Director Musical Arts Society of New Orleans

P.O. Box 750698 • New Orleans, LA 70175-0698 • Phone (504) 899-4826 • masno.org • [email protected] — 2016 New Orleans International Piano Competition 15 essages New Orleans International Piano Competitions M g n

i The Musical Arts Society of New Orleans is proud to present the 2016 New Orleans International Piano Competition & th

com Keyboard Festival/Piano Institute. As MASNO celebrates its 26

el NOIPC, I would like to extend a warm welcome to members

W of the audience, competition jurors and contestants, and to the faculty and students of the Piano Institute. I am pleased to announce the return of Concerto Showcase on January 8, 2017. This exciting concert will see the return to Roussel Hall of the three finalists of this year’s competition in performances of three piano concertos with the Louisiana Philharmonic Orchestra under the direction of Carlos Miguel Prieto. I would like to take this opportunity to recognize Cara McCool Woolf for her outstanding work as MASNO’s Executive Director. Cara, an accomplished pianist and teacher, has been a dedicated friend to this organization and a MASNO Board Member for many years. Her ebullient personality and boundless energy have contributed greatly to improving MASNO’s operations. We can all look forward to Cara’s ongoing role in MASNO’s future growth. The MASNO Board of Directors is especially grateful to Dr. Anthony Decuir, Dean of the Loyola College of Music and Fine Arts, for making Loyola’s excellent facilities available to us and to Clinton Keene, the college’s interim Technical Manager/Director for facilitating the logistical challenges of producing an event of this scope. I would also like to congratulate Alan Chow, Igor Resnianski, and Joni Jensen for their successful reign as co-chairs of the New Orleans Piano Institute. MASNO also remains indebted to Shearon Horton for her outstanding efforts over the years in establishing NOPI as the widely respected educational component to MASNO’s competition week’s events that it has become. I am delighted to announce MASNO’s continued partnership with Steinway & Sons of New York. This partnership, brokered by Steve Kinchen and Johnny Wright of Hall Piano, the local Steinway franchise, is one in which I take great pride. I am particularly grateful to Jennifer Gordon and Tommy Edds of Steinway for making this alliance possible. Please mark November 20, 2016 on your calendars when MASNO will present Nocturne XIV at the Ritz-Carlton Hotel featuring the acclaimed Israeli pianist Inon Barnatan. In the meantime, sit back and enjoy this week dedicated to celebrating the piano and its music!

Daniel Weilbaecher MASNO Artistic Director

— P.O. Box 750698 • New Orleans, LA 70175-0698 • Phone (504) 899-4826 • masno.org • [email protected] 16 MASNO History Originally founded as the New Orleans Institute for the Performing Arts (NOIPA) in 1980 by Melvin M Alford and Julianne Nice, the organization aimed to provide students and teachers in the performing arts AS with master classes and workshops, as well as to expose them to performances by artists in the mainstream of professional activity. NO Since its beginning, MASNO has provided both artists and students an opportunity to perform for

appreciative audiences and has assisted students in developing skills necessary to build artistic discipline H within a comfortable and supportive environment. MASNO has continued to present performances by ist

emerging as well as established artists and to encourage the community to embrace the arts, particularly o . In addition to individual events during the year, a weeklong festival featuring master classes, ry lectures, and performances has been presented annually since 1981. In 1989, Madelyn Trible and Raymond Gitz founded the New Orleans International Piano Competition (NOIPC) as an augmentation to the summer keyboard festival. Since that first year, the competition has continued to expand in scope, attracting competitors and audiences from around the globe, and is currently regarded as one of the finest showcases of pianistic talent. In the fall of 1994, Melvin Alford stepped down as NOIPA’s Executive/Artistic Director, a position he had held since the organization’s inception in 1980. The NOIPA Board asked Daniel Weilbaecher to replace Melvin in this position. At that time, NOIPA was renamed the Musical Arts Society of New Orleans. After 20 years as both Executive and Artistic Director of MASNO, Daniel resigned his position as Executive Director while continuing to serve as MASNO’s Artistic Director. In the fall of 2014, Cara McCool was named MASNO’s Executive Director. One of Cara’s goals was to expand MASNO’s presence in the New Orleans musical community extending beyond the summer centered events. To this end, MASNO is proud to present a full season of concerts and events for 2016–2017 and looks forward to an ever-growing schedule of wonderful musical opportunities for New Orleans and the surrounding area. In 1999, the New Orleans Piano Institute (NOPI) was begun as the educational component of MASNO’s summer event. NOPI invites talented local, national and international college and high school students to New Orleans for a week of intensive study and performances including individual lessons and master classes with the distinguished NOPI faculty, competition opportunities, and a solo appearance on the Showcase Recital. All of this is within the inspirational context of the biennial New Orleans International Piano Competition and the annual Keyboard Festival. Shearon Horton and Raymond Gitz were NOPI’s first directors. In 2010, Joni Jensen replaced Raymond as NOPI Local Director. Upon Shearon’s retirement as NOPI Director in 2013, Alan Chow and Igor Resnianski accepted the Co-Director positions. This annual event’s format has been enhanced on the years that the NOIPC does not take place to include a solo competition for the institute students. In addition, every year Hall Piano Company and the Steinway Society of New Orleans in collaboration with the New Orleans Piano Institute presents the NOPI Concerto Competition of which the winner receives a cash prize as well as the opportunity to perform with the New Orleans Civic Symphony. In the spring of 2004, MASNO presented its first Concerto Showcase. This exciting event features the return of the three finalists of the preceding summer’s competition to the stage of Roussel Hall to perform three concertos with the Louisiana Philharmonic Orchestra. Since only solo repertoire is heard during the competition, Concerto Showcase was envisioned as an extension of the previous summer’s NOIPC allowing our top three prizewinners to be heard in concert with the LPO. From the strategic viewpoint provided by the celebration of MASNO’s twentieth annual competition, a new path was established for the evolution of MASNO’s premiere offering. In 2009, NOIPC, which had always been open to pianists without age restriction, began a biennial alternation with the New Orleans international Piano Competition for Young Artists, open to pianists between 14 and 18 years of age. In 2012, the MASNO Board of Directors decided to end the international competition for young artists and to present NOIPC ever other year. In 2014, NOIPC celebrated its 25th anniversary with an exceptional competition, and we look forward to the 26th NOIPC taking place July 24–31, 2016. As MASNO celebrates its 36th anniversary in 2016, it proudly continues its efforts to make New Orleans a vital and vibrant center for the musical arts: providing opportunities to hear some of the world’s best musical talents; developing enthusiastic audiences; nurturing the development of talent; and championing music education through innovative programming and signature events such as the New Orleans International Piano Competition, the New Orleans Piano Institute and Keyboard Festival, Concerto Showcase in collaboration with the Louisiana Philharmonic Orchestra, Nocturne, Salon Concerts, and MASNO Artist Master Classes and Lecture Performances at area schools. — 2016 New Orleans International Piano Competition 17 Recitals rs

o Board of Directors t

c Executive Director Cara McCool Woolf

ire Artistic Director Daniel Weilbaecher

D President James A.H. Farrow f

o President-Elect Anne B. Gauthier

d Immediate Past-President Emel Songu Mize

ar Treasurer Christopher B. Merritt o ecretary Elissa Bluth B S Members Charles Bohn Richard Goula Marie Breaux Fred Kasten Andrea Brown Joni Jensen Courtney Bryan Susan Lafaye Louise Bush Keith Lescale Mary Sue Chambers, Emeritus Delfeayo Marsalis Alan Chow Ellis Marsalis Dee Clubb Emily McWilliams Bruce Crutcher Julianne Nice Kathan Dearman Igor Resnianski Anthony Decuir S. Talmadge Singer Arthur Dickerson Madelyn and Bruce Trible - Emeritus Jep Epstein Competition Committee Box Office/Ticket Sales Beth McCool, Cara McCool Woolf and Vance Woolf Boutique Anne B. Gauthier, Susan Lafaye and Lou Bush Competition Committee Chair Daniel Weilbaecher and Cara McCool Woolf Competition Coordinators Daniel Weilbaecher, Cara McCool Woolf Competition Hospitality Coordinators Elissa Bluth and Cara McCool Woolf Master Classes and Presentations Alan Chow, Igor Resnianski, and Joni Jensen Marketing Dee Clubb, Judy Eckhardt, Fred Kasten, Emily McWilliams and Cara McCool Woolf Piano Technician Matt McWilliams Program Design Noya Design, Inc. Preliminary/Recorded Round Coordinator Cara McCool Woolf Adjudicators Raymond Gitz, Frank Heneghan, Brian Hsu Lina Morita, Daniel Weilbaecher Program Book Contributor Raymond Gitz, Daniel Weilbaecher, and Cara McCool Woolf Editing Raymond Gitz, Glenn Noya, Daniel Weilbaecher, Cara McCool Woolf and Vance Woolf Stage and Facility Manager Clinton Keene

— 18 Support MASNO by visiting our Boutique! Program books, Dooky Artist CDs, mugs, Chase’s magnets, notepads, umbrellas, flags, raffle tickets for a night with Steinway’s new Spirio repeat Music Lovers dine performance piano with us at Dooky’s! and more. • located on the 2nd floor lobby of Thank you, Roussel Hall Leah and Dooky Chase • open before and during intermission Call 504.821.0535 for reservations of the competition rounds

PRESENTING

A co-presentation with

ENJOY FINE CHAMBER MUSIC WITH FRIENDS.

— 2016 New Orleans International Piano Competition 19 20 — G u e s t A r t i s t Guest Artist Danny Driver Radio 2 Young Musician ofthe Year. He wasrecently appointedProfessor ofPiano attheRoyal Collegeof Music. student hewonnumerous awards includingtheRoyal Over-Seas LeagueKeyboard CompetitionandthetitleofBBC Zaritskaya attheRoyal CollegeofMusic inLondon,andcompletedhisstudiesprivately withMaria Curcio. Asa works by AmyBeach, Dorothy Howell andCécileChaminade,isdueforrelease inMarch 2017. aswell asonrecord.in concert Asecond contributiontoHyperion’s epicRomantic Piano Series, Concerto featuring neglected British composerssuch , andErik Chisholm,allofwhomhehaschampioned discography of works by C P E Bach, Handel, Schumann, and Balakirev, and also highly praised interpretations of ofMortonperformance Feldman’s Patterns inaChromatic Field atKing’s Place andAdès’ Lieux Retrouvés. Deutschland RadioandFrance. Driver’s with‘cellist long-standingpartnership Oliver Coatesrecently included UK, andItaly earlierthisyear, andwithbaritoneChristianImmler, withwhomhehasgiven broadcast recitals for Modernt. He collaboratesregularly withviolinistChloëHanslip, extensively inIreland, withwhom he performed the Festival, Birdfoot Music Festival, Eilat Chamber Music Festival, Festival, Cayman Arts and Stockholm’s Festival O/ Piano ÉtudesintheUSA,includingNew Orleans inFebruary 2017. and the Museum of Fine in Arts (Canada), the Musée de l’Orangerie in Paris, of Ligeti’s and performances Driver’s 2016–17 schedule will include the Southbank Centre’s International Piano Series (London), Music Toronto Schumann), inGermany, Israel, Sweden, theUSA,China,andatmanymajorvenues intheUK.Highlights of at Wigmore Hall, mostrecently inaBBCRadio3live broadcast recital (Handel, Adès, Beethoven, CPEBach, Tovey; withAlexanderShelley during2016–17hewillperform andMario Venzago. Danny Driver trainedwithAlexander Kelly andPiers LanewhilststudyingatCambridgeUniversity, withIrina Driver’s relationship fruitful with London-bas ed Hyperion Records has spawned a thoroughly acclaimed As achambermusicianDanny Driver hasappeared attheAustralian ChamberMusic Festival, Bard Music Solo recitals feature prominently inDanny Driver’s scheduleofengagements;hehasappeared regularly Farnes, Martyn Brabbins, Sir James Macmillan, andBramwell whom Driver include Andrew Litton, Richard has performed under CharlesDutoit. Other distinguishedconductorswith Proms, mostrecently withtheRoyal Philharmonic Orchestra Louisiana Philharmonic. He hasappeared twiceattheBBC Orchestra ofOpera North, Hong Kong Pro andthe Arte, American Symphony Orchestra, RTÉ Orchestra, Concert Symphony Orchestra, BournemouthSymphony Orchestra, Orchestra, Royal Philharmonic Orchestra, BBCScottish the Orchestra oftheAgeEnlightenment, Minnesota Suites. the Year 2014 Award forhisrecording of Handel’s Eight Great most recently, LimelightMagazine’s Instrumental Recording of Award nominations, aNational Public Radio Top 10Award and, musicianship’ [Gramophone], hehasearnedtwoGramophone and precise’ Guardian] [The and of ‘impeccable technique and and versatile pianists.Described variously as‘bold,exuberant has cementedhisreputation asoneofBritain’s mostrespected recordings have generatedover andperformances recent years Danny Driver’s recent appearanceshave included concerto The internationalcriticalacclaim that Danny Driver’s — R e c i t a l 21 2016 New Orleans International Piano Competition Suite no 5 in E major Suite no 5 in E version) Symphonic Studies Op 13 (1852 Polka in F-sharp minor Op 39, nos 1, 2, 3 Études-Tableaux Poème Op 32 no 1 in F-sharp major Sonata no 7 in B-flat Op 83 INTERMISSION Drs. Emel and Ranney Mize Mr. Driver’s performance is made possible by a generous gift from Mr. George Frideric Saturday, July 30, 2016 Saturday, PM 7:00 1675–1756 1810–1856 1837–1910 Sergei Rachmaninov 1873–1943 1872–1915 1891–1953 Marianna Prjevalskaya r t i s t

A Guest Artist

e s t Praised by critics as “a grand pianist” (Il Cittadino, Italy) u and a “master of piano” (Music Magazine ‘Auditorium’, Korea),

G Marianna Prjevalskaya captivates audiences with emotional intensity, maturity, richness and beauty of tone. Since her solo debut with orchestra at age nine, Ms. Prjevalskaya has appeared with major orchestras such as the Cincinnati Symphony Orchestra, Louisiana Philharmonic Orchestra, National Lithuanian Symphony Orchestra, Rzeszow Philharmonic Orchestra, Korean Symphony Orchestra, Granada Symphony Orchestra, Galicia Symphony Orchestra and Sendai Philharmonic Orchestra, and collaborated with renowned conductors such as Ion Marin, Roberto Treviño, Carlos Prieto, David Danzmayr, Stamatia Karampini, Tadeusz Wojciechowski. As a recitalist, Marianna performed in the US, , and Japan at prestigious venues such as the Mozarteum in , Accademia Santa Cecilia in Rome, Teatro Goldoni of Florence, Minato Mirai Hall in Yokohama, Auditorio Manuel de Falla in Granada, Palau de la Música in , Orpheum Theatre in New Orleans, Weill Hall and Steinway Hall in New York. Her debut at Carnegie´s Weill Hall with Rachmaninov´s Variations on a Theme by Chopin and the entire Book II of Préludes by Debussy was praised by musical critic Frank Daykin as “one of the major piano recitals of the season” and “a stunning display of mature pianism”. He also complimented “her sensitivity to harmonic color and her natural glorious romantic rubato.” (New York Concert Review, New York). Praised for her refined tone as well as depth of musicianship continued echoing in subsequent reviews: Spanish critic Santi Riu complimented Marianna as a “virtuoso, impetuous, passionate and mature pianist of great musicality” and described her “rich sound range full of sensitivity that enabled her to create contrasting and attractive ambiances, as well as colors, shades, lights and shadows.” (Diario Segre, Spain), and Tim Smith was “consistently impressed by Prjevalskaya´s beauty of expression” and asserts that she is a “pianist who has moved well beyond the hone-the- technique phase and can concentrate entirely on making music” (The Baltimore Sun, Baltimore). Marianna´s first victory at a piano competition was at the age of fourteen at Marisa Montiel Piano Competition in Linares, a southern town in Spain, where in addition to the first prize, she was awarded a special prize for musicality. Since then her performances have won her top prizes at over 20 competitions, including: the 2014 New Orleans International Piano Competition, the 2013 World Piano Competition in Cincinnati, the 2013 European Piano Competition in Normandy, the 2012 Panama International Piano Competition, and the 2011 Jaén International Piano Competition in Spain, the 2007 Paderewski International Piano Competition, among many others. Marianna also appeared at important festivals in Europe and in the US, such as Norwich and Norfolk Festival in the UK, Salzburg Festival, Festival Russo in Rome, Bologna Festival, and Bearcat Piano Festival in Cincinnati. Her choice of repertoire goes through a deep internal gestation: avoiding merely flashy works, Marianna favors programs that show the depths of musical expression. Her performances were broadcasted by the Lithuanian, Polish Television, and Spanish Television and Radio2 Clásica. Her first CD album was released by Naxos in 2012 and features works by Scarlatti, Haydn, Schumann and Zárate, and her next album dedicated to Rachmaninov will be released in July 2016 by Fanfare Cincinnati. Born to a musical family, Marianna benefited from early lessons with her mother fom age six, her principal mentor for more than eleven years. She continued her studies at the in London with Irina Zaritskaya and Kevin Kenner. In 2003 Marianna moved to the United States where she joined the Toradze Piano Studio at Indiana University. She also holds an Artist Diploma and Master of Music from Yale School of Music, where she studied with Boris Berman. Currently Marianna is a doctorate candidate at Peabody Conservatory of Music where she studied with Boris Slutsky. — 22 R e c l a t i Sunday, July 24, 2016 4:00 PM

Johannes Brahms Three Intermezzi Op.117 1833–1897 Andante moderate Andante non troppo e con molto espressione Andante con moto

Frédéric Chopin Four Mazurkas Op.24 1810–1849

Frédéric Chopin Fantasy Op.49 in F minor 1810–1849

INTERMISSION

Sergei Rachmaninov Variations on a Theme by Chopin Op.22 1873–1943

— 2016 New Orleans International Piano Competition 23 — 24 C omp 2016 etiti New Orleans International Piano Competition on

Cash and Performance Prizes P rizes First Prize: $15,000 - awarded by Dr. Keith Lescale - Recital at London’s Wigmore Hall - Concerto performances with the Louisiana Philharmonic Orchestra, Baton Rouge Symphony Orchestra, Acadiana Symphony Orchestra - Concerto Showcase featuring the 2016 NOIPC Finalists and the Louisiana Philharmonic Orchestra - Solo recital on Loyola University’s Montage Series - An exclusive one-on-one career development consultation with executive leadership at Astral Artists

Second Prize: $10,000 - Concerto Showcase featuring the 2016 NOIPC Finalists and the Louisiana Philharmonic Orchestra - Solo recital on Loyola University’s Montage Series

Third Prize: $5,000 - awarded by Robin and Bruce Crutcher - Concerto Showcase featuring the 2016 NOIPC Finalists and the Louisiana Philharmonic Orchestra

Semifinalist Prizes (9): $750 - One prize awarded by Julianne Nice and Herb Larson in memory of Debbie Nice

The Clarence “Pete” Wolbrette Jury Discretionary Award: $1000

Clarence “Pete” Wolbrette June 16, 1953 – May 5, 2016 The Musical Arts Society of New Orleans, together with the rest of the New Orleans musical community, recently lost a dear and faithful friend, fellow musician, and our long time recording engineer, Pete Wolbrette. In memory of Pete, MASNO will present the Clarence “Pete” Wolbrette Jury Discretionary Award to be given to a Semifinalist of the jury’s choosing who does not advance to the final round.

— 2016 New Orleans International Piano Competition 25 Peter Collins Danny Driver Peter Collins is Professor of Music– (see page 24) rs Piano and Coordinator of the Keyboard o

r Area at Missouri State University. A native

u of New Orleans, he began his formal piano

J studies with Melvin Alford. He received his Bachelor of Music and Master of Music on degrees from the Peabody Conservatory under the instruction of Lillian Freundlich. etiti After winning awards in several piano competitions (the Washington International

omp Piano Competition, the University of

C Maryland International Piano Competition, the American Chopin Competition, the American Beethoven Foundation) he received his Doctor of Musical Arts degree from The University of Michigan as a student of Louis Peter Collins Nagel. He has served on the faculties of the Interlochen Arts Academy, the Missouri Fine Arts Academy and the Bösendorfer Presentation International Piano Academy in Vienna. Jazz Repertoire for Peter Collins has performed a wide Pianists of All Levels variety of repertoire ranging from the complete piano sonatas of Beethoven and Mozart Wednesday July 27, to recently composed works. At Missouri 1:15 PM State University, he originated the Missouri Chamber Players and toured Scandinavia three times with members of the ensemble in concerts of music by American composers. His important European appearances also include solo performances at the Chopin Academy of Music (Warsaw) and the Liszt Academy of Music (Budapest). As a concerto soloist he has collaborated with the Polish State Orchestra (Jelenia Góra), the Florida State Orchestra, the New Orleans Symphony, the Louisiana Philharmonic Orchestra, the Springfield Symphony and the Chamber Orchestra of the Ozarks. Peter Collins has completed nine compact-disc recording projects (for the Albany, MSR and Centaur labels) featuring works of living American composers, music by women composers, original arrangements and transcriptions and piano music of nineteenth-century New Orleans. Danny Driver

Master Class Thursday July 28, 10:45 AM

— 26 Faina Lushtak Marianna Prjevalskaya Faina Lushtak was born and raised in the Soviet (see page 26) C Union. A child prodigy, she began her piano and omp composition studies at the age of six. She graduated from the Stolyarsky Special Music School for Musically etiti Gifted Children. At the Tchaikovsky Conservatory

in Moscow, where she studied under the renowned on teachers Eleonora Levinson, Genrietta Mirvis and

Yakov Zak, she earned degrees in piano performance J and composition. She became a faculty member at the u r

Conservatory and performed throughout the Soviet o

Union. In 1978, she immigrated to the United States. rs Her performances have earned widespread critical acclaim. Reviewing her debut at Alice Tully Hall, The New York Times, wrote: “The qualities she prizes most are clarity of line and transparency of texture. Incisive clarity remained her hallmark.” Fanfare Magazine described her “vibrant, dynamic Faina Lushtak readings, delicate expressiveness and a dazzling virtuosity.” The Times-Picayune wrote that “her Master Class technique is sure and ample. Her tone varies from a Monday July 25, beautiful, singing lyricism to a more matter-of-fact 10:45 AM solidity.” And The Ledger in Lakeland, Fla., described her playing as “very brilliant, very romantic, very colorful and stylish.” Ms. Lushtak has performed both as a solo recitalist and as guest artist with numerous symphony orchestras throughout the United States and Europe, under distinguished conductors such as William Henry Curry, Maxim Shostakovich, Klaus Peter Seibel and Alfred Savia. Ms. Lushtak has made frequent guest artist appearances and conducted master classes at university campuses, including at Emory University, the San Francisco Conservatory of Music and Texas Christian University. Ms. Lushtak has also performed as guest artist at festivals, including the Gina Bachauer International Piano Competition in Salt Lake City and the Pro Mozart Society in Atlanta. She has been a judge at the New Orleans International Piano Competition, the Wideman International Piano Competition, the Gina Bachauer International Junior Piano Competition, the Eastman Young Artists International Piano Competition, the Cleveland International Piano Competition and the Hilton Head International Piano Competition. Ms. Lushtak is the Downman Professor of Music at the Newcomb Music Department of Tulane University, where she heads the piano division. She Marianna Prjevalskaya is also music director of Tulane’s Concert Piano Series. Ms. Lushtak is on the faculty of the Orfeo International Music Festival in Italy. She is a Steinway Master Class Artist. This is her fourth year as the Director of the Tuesday July 26, Brandywine International Masterclasses at West 10:45 AM Chester University in Pennsylvania Ms. Lushtak’s performance of works by Rachmaninov and Scriabin has been recorded on the Centaur label. Centaur also released a subsequent recording of Chopin Mazurkas. Just recently, Ms. Lushtak released a new recording, “La poésie de la vie”. Ms. Lushtak’s compositions for piano, chamber music groups, voice and violin have been published in the U.S., the United Kingdom and the former Soviet Union. — 2016 New Orleans International Piano Competition 27 Nelita True Daniel Weilbaecher Since Nelita True made her debut at age seventeen Daniel Weilbaecher received the rs with the Chicago Symphony in Orchestra Hall and her New Bachelor of Music and Masters of Music o

r York debut with the Juilliard Orchestra in Avery Fisher Hall, degrees from the University of Louisiana

u her career has taken her to the major cities of Western and at Lafayette, the Doctor of Musical Arts

J Eastern Europe, Indonesia, Korea, Japan, Mexico, Iceland, degree from Louisiana State University, New Zealand, Brazil, Australia, Canada, India, and to and the Recital Diploma from the Royal on Hong Kong and Singapore, as well as to all fifty states in Academy of Music in London. He serves America. She was a visiting professor at the St. Petersburg on the faculty of Newcomb’s Department etiti Conservatory in , performing and conducting master of Music at Tulane University where, in classes and has been in the People’s Republic of China more addition to teaching piano and theory, he

omp than 20 times for recitals and master classes. She has played organizes the department’s weekly Music at

C recitals on French national television and on Australian Midday concert series. national radio. Her most recent recital in Boston was cited Daniel has served on the faculties as one of the “Ten Best Classical Performances of the Year.” of Louisiana State University and Loyola This past fall, she made her debut in India. University, and has held the positions Ms. True has been a jury member for the China of president of the Metropolitan Music Nelita True International Piano Competition (Beijing), the Queen Sonja Teachers Association of New Orleans and International Piano Competition (), the National piano chairman of the Music Teachers National Competition in Brazil, the Horowitz Competition (Kiev), Association’s Yamaha Competition for Master Class the Concours de Musique in Canada, the PTNA (Tokyo), Louisiana. In 1994, Daniel was named Wednesday July 27, the Lev Vlassenko Competition in Australia, and the Gina Executive/Artistic Director of the Musical 10:45 AM Bachauer, New Orleans, Hilton Head, and William Kapell Arts Society of New Orleans, and has International Piano Competitions in the U.S. overseen the growth of the New Orleans A Phi Beta Kappa graduate of the University of International Piano Competition and Presentation Michigan as a student of Helen Titus, Ms. True went on to Keyboard Festival. During his tenure Juilliard to study with Sascha Gorodnitzki, and then earned he established the New Orleans Piano Reliable Memory the DMA with Leon Fleisher at the Peabody Conservatory. Institute. In 2014, Weilbaecher received Thursday July 28, In Paris, she studied with Nadia Boulanger on a Fulbright Gambit newspaper’s Tribute to the Classical 1:15 PM grant. Formerly Distinguished Professor at the University Arts Lifetime Achievement Award. of Maryland, Ms. True is currently Professor of Piano at A native New Orleanian, Daniel has the Eastman School of Music. Many of her students have performed solo and chamber programs won top prizes at national and international competitions, throughout Louisiana as well as in Texas, including an unprecedented five First Prizes in national Mississippi, Alabama, New Hampshire, MTNA competitions. Ms. True was awarded the Certificate Massachusetts, and England. He has of Merit by the Alumni Association of the University of studied or coached with, among others, Michigan, the Eisenhart Award for Excellence in Teaching Martin Canin, Constance Carroll, Edgar at Eastman, the 2002 Achievement Award from the Music Davis, James Dick, Gordon Green, Daniel Teachers’ National Association, the Lifetime Achievement Sher, Madelyn Trible, and Sylvia Zaremba. Award in Graduate Education from the University of As Chair of the New Orleans Rochester, and a Lifetime Achievement Award from the International Piano Competition Jury, National Keyboard Pedagogy Conference (USA). Daniel acts as moderator for the jury and S and H Productions of Kansas City produced a series serves as a non-voting member. He is of four videotapes, “Nelita True at Eastman,” featuring responsible for the tallying of the votes at her performances, lectures, and teaching. These videos the completion of the semifinal and final are currently being seen on five continents. She has been rounds. Ballots are cast independently the subject of feature articles in Clavier, Piano Today, The by the five voting members of the jury. European Piano Teachers’ Journal, and was the subject of the A complete explanation of the judging cover story of Keyboard Companion. An interview with Ms. procedures is listed on page 36. True appears in the latest edition of James Bastien’s “How to Teach Piano Successfully,” along with interviews with the legendary Rosina Lhevinne and Adele Marcus. Ms. True has been invited to record over 100 works for Advance, Mark, Daniel Educo, and Academy Records. “Nelita True’s recital...was an artistic and popular Weilbaecher triumph.” – “True is an extraordinary pianist and exemplary musician...many a lyric soprano would covet the way (she) can turn a phrase.” –The Boston Globe “Listening to Miss True was a memorable experience. Rarely have I heard anything so sublimely poetic.” –Kansas City Times

— 28 Congratulations to all pianists participating in the 2016 New Orleans International Piano Competition

Endodontic Associates specializing in root canals and related therapies

Arthur W Dickerson, II DDS Scott Bonson, DDS Chelsea Accardo, DDS Practice Limited to Endodontics Offices in Gretna and Slidell (504) 391-2324 (985) 649-4881

— 2016 New Orleans International Piano Competition 29 n stit u te I ia no P New Orleans Piano Institute rlea n s

O Institute Directors New Orleans Piano Institute Directors Alan Chow, Igor ew Alan Chow Resnianski, and Joni Jensen have selected 32 pianists to participate N Joni Jensen as performers in the 2016 New Orleans Piano Institute - a piano Igor Resnianski academy taking place during the New Orleans International Piano Competition and Keyboard Festival. Celebrating its 17th Faculty/Clinicians year, NOPI invites talented college, high school and junior high Constance Carroll pianists from across the United States and around the world to Kevin Chance participate in an intensive solo performance program including Frank Heneghan private lessons with distinguished faculty, master classes, special Shearon Horton lectures in piano literature and performance practice, and an opportunity to perform in the Showcase Recital. Students are also invited to compete in the NOPI Concerto Competition presented by Hall Piano Company and The Steinway Society of New Orleans in collaboration with the New Orleans Piano Institute. The winner of the concerto competition will receive a $500 cash prize and the opportunity to perform with the New Orleans Civic Symphony in the fall. The public is invited to attend all events of the Piano Institute/Keyboard Festival. Throughout this exciting event, there will be opportunities to hear fourteen master classes, the competition rounds of the New Orleans International Piano Competition, the NOPI Concerto Competition, two special presentation by NOIPC jurors Nelita True and Peter Collins, the NOPI Student Showcase Recital, as well as the two New Orleans Keyboard Festival guest artist recitals of Marianna Prjevalskaya and Danny Driver. The NOPI teaching faculty this year includes Constance Carroll (Louisiana State University, ret.), Kevin Chance (University of Alabama), Alan Chow (Northwestern University), Frank Heneghan (Ireland), Shearon Horton (Austin), and Igor Resnianski (West Chester Univeristy of Pennsylvania). Master classes will be given by all NOPI faculty as well as NOIPC jury members and guest artists.

— 30 Constance Carroll Kevin Chance A native of Arizona, Named Teacher of the Year by the Alabama Music Teachers Constance Carroll has received Association for 2015–2016, pianist Kevin T. Chance has been hailed as “a I acclaim for her performances as a superlative musician” playing “with musical conviction and muscularity.” n recitalist, chamber musician, and as He has performed throughout the United States and abroad as both soloist stit an orchestral soloist. The featured and collaborator. In 2003, he was invited to the Lake District Summer artist at a dozen state Music Teachers Music Festival in England where he was featured on both of the festival’s u Association annual conferences, she gala performances. Recent engagements include performances at Carnegie te

has also given lecture-recitals at Hall as well as concerto appearances with Rachamninoff’s Rhapsody on a F the national MTNA conventions Theme by Paganini with the Huxford Symphony Orchestra, Gershwin’s a in Houston and Kansas City. As Rhapsody in Blue with the University of Alabama Wind Ensemble, Saint- cu

a teacher, Carroll numbers among Saëns’s Carnival of the Animals with the Tuscaloosa Symphony, Beethoven’s lty her students winners of local, Choral Fantasy with the Athens Chorale in Georgia, and Gerald Finzi’s regional and national competitions. Eclogue. Recent recital engagements include the University of Oklahoma, In addition, she has presented the Louisiana Piano Series International, the Saratoga Arts Fest, and the recitals, master classes and lectures Albion College International Piano Festival. Dr. Chance has been a at numerous university and colleges prizewinner of several regional and national competitions including the throughout the country. National Society of Arts and Letters Career Awards Competition, Music Carroll received her education Teachers National Association Competitions (MTNA), and the Brevard Constance at the University of Arizona and Music Center Concerto Competition. the Eastman School of Music. As Dr. Chance is a member of the Semplice Duo with flutist Cristina Carroll a Fulbright scholar, she studied Ballatori. In August 2004, they were named the winners of the Notes at for a year in Vienna and Salzburg, 9,000 Emerging Artist Series Competition in Colorado. Past seasons have Master Class Austria. She then was appointed to taken them to Texas, Pennsylvania, Colorado, New York, and Louisiana, the music faculty at Louisiana State and they were selected as artist fellows for the 2005 Hampden-Sydney Monday July 25, University, and susequently taught Music Festival in Virginia, where they returned for a series of performances 4:05 PM at Wisconsin State University, in 2008. They frequently perform in recital on the “Live from Hochstein” Lenoir-Rhyne College in Hickory, series, which is broadcast live on WXXI radio in Rochester, NY. In 2014, N. C., and was Artist-in-Residence they made their European debut in Paris, and in 2017, they will make Thursday July 28, at Centenary College of Louisiana their Asian debut in a tour of China. Additionally, Dr. Chance has 4:05 PM for twenty-one years. Carroll was performed with Carol Wincenc, Ransom Wilson, Marianne Gedigian, as reappointed to the music faculty at well as members of the Boston Symphony, Cincinnati Symphony, Atlanta LSU in 1995 and in 1996 became Symphony, Louisiana Philharmonic, and Alabama Symphony Orchestras. the first recipient of the Barineau A sought-after teacher, Dr. Chance maintains a prize-winning Professorship of Keyboard Studies. studio, and his students are frequently named winners and finalists in In recent years, Carroll has been local, state, regional, and national competitions. He currently serves on on the faculties of Brevard Music the faculties of several summer festivals including the New Orleans Piano Center, the University of Houston Institute and the Druid City Opera Workshop, where he works with the High School Piano Camp, the collaborative piano interns. Additionally, he has taught at the Samford Tobias Matthay anual conference, University Piano and Chamber Music Institute, the Huntingdon College the Frank Mannheimer Piano Piano Academy and the Tennessee Valley Music Festival, and in 2013, he Festival and the Indiana University was the Guest Artist for the University of Texas at Brownville Summer Summer Piano Academy. Carroll Piano Academy. In demand as a clinician and adjudicator, he regularly has also served as juror for the presents workshops and lecture-performances on repertoire and pedagogy New Orleans International throughout the country. In 2013, he served as a guest clinician for both Piano Competition, the Missouri the Mississippi Music Teachers Association and Alabama Music Teachers Southern International Piano Association state conferences. Additionally, Dr. Chance has presented at Competition, the American Pianists the 2016 and 2008 Music Teachers National Association Conferences, Association Competition, and the 2008 College Music Society (CMS) National Conference in Atlanta, the national finals of the MTNA the 2009 CMS National Conference in Portland, Oregon, and the 2012 Kevin Chance student competitions. American Matthay Association Conference at Union University. He is a In the spring of 2001, Carroll Past President of the Alabama Music Teachers Association and currently aster lass was honored with an Excellence serves on the board of the Music Teachers National Association as Director M C in Teaching Award by LSU and of the Southern Division. Tuesday July 26, the Outstanding Teacher of 2001 Currently serving as Assistant Professor of Piano and Chair of Piano 3:00 PM Award by LMTA. Studies at the University of Alabama, Dr. Chance is a former faculty member at the Alabama School of Fine Arts in Birmingham. He holds the Doctor of Musical Arts degree in Piano Performance and Literature from the Eastman School of Music where he was awarded the Jerald C. Graue Fellowship for academic excellence. An alumnus of the Aspen Music Festival, he holds the Master of Music degree from Louisiana State University and graduated magna cum laude from Birmingham-Southern College. His teachers have included Barry Snyder, Constance Knox Carroll, Ann Schein, Anne Koscielny, Herbert Stessin, William DeVan and Betty Sue Shepherd. — 2016 New Orleans International Piano Competition 31 Alan Chow Frank Heneghan Acclaimed for his “elegant poetry and virtuosic Frank Heneghan of Ireland is a regular fire,” Alan Chow has won First Prize at the Concert visitor to Louisiana, and has been a faculty member Artists Guild International Competition, the Palm of NOPI since its inception in 1999. He has also

lty Beach Invitational International Piano Competition served as a juror for the New Orleans International and the UCLA International Piano Competition. He Competition on three occasions, and his former cu was also the winner of the Silver Medal and Audience student, Peter Mack, was the first prize winner of a

F Favorite Prize at the Gina Bachauer International Piano the NOIPC in 1990. Over his distinguished career Competition and a prize-winner in the William Kapell Frank served as director of the College of Music te International Piano Competition. A Steinway artist, of Dublin Institute of Technology, Ireland’s largest u Mr. Chow has performed in recital and in concert third-level education complex. Over a quarter of with orchestra from coast to coast in over forty states. a century he pioneered in the development of the stit His recitals have brought him to the major music college to its current conservatory status with a n I centers including New York, Boston, Los Angeles, full spectrum of courses up to doctorate level. He Chicago and Washington, D.C. Also in demand was recently accorded the rare honor of election to for his teaching, Mr. Chow has given master classes fellowship of the Institute. throughout North America and Asia at conservatories, Frank has carried out his professional work universities and summer festivals including the – master classes, lectures and adjudicating - all over Alan Chow Eastman School of Music, Indiana University, New the world on five continents: across the US from Orleans International Piano Festival, the Gina the Pacific Northwest to Florida, from New York NOPI Director Bachauer International Piano Festival, Las Vegas to California and in Hawaii; in Austria, Belgium, Piano Festival, Tunghai International Piano Festival Italy, Norway, Russia, Switzerland and the UK; in Master Class (Taiwan) and in Singapore. He also has been invited to Hong Kong, Japan, Korea, and Taiwan; in Australia Wednesday July 27, teach in China at the conservatories at Beijing, Xian, and in South Africa. In addition to comprehensive 4:00 PM Chengdu, Wuhan and was recently named Honored experience as piano teacher and clinician at all levels, Visiting Professor at the Shenyang Conservatory. he is a specialist in the philosophy of interpretation Formerly Artist-in-Residence at the University of and in general music education, about which he Friday July 29, Arkansas, Mr. Chow currently serves as chair of the has written and published extensively. He headed piano program at Northwestern University. a 20-year international research project, The Music 4:00 PM Education National Debates (MEND) with a particular thrust to rationalize music education in Ireland with eclectic global trends. The report was issued in 2005 to acclaim, and has drawn worldwide attention for its general applicability and philosophical novelty. Frank has recently narrowed the focus of his research to performance aspects of music education and is currently working on comprehensive pianism as an indivisibly technico- interpretative challenge Dr. Heneghan is the founder member of the Irish branch of the European Piano Teachers’ Association and was European president of the 26-nation alliance in 1991. Inter alia, he holds a PhD from the University of Pretoria and an honorary DMus from the University of Potchefstroom for Higher Christian Education.

Frank Heneghan

Master Class Wednesday July 27, 3:00 PM

Friday July 29, 3:00 PM

— 32 Shearon Horton Joni Jensen Shearon Horton holds the Bachelor of Music Joni is a long-standing board member of the degree in piano performance from Peabody College Musical Arts Society of New Orleans and has served I and Masters of Music degree in piano performance as local director of the New Orleans Piano Institute n from The University of Texas at Austin with further for many years. stit doctoral study at Louisiana State University. Her A native of New Orleans, Joni Fitzpatrick teachers have included William Race, Jack Guerry, Jensen received her Bachelor of Fine Arts and Master u Lucien Stark, Gregory Allen, and Amanda Vick of Fine Arts degrees in piano performance from the te

Lethco. She has performed extensively as soloist Newcomb Department of Music at Tulane University. F and collaborative pianist and has presented lectures Her teachers have included Jane Smisor Bastien, a and master classes in Texas, Mississippi, Oklahoma, Edygio Castro de Silva, and Faina Lushtak. She is cu

Washington, Alabama, Louisiana and in China at on the faculty at Tulane University where she teaches lty Sichuan Conservatory, Nanjing Normal University, piano, music theory and is the coordinator of the and Fudan University. She has been a featured piano classes. She also maintains a private studio in presenter for state conventions of the Mississippi New Orleans where she teaches pre-college students Music Teachers Association, Alabama Music Teachers of all ages. Association, and the Louisiana Music Teachers Joni has presented master classes, lectures and Association. She has had articles related to piano has served as an adjudicator across Louisiana. She pedagogy published in Keynotes magazine and in was recently appointed as president of the board of Shearon Horton Keyboard Companion. the Junior Philharmonic Society of New Orleans, a Shearon taught at Tulane University in the non-profit organization dedicated to showcasing aster lass Newcomb Department of Music in New Orleans talented young musicians and dancers in recital. She M C from 1989 to 2006 and was an independent teacher in has served as President, treasurer and is currently the Tuesday July 26, the New Orleans area before moving to Austin, Texas. corresponding secretary for the New Orleans Piano 4:05 PM She has taught at The University of New Orleans, Teachers Association. She also currently serves as the and filled a one-year appointment as Coordinator of Louisiana Music Teachers Association’s college faculty Piano Pedagogy and Class Piano at Louisiana State forum chair. Thursday July 28, University in Baton Rouge in 2001-2002. She has 3:00 PM maintained a private teaching studio for many years with students who have received state, regional, and national prizes including fifteen state winners in the MTNA Junior and Senior Performance Competitions and three national finalists. Her students have won top prizes in the Texas Music Teachers Association Performance Contest, in the Austin Piano Festival Solo Competition, the Texas State Young Artist Competition, and have performed often with the Louisiana Philharmonic Orchestra as well as the Monroe Symphony Orchestra and the Austin Civic Symphony. Three of her students have been featured on the national radio program “From the Top.” For fourteen years she was director of the New Orleans Piano Institute which received the Gambit Classical Arts Education Award in 2010. She received the Austin Music Teachers Association Award for Outstanding Pre-Collegiate Teaching Achievement in 1988, 2014, 2015, and 2016 and in 2004 received the Outstanding Teacher Award for the state of Louisiana by Louisiana Music Teachers Association. Joni Jensen NOPI Director

— 2016 New Orleans International Piano Competition 33 Igor Resnianski Fred Kasten A Steinway artist, Dr. Resnianski is a prize winner of Fred Kasten is an award-winning radio many international piano competitions including the First producer and interviewer. In 2007, he retired Prize of the New Orleans International Piano Competition; from a two- decade- plus tenure at the New

lty the Bronze Medal of the International World Piano Orleans NPR affiliate, 89.9 WWNO – but Competition, Cincinnati, Ohio; the Bronze Medal of the continues to produce work for the station – cu Nena Wideman International Piano Competition, Shreveport, including a 15-part series with Pulitzer Prize- a

F Louisiana, the Fifth Prize in the first Beijing International winning journalist Bob Marshall on coastal Piano Competition, and the Second Prize of the All Russian restoration issues in Southeast Louisiana, te Piano Competition Sodrujestvo. In Russia, he appeared in The Louisiana Coast: Last Call – which began u the famous halls of Moscow and St. Petersburg including airing May 13, 2013 – and a new weekly the historic Glinka Philharmonic Hall in St. Petersburg and jazz program, Jazz New Orleans – now heard stit appeared with many orchestras in the Siberian region. Friday nights from 8pm – 10pm. During his n I In June 1996, Mr. Resnianski made his concerto debut years at WWNO, Kasten hosted the station’s in America performing with the Fort Worth Symphony popular Saturday Night Jazz – created and Orchestra under conductor Keri-Lynn Wilson and in South produced the sketch comedy and New America performing a solo recital at the Medellin International Orleans music variety program Crescent Festival, Colombia. Since then he performed with Kennett City (more than 40 one hour episodes over Igor Resnianski Symphony, PA, New Orleans and Acadiana Symphony four years) – and was WWNO’s Program Orchestras, LA, etc. Gave solo recitals in Guiyang, China; Director and Associate General Manager NOPI Director Fort Worth and Arlington, TX; New Orleans and Lafayette, from 2001 – 2007. He currently produces LA; Cincinnati, OH and Palm Beach, FL; Philadelphia, PA audio projects at his home studio in the Master Class and Camden, NJ; Santa Clara, CA and Houston, TX; etc. Carrollton neighborhood. Monday, July 25 His performances were televised and broadcasted in 3:00 PM Novosibirsk, Russia; Palm Beach, FL; Cincinnati, OH. Dr. Resnianski’s performances were featured on the PBS/WHYY Y-Arts television channel. His chamber recordings were released under St. Petersburg Recording Company and Sony Entertainment. 2012 Teacher of the Year for the state of Pennsylvania, Dr. Resnianski teaches master-classes and judges local, state, national, and international competitions in the US and abroad. He is a regular faculty of such festivals as PianoTexas International Academy and Festival, Fort Worth TX; Piano Institute at Texas Music Festival, Houston TX; New Orleans Piano Institute, LA, California Concerto Weekend, CA, etc. Since September 2013, Dr. Resnianski accepted responsibilities of a co-director of the New Orleans Piano Institute. His students are winners of many local, state, national, and international piano competitions. Among them are the Greenfield Concerto Competition; William Kapell Young Artist International Piano Competition; Liszt International Competition in Los Angeles; Chopin International Piano Competition in Hartford Connecticut; World Piano Competition in Cincinnati; MTNA/PMTA state piano competition; New Orleans Piano Institute Competition solo and concerto; TCU-Cliburn Piano Institute Concerto Competition; etc. Fred Kasten His students performed in many countries including USA, Russia, France, , China. They appeared on such venues as Verizon Hall and Perelman Theater at the Master of Ceremonies Kimmel Center in Philadelphia; Tchaikovsky and Roerich museums in Moscow; Wail Recital Hall at and Merkin Hall at Elaine Kaufman Cultural Center in New York; Ed Landreth Hall in Fort Worth, TX; Emilie K. Asplundh Concert Hall in Philips Memorial Building at West Chester, PA, etc. They appeared with such orchestras as Philadelphia Orchestra, Fort Worth Symphony, Kennett Symphony, Lansdowne Symphony, Ambler and York orchestras, New Orleans Civic Orchestra, etc. Dr. Resnianski is an Assistant Professor at West Chester University of Pennsylvania in West Chester, PA. He also teaches privately and at the Nelly Berman School of Music in Haverford, PA. — 34 — 2016 New Orleans International Piano Competition 35 res du e oc r p

g n gi

jud Judging Procedures for the Preliminary/Recorded Round

Throughout the two stages of the Preliminary/Recorded Round, Judges watched and

2016 listened to videos submitted by the applicants via Acceptd.com. In the initial stage, two judges were responsible for paring the field of applicants from 186 to 30.

In the second stage, five judges, each watching and listening independently, ranked their top twelve performances. Results were tabulated and the top twelve performers were invited to New Orleans to compete as semifinalists. In the case of a tie, the contestant ranked by the most judges advances. If a tie remains, the performer receiving the highest ranking advances. If a tie continues to exist, the tied performances are resubmitted to the final preliminary judges for ranking.

Judging Procedures for the Competition Jury

Semifinal Round I & II At the completion of Semifinal Round II of the competition, the five judges will independently select, without discussion, three contestants to advance to the Final Round. Each of these contestants must have received at least three of the jurors’ votes. In the case of a tie, the competition jury will be asked to choose, without discussion, between the tied competitors. The chair of the jury is a non-voting member. In the case where a juror withdraws, the chairs becomes a voting member.

Final Round At the completion of the Final Round of the competition, the five judges will independently cast their ballots, without discussion, for the pianist they believe should win the First Prize. To be awarded this prize, the pianist must have received at least three of the jurors’ votes. In the case of a tie, the competition jury will be asked to choose, without discussion, between the tied competitors. The judges will repeat this process to determine the winner of the Second and Third Prizes.

— 36 2016 C omp etiti on R eq u ire m e n ts Competition Requirements

Recorded/Preliminary Round Any solo piano repertoire selected by the competitor, not to exceed forty-five minutes in length. Individual movements of the sonatas are acceptable in this round only.

Semifinal Round I A memorized public recital, not to exceed 35 minutes in length, consisting of works chosen by the competitors. All twelve semifinalists will advance to Semifinal Round II.

Semifinal Round II A memorized public recital, not to exceed 20 minutes in length, consisting of works chosen by the competitor which have not been performed in Semifinal Round I. Three contestants will be chosen to advance to the Final Round.

Final Round A memorized public recital, not to exceed 50 minutes in length, consisting of works not performed by the competitor in the Semifinal Rounds.

— 2016 New Orleans International Piano Competition 37 competitors Scott Cuellar • United States

SEMIFINAL ROUND I Fauré Nocturne No.11 in F-sharp Minor, Op.104, No.1

Schumann Humoreske, Op.20 ˆ d SEMIFINAL ROUND II Scriabin Sonata No.9, Op.68 “Black Mass”

Beethoven Sonata in F Major, Op.54 d Scott Cuellar was the 1st place winner FINAL ROUND of the 2016 San Antonio International Piano Competition, and was the 1st place Prokofiev Toccata, Op.11 winner in the solo division of the 2013 Virginia Waring International Piano Debussy Images, Book II Competition, where he also took 2nd place in the concerto division. He has given solo Schubert Sonata in C minor, D.958 recitals at Carnegie Hall’s Weill Recital Hall, Vienna’s Konzerthaus, and the Shenyang Conservatory of Music. He has performed in solo and collaborative settings at the Kennedy Center, the Sede Histórica of Peru’s Conservatorio Nacional de Música in Lima, and Calgary’s Jack Singer Concert Hall. He has performed with the Rochester Symphony Orchestra, the Oberlin Orches- tra, the Lima (Ohio) Symphony Orches- tra, and several others. He holds a Master of Music from the Juilliard School, where he studied with Julian Martin, and holds a Bachelor of Music from the Oberlin Conservatory of Music, where he studied with Alvin Chow. Mr. Cuellar is now a doctoral student at the Shepherd School of Music at Rice University, where he studies with Jon Kimura Parker.

— 38 Christopher Goodpasture • United States competitors

SEMIFINAL ROUND I Bartók Out of Doors, Sz.81

Janácek Piano Sonata 1.X.1905

Rachmaninov Etude-tableau in E-flat Minor, Op.39, No.5 d SEMIFINAL ROUND II Debussy Preludes, Book II Feuilles mortes Général Lavine—”eccentric” Feux d’artifice Praised by the Washington Post for his “sparkling, highly musical” playing and by the Huffington Post for his “dazzling Liszt Funérailles, S.173 fireworks,” Christopher Goodpasture has given performances at the Kennedy Center (Washington D.C.), Benaroya Hall d (Seattle), Koerner Recital Hall (Toronto), Alice Tully Hall (New York), Weill Recital FINAL ROUND Hall (New York), Bing Concert Hall (San Liszt/Wagner Isolde’s Liebestod Francisco), and the Los Angeles County Museum of Art among others. Ravel Sonatine His awards include 1st prize in the 2015 Scriabin Vers la Flamme, Op.72 Seattle International Piano Competition, 2nd Prize in the 2015 Iowa International Piano Competition, and top prizes in the Beethoven Sonata in C Minor, Op.111 Los Angeles Liszt Competition, and the Susan Torres Competition for pianists. Festival appearances include performances at the Banff, Aspen, Sarasota and Kneisel Hall music festivals in addition to the Music Academy of the West and the Holland Music Sessions.

He completed his Bachelor of Music degree as a student of John Perry at the University of Southern California Thornton School of Music and subsequently received his Master’s Degree from The Juilliard School in as a student of Hung-Kuan Chen and Jerome Lowenthal. Christopher will be pursuing post-graduate studies in the fall at the Yale School of Music under Peter Frankl.

— 2016 New Orleans International Piano Competition 39 competitors Matthew Graybil • United States

SEMIFINAL ROUND I

Scriabin Etude in B-flat Minor, Op.8, No.11 ˆ Schubert German Ländler, D.790

Schumann/Liszt Widmung

Liszt Années de Pèlerinage, I Italie Vallée d’Obermann d SEMIFINAL ROUND II Praised by The New Yorker as an “exceptional Brahms Four Klavierstücke, Op.119 young artist” American pianist Matthew Graybil has performed throughout the Stravinsky/Agosti Danse infernale from The Firebird United States, Canada, France, Holland, and Mexico in venues such as Carnegie’s Weill Recital Hall, Le Poisson Rouge, d Verizon Hall at the Kimmel Center and FINAL ROUND . He has appeared on radio Mozart Rondo in A Minor, K.511 and television, including WNYC, WQXR,

WWFM, CBS Chicago, the Discovery Channel, and PBS. Chopin Sonata No.2 in B-flat Minor, Op.35

Since making his orchestral debut at age Stravinsky Trois mouvements de Pétrouchka 14, he has performed with the Fort Worth Symphony and the National Chamber Players among others.

He has been a prizewinner in the MTNA/ Yamaha National Piano Competition, the New York Piano Competition, the National Foundation for the Advancement of the Arts, the Juilliard Gina Bachauer Competi- tion, Missouri Southern International Piano Competition, and the Wideman Interna- tional Piano Competition.

Graybil was a pupil of Harvey Wedeen for six years and completed his Bachelor’s and Master’s degrees from The Juilliard School, where he worked with Jerome Lowenthal and Matti Raekallio.

— 40 competitors Matthew Graybil • United States Yewon Jeong • South Korea competitors

SEMIFINAL ROUND I Schubert Sonata in A Major, D.959 d SEMIFINAL ROUND II Chopin Scherzo No.4 in E Major, Op.54

Ravel Scarbo from Gaspard de la nuit d FINAL ROUND Franck Prélude, Choral et Fugue After studying with Daejin Kim at the Korea National University of Arts in Seoul, Mozart Fantasia in C minor, K.475 Yewon Jeong completed the MM degree at the Eastman School of Music where she Prokofiev Sonata No. 7 in B-flat Major, Op.83 is currently continuing in the Doctoral program with Douglas Humpherys. Yewon Jeong has won the Hankook Ilbo and Buam National Piano Competition in Korea, and the Eastman Piano Concerto Competition, resulting in a performance of the Schumann Piano Concerto with the Eastman Symphony in Kodak Hall. She has concertized at international venues including the Young Artist Concert in Kumho Art Hall, the Young Musicians Festival in Youngsan Art Hall, Ujung Art Center, Mozart Hall (Korea), at the Millennium stage in the Kennedy Center, and Kilbourn Hall (USA). She has also worked as a Kaplan Fellow at Bowdoin Music Festival in 2015 and participated in Banff Chamber Music Festival in 2016.

— 2016 New Orleans International Piano Competition 41 competitors Saetbyeol Kim • South Korea

SEMIFINAL ROUND I Scarlatti Sonata in B Minor, K.87 Sonata in D Major, K.492

Granados Los Requiebros from “Goyescas”

Rachmaninov Sonata No.2 in B-flat Minor, Op.36 (1931) d SEMIFINAL ROUND II Haydn Sonata in A-flat Major, Hob.XVI:46 South Korean pianist Saet-byeol Kim is rapidly earning a reputation for her Kapustin Variations, Op.41 interpretations, which “impress with energy and freshness.” Saetbyeol was the first prize winner of the Dallas International d Competition (2015), the Rochester Phil- FINAL ROUND harmonic Concerto Competition (2012), Bach Prelude and Fugue in A-flat Major, WTC I, BWV862 and the second prize winner of the Louisiana International Piano Competition (2015). In Liszt Spanish Rhapsody, S254 Korea she also won first prize in the 40th Music Educational Competition, the Shinye Competition, and the Daegu 10th TBC Beethoven Sonata in E-flat Major, Op.31, No.3 Broadcast Competition. In the spring of 2016 she performed Tchaikovsky Concerto Ravel La Valse No. 1 with the Dallas Chamber Orchestra, followed by a New York recital debut at Weill Recital Hall of Carnegie Hall. She completed her Artist Diploma at The Glenn Gould School of The Royal Conservatory under Marietta Orlov, and will be pursuing Artist Diploma at Rice University with Jon Kimura Parker.

— 42 Yejin Noh • South Korea competitors

SEMIFINAL ROUND I Haydn Sonata in A-flat Major, Hob.XVI:46

Prokofiev Suggestion diabolique, Op.4, No.4

Liszt Reminiscences of Norma, S.394 d SEMIFINAL ROUND II Schumann Abegg Variations, Op.1

Ravel Scarbo from Gaspard de la Nuit Yejin Noh was born in Seoul, South Korea d and received her Bachelor’s degree at Seoul National University with Hee-Sung Joo. FINAL ROUND Yejin continued her studies at the Indiana Bach/Busoni Chorale Prelude University Jacobs School of Music, where “Wachet auf, ruft uns die Stimme,” BWV645 she obtained the Master’s Degree and Artist Diploma with Arnaldo Cohen and Schumann Sonata No.1 in F-sharp Minor, Op.11 Menahem Pressler.

She has won a number of international Stravinsky Trois mouvements de Pétrouchka prizes, including the second prize at the Washington Piano Competition in 2011, third prize at the San Antonio Piano Com- petition, Wideman Piano Competition in 2012, and Takamatsu Piano Competition in 2014. Most recently, Noh won the sec- ond prize at the FVG International Piano Competition in 2016.

Noh has performed solo recitals in San An- tonio, Portland and surrounding cities in 2015, and in Takamatsu, Japan in 2016. She has also collaborated with renowned orchestras including the Savannah Philhar- monic Orchestra, Shreveport Symphony Orchestra, Seto Philharmonic Orchestra, and Royal Chamber Orchestra of Wallonia.

Yejin is currently pursuing the Doctor of Musical Arts degree with Hee-Sung Joo at Seoul National University.

— 2016 New Orleans International Piano Competition 43 competitors Kyle Orth • United States

SEMIFINAL ROUND I Haydn Sonata in B Minor, Hob.XVI:32

Prokofiev Piano Sonata No.6 in A Major, Op.82 d SEMIFINAL ROUND II Ravel Oiseux tristes from Miroirs

Stravinsky Trois mouvements de Pétrouchka

Hailed as “spine tingling” (Fort Worth Star-Telegram) and as a musician with “impressively multiple facets” (Boston Musical d Intelligencer), Kyle Orth has concertized FINAL ROUND across the United States, Israel, and Mexico. Chopin Berceuse, Op.57 He has appeared with numerous professional orchestras, including the Dallas Symphony Beethoven Piano Sonata in B-flat Major, Op.106 Orchestra, the Israel Symphony Orchestra, the Fort Worth Symphony Orchestra, the Orquesta Sinfónica de Oaxaca (Mexico), the Dallas Chamber Symphony, and the Springfield Symphony Orchestra, under the batons of Jaap van Zweden, Vahagn Papian, Miguel Harth-Bedoya, Hugh Wolff, and others. Upcoming engagements include performances with the Missouri Symphony Orchestra and the Minnesota Symphony Orchestra. Among his many competition titles, he was named First-Place Winner in the MTNA Senior Piano Competition, the Minnesota Orchestra Young Artist Competition, and the Dallas International Piano Competition. His recordings have been broadcast on WGHB-WCRB in Boston and on WRR radio in Dallas. Mr. Orth completed his undergraduate studies at TCU and his graduate degree at New England Conservatory, where he is continuing as a doctoral candidate under the tutelage of Wha Kyung Byun.

— 44 Liana Paniyeva • Ukraine competitors

SEMIFINAL ROUND I Gluck Dance of the Blessed Spirits from “Orfée et Eurydice”

Rachmaninov Variations on a Theme of Corelli, Op.42

Ravel La Valse d SEMIFINAL ROUND II Franck Prelude, Fugue and Variation, Op.18

Saint-Saëns/ Danse Macabre Liszt/Horowitz Liana Paniyeva began winning prizes in piano competitions in the Ukraine in 2002 when she earned Third Prize at the International d Competitions in Memory of E. Gilels, First FINAL ROUND Prize at the International Competition in Schumann Kreisleriana, Op.16 Memory of Prokofiev, and Second Prize at the International Competition in Memory Weinberg Sonata No.2, Op.8 of A. Karamanov. Her accomplishments in 2008 included First Prize at the “Music World” International Competition in Italy, and she was the winner of “The Voice of Music” Piano Competition in Israel.

In the United States in 2012, Ms. Paniyeva was the winner of the American Protégé International Competition of Romantic Music, recipient of the Grand Prize at the Metropolitan International Piano Competition, and the winner of the AFAF Golden Era of Romantic Music International Competition. In 2013, Ms. Paniyeva was awarded the E.B. Storrs Piano Scholarship from the Musical Club of Hartford. Ms. Paniyeva was also awarded a prize in the 2014 Scottish International Piano Competition in Glasgow, and won 6th place at the Iowa International Piano Competition in 2015.

She has performed at international festivals in Norway, Hungary, Syria, Italy, and Israel, and during the 2012-2013 season, she performed three times at Carnegie Hall in New York City.

Liana graduated from the Donetsk Music Academy in Ukraine in 2007, and went on to earn her Professional Studies Certificate from the Manhattan School of Music in 2011. Her career continues with recitals in Hungary, Israel, Ukraine, USA, England, Syria and Norway. Currently Liana is pursuing a Master’s Degree at The Hartt School of the University of Hartford studying with Maggi Francis and privately with Dr. Anastasia Seifetdinova.

— 2016 New Orleans International Piano Competition 45 competitors Alexander Soares • United Kingdom

SEMIFINAL ROUND I D’Anglebert Unmeasured Prelude in G Minor

Boulez 12 Notations

Beethoven Sonata in E-flat Major, Op.81a “Les Adieux” d SEMIFINAL ROUND II Liszt Annés de Pèlerinage, II Italie Sposalizio

Praised as a pianist of “huge intensity” (The Messiaen Vingt Regards sur l’Enfant-Jésus Telegraph), Alexander Soares is developing Regard de l’Esprit de Joie a reputation as an artist of formidable technique and virtuosity, with performances of “diamond clarity and authority” (BBC d Radio 3). His performance and BBC FINAL ROUND Radio 3 broadcast at the Barbican Centre Scarlatti Sonata in F Minor, K.466 received widespread critical acclaim in the press, described as a “brilliantly unbuttoned Carter Rétrouvailles account” (The Sunday Times) and “most memorable of all” (The Financial Times). In 2015 he was awarded 1st prize and Gold Chopin Polonaise-Fantaisie, Op.61 Medal in the prestigious Royal Overseas League Competition, and was selected as a City Music Foundation Artist. He Dutilleux Sonata, Op.1 has performed in the Royal Festival Hall, Allegro con moto Bridgewater Hall, Wigmore Hall and across Lied Europe. His first album will be recorded in 2016. Alexander graduated with first class Choral et variations honours from University of Cambridge, and holds a doctorate from Guildhall School of Music & Drama. He has greatly benefitted from the guidance of pianists including Ronan O’Hora, Richard Goode and Stephen Kovacevich.

— 46 Xiaohui Yang • China competitors

SEMIFINAL ROUND I Bach Partita No.5 in G Major, BWV 829

Bartók Improvisations on Hungarian Peasant Songs, Op.20

Chopin Barcarolle, Op.60 d SEMIFINAL ROUND II Carter 90+

Rachmaninov Moments musicaux, Op.16, Nos.1–4 Chinese pianist Xiaohui Yang has been d featured as a soloist and chamber musician in performances throughout Asia and FINAL ROUND North America, including venues such Mozart Piano Sonata in F Major, K.280 as Carnegie Hall and Seoul Arts Center. Recent orchestra engagements include the Schumann Piano Sonata No.1 in F-sharp Minor, Op.11 New Jersey Symphony, Curtis Symphony and Milwaukee Symphony Orchestras. Her competition prizes include the American Protégé International Competition, the Piano Arts Competition, the Hong Kong Piano Open Competition, and the International Chopin Piano Competition in Asia. A dedicated chamber musician, Xiaohui has attended important music festivals such as the Taos School of Music, Tanglewood Music Center, and Ravinia’s Steans Music Institute.

Xiaohui was accepted in 2008 to the Curtis Institute of Music, studying with Ignat Solzhenitsyn, where she received the Festorazzi Prize awarded to the best pianist of 2013. After studying at the Juilliard School with Robert McDonald, she is currently pursuing her Doctor of Musical Arts degree with Boris Slutsky at Peabody Conservatory.

— 2016 New Orleans International Piano Competition 47 competitors Hyun Ji You • South Korea

SEMIFINAL ROUND I Haydn Piano Sonata in A-flat Major, Hob.XVI:46

Chopin Ballade No.4 in F Minor, Op.52

Scriabin Sonata No.5, Op.53 d SEMIFINAL ROUND II Rachmaninov Sonata No.2 in B-flat Minor, Op.36(1931) d Born in Seoul in 1986, Hyun ji You began FINAL ROUND studying piano at the age of 5 and had her debut recital and concerto appearance at the Beethoven Sonata in C Major, Op.53 “Waldstein” age of 8 in South Korea. She received First Prizes at a number of piano competitions Schumann Fantasiestücke, Op.12 in Korea. She was granted early admission to the Seoul National University for her Scriabin Sonata No.4 in F-sharp Major, Op.30 outstanding academic performance and studied with Hee Sung Joo. She received a full scholarship to the Jacob School of Music at Indiana University. She earned an Artist Diploma and Masters degree while studying with Karen Shaw and Jean-Louis Haguenauer.

Hyun ji has won prizes from several piano competitions in South Korea. In addition, she has performed recitals and chamber programs including the Euro Music Festival in , Busan International Music Festi- val, Spain Tenerife Music Festival, and the Berlin Music Festival. She has won prizes at international competitions such as Osaka International Piano Competition, Wash- ington International Piano Competition, NSAL Competition, and Southern Illinois Young Artist Competition.

She is currently pursuing a Doctoral degree at Se Jong University in South Korea with Jae Hee Hyun. She also teaches at Suwon Womens University and Se Jong Conservatory of South Korea.

— 48 Re Zhang • China competitors

SEMIFINAL ROUND I Haydn Sonata in C Major, Hob.XVI:48

Rachmaninov Etudes-tableaux, Op.33 1 Allegro non troppo (F minor) 2 Allegro (C major) 3 Grave (C minor) 4 Moderato (D minor) 5 Non Allegro—Presto (E-flat minor) 6 Allegro con fuoco (E-flat major) 7 Moderato (G minor) 8 Grave (C-sharp minor) Re Zhang, originally from Beijing, China d has just finished her Master’s degree at The SEMIFINAL ROUND II Juilliard School studying under Stephen Hough and Matti Raekallio. Re previously Brahms Six Pieces for Piano, Op.118 graduated from Oberlin Conservatory with No.3. Ballade in G Minor Honors in piano performance, where she No.6. Intermezzo in E-flat Minor studied with Robert Shannon. Re began studying piano when she was five years old Stravinsky/Agosti The Firebird and first performed on the stage at the age of 1. Danse infernale du roi Kastchei six. In 2000, Re took part in the Sixth Piano Open Competition of YMCA-YWCA, 2. Berceuse and was awarded the first prize. In 2004, 3. Finale she enrolled in the music middle school attached to The Central Conservatory of d Music in Beijing, gaining admittance with the top score on the entrance exam that FINAL ROUND year. In January of 2006, she was awarded Beethoven 33 Variations on a Waltz by Anton Diabelli, the Silver Prize in the 7th International Op.120 Chopin Piano Competition in Asia. That October, she took part in the International Piano Competition for Young Musicians in Holland and was awarded the 3rd Prize. In 2010, she won the statewide scholarship from the Tuesday Musical Scholarship Auditions. In 2011, she won the Rudolf Serkin Scholarship. In 2012, she won Oberlin Conservatory’s John Elvin Prize — awarded to a student judged by the piano department to be the most talented in the junior class. Later that year, in April, she went on to win The Arthur Dann Piano Competition. In 2013, she finished her Honor’s project at Oberlin Conservatory which involved recording and performing the Beethoven’s . Re is going to continue her post-graduate studies under Professor Boris Slutsky at the Peabody Conservatory. — 2016 New Orleans International Piano Competition 49 Taylor Aultman, LCSW Nancy Morais, LCSW Robin Benton Crutcher, PhD, LCSW Gail Pittenger, LCSW Linda M. Floyd, PhD Randall E. Rupp, LCSW Paul Hufnagel, PhD Marly L. Sweeney, LCSW Halina, Margan, PhD, LCSW Christian Harris, LCSW

— 50 P

Exploring the Semifinal Repertoire: r o A Program Guide a r g by Raymond Gitz m

G u i

Piano repertoire is one of the richest musical genres, and the New Orleans International d e Piano Competition (NOIPC) provides an opportunity to hear masterworks from this

outstanding literature performed by twelve of the world’s most gifted pianists. Preserving

the 2003 innovation of allowing each performer to play twice, in Semifinal Round I

and again in Semifinal Round II, NOIPC continues to cultivate creative programming.

Competitors have chosen to play works spanning four centuries, representing a

variety of musical styles and forms. Because music is a living art, it must constantly be

recreated, live, before an audience. In addition to developing an increased appreciation

of the pianistic art, it is hoped that NOIPC will foster the growth of audiences eager

to experience the excitement and fulfillment of great music. Here is a chronological

perspective of the Semifinal repertoire from D’Anglebert to Kapustin, with brief

analytical notes designed to help listeners unlock the intense beauty of this music.

— 2016 New Orleans International Piano Competition 51 Jean-Henri D’Anglebert (1629–1691) (1685–1757) Unmeasured Prelude in G Minor Sonata in B Minor, K.27 Sonata in D Major, K.492 e

d Among the many stars during the reign of the Sun King, i

u D’Anglebert is one of the most important composers.

G Pièces de Clavecin (works for harpsichord) is now available One of the greatest innovators in the history of keyboard in an Urtext edition with preface and notes transcribed music, Domenico Scarlatti was born in Naples in the m by Denise Restout. Angela Hewitt and other pianists are same year as Bach and Handel. At the age of thirty-four expanding their recitals to include these works from the he became Master of the Royal Chapel in Portugal and g r a

o French Clavecin School. harpsichord teacher to the King’s daughter, the Infanta r Maria Barbara. On her marriage in 1728 to Fernando, P The unmeasured or non-measured prelude is a prelude in heir to the Spanish throne, Scarlatti accompanied the which the duration of each note is left to the performer. Princess to the royal court of Spain. The majority of Typically the term is used for seventeenth-century Scarlatti’s sonatas are single-movement works in binary harpsichord compositions that are written without form, showing the influence of the Spanish guitar, the rhythm or meter indications. Unmeasured preludes distinctive songs and dances of flamenco, and the court started appearing around 1650. Louis Couperin is usually music of Spain and Portugal. Contrasting with the credited as the first composer to embrace the genre. contrapuntal style of Bach, Scarlatti explores new depths of virtuoso technique in an original way using devices such as the frequent crossing of hands, fast runs in thirds and sixths, large leaps, broken chords in contrary motion, rapidly repeated notes, and fast, wide-ranging arpeggios. (1685–1750) Originally conceived for harpsichord, these works are Partita No.5 in G Major, BWV 829 often romanticized when played on the piano. Bach published his six Partitas as his Opus 1. Written between 1725 and 1730, the six Partitas were collected together to form a single volume, to which Bach gave the title Clavier-Übung (Keyboard Practice). Bach produced three more volumes; the incomplete Art of Fugue would have formed volume five. “Partita” was one of several terms for a suite of dances; “partita” could also indicate a set of variations. Dance suites were among the most popular genres of instrumental music at this time. In addition to seven from the first two books ofClavier- Übung, Bach left another twelve suites for keyboard, four for orchestra, three for solo violin, and six for solo cello. Influenced by immediate predecessor at Leipzig, Johann Kuhnau (1660-1722), Bach followed Kuhnau’s practice of opening a partita with a preludium (Bach used a different title for each of the partitas), followed by an allemande, courante, sarabande, and gigue, with assorted lighter dances inserted along the way. The opening of the Partita No.5 in G Major is a praeambulum; in addition to the standard dances, it includes a “tempo di minuetta” and a passepied.

— 52 Joseph Haydn (1732–1809) (1770–1827) Sonata in B Minor, Hob.XVI:32 Sonata in F Major, Op.54

Sonata in A-flat Major, Hob.XVI:46 Sonata in E-flat Major, Op.81aLes Adieux P r

Sonata in C Major, Hob.XVI:48 o

Beethoven’s piano sonatas form one of the most important a r g Haydn, recognized as the father figure of Viennese collections of works in the history of music. Spanning

Classicism, composed approximately sixty-two piano several decades of his life as a composer, the sonatas soon m

sonatas (seven are lost) from the 1750s to 1794, writing came to be seen as the first body of substantial serious G not only for the harpsichord but also for the expressive works for piano suited to performance in large concert u

ability of the fortepiano. Anthony van Hoboken’s 1957 halls seating hundreds of people. Composed as much i d

catalog is one of numerous numbering systems in use. for private music-making as public recital, Beethoven’s e (See Maurice Hinson’s Guide to the Pianist’s Repertoire for sonatas have long formed a bridge between the worlds of a detailed table.) Musicologist A. Peter Brown notes that, the salon and the concert hall. The legacy of these piano from the composer’s earliest years until just days before sonatas is so vast and significant that this short article his death, “the keyboard was at the very center of Haydn’s cannot possibly do it justice. Regarding performance musical life and interests.” Haydn’s contemporaries and of the sonatas, I will quote the close of Alfred Brendel’s biographers confirm that the clavier was used for creating essay Musical Character(s) in Beethoven’s Piano Sonatas: works of every genre, including symphonies, oratorios, “Structure and character relate to one another: they may and operas. work hand-in-hand, or they may have a relationship of fruitful tension. But interpreters should never assume that The Sonata in B Minor shows the influence of the understanding the structure of a work might automatically musical aesthetics of Sturm und Drang (Storm and Stress) give them insight into the work’s character, atmosphere or and Empfindsamkeit (Sensibility)—the later’s aim the spiritual state. The interpreter would do well to concern expression and transmission of varying human emotions. himself with structure and character as two functions that emanate, as it were, from different sides of the same work, The beautiful Sonata in A-flat Major is one of the more in the hope that he might one day unite the two at a point frequently played of Haydn’s sonatas; it is both technically where the pain of interpretation can be transformed into and musically demanding. Now thought to be composed the relief of a satisfying experience.” between 1768 and 1771, it was once dated about twenty years too late because of a supposed influence of Mozart Rather than the customary designation of division into on the slow movement. Philip G. Downs asserts that three parts (early, middle, late), Robert Taub prefers to Haydn’s complete assimilation of C.P.E. Bach’s influence consider five chronological periods, each defined by the can be seen in the slow movement of this sonata. The dramatic and compositional content and the musical spirit of empfindsamer Stil (sensitive style) can be seen character of the works themselves: in the melodic simplicity and refined expression of this work. 1795–1800 Epitomizing classical style (13 sonatas) An improvisatory quality pervades the the first movement 1801–1802 Experimentation (7 sonatas) of Sonata in C Major marked Andante con espessione. It 1803–1804 Post Heiligenstadt has an unusual five-part structure in which the B-sections (3 sonatas, including Op.54) are different parallel minor variants of the A-section. A 1809 Compression, homogeneity notable feature of the sonata is its profusion of dynamic (3 sonatas, including Op.81a) markings, ranging from pianissimo to fortissimo. The 1814–1822 Summation, transcendence finale is a smoothly controlled sonata-rondo form with (6 sonatas) witty figures and rhythms; it is an exuberant virtuoso piece with parallel thirds, sixths, and octaves.

— 2016 New Orleans International Piano Competition 53 Frédéric Chopin (1797–1828) (1810–1849) German Ländler, D.790 Ballade No.4 in F Minor, Op.52 Sonata in A major, D.959 Scherzo No.4 in E Major, Op.54 e

d Barcarolle, Op.60 i

u Schubert was one of the most prolific and greatest com-

G posers. He established the Lied as major genre. His model Chopin’s music is written almost exclusively for solo inspired a host of successors, none of whom surpassed piano. The novelist George Sand remarked that “he made m his scope of expression and variety of achievement. Long a single instrument speak a language of infinity.” Pianists underestimated, Schubert’s compositions for piano have and audiences have been fascinated by the breathtaking g r a recently begun to assume their place beside Beethoven’s lyricism and originality of Chopin’s style, which explores o

r legacy. Kinderman describes them “as works of almost novel textures and expressive extremes extending from P unparalleled expressive range and depth.” He cites sev- the graceful to the grandiose, the intimately poetic to the eral factors that contributed to their neglect: the fact tempestuously passionate. This unique style combines a that much of this music remained unpublished during chromatic polyphony, based on his admiration of Bach, his Schubert’s lifetime; the dominance, in these works, with an approach to melody derived from the Italian of musical expression over technical virtuosity; and the operas of Bellini, Donizetti, and Rossini. Chopin’s overpowering influence of Beethoven, whose works set ballades and scherzos dispel any doubt of his mastery of standards that are not directly applicable to Schubert. large forms, often illustrating his ingenious blending of different formal archetypes – sonata form, rondo, and Discussing the psychological symbolism in Schubert’s variations. The smaller scale dances and character pieces piano music Kinderman elaborates: “A key to this reflect the vast range of expressive possibilities because of symbolism is found in Schubert’s songs, in which the which Chopin is justifiably called the poet of the piano. protagonist, or Romantic wanderer—who assumes the role As a pianist, Chopin was virtually self-taught. He was left of lyrical subject—is often confronted by an indifferent to find his own way and did so with such natural aptitude or hostile reality. Musically, Schubert uses a combination that by the time he was twenty he was fully formed as a of heightened thematic contrasts, juxtaposition of major pianist. and minor keys, and abrupt modulations to reflect this duality between internal and external, or imagination and The four Ballades of 1831–42 rank among Chopin’s finest perception—between the beautiful, bright dreams of the creations. These are substantial single-movement pieces protagonist, on the one hand, and a bleak external reality notable for their wealth of content, which integrates on the other.” nocturne-like lyric passages, waltz-like epic passages, and dramatic episodes. The term “ballade” suggests poetic According to Hinson, Schubert wrote 452 short dances, overtones of a narrative nature, but Chopin’s Romanticism including the set of 12 German Ländler, D.790. The does not encourage extra-musical association. Chopin Sonata in A Major, D.959 is one of three piano sonatas scholar Jim Sampson feels the Fourth Ballade is one of which makes up the group referred to as “Schubert’s last Chopin’s supreme achievements: “…it is a synthesis of sonatas.” Numbered 958, 959, and 960 in the Deutsch many aspects of his art, ranging from the most popular to catalogue these sonatas were written during the last the most severe, from the elegance and grace of the waltz months of Schubert’s life, between spring and autumn of to the rigour and logic of strict counterpoint. Above all it 1828, but were not published until about ten years after is a triumph of architecture, one of the most goal-directed his death. Regarded as a trilogy, the three sonatas have of all his structures.” shown to be cyclically interconnected by diverse struc- tural, harmonic, and melodic elements tying together Composed in 1842, the Scherzo in E Major, Op.54 all movements in each sonata. Similarities to Schubert’s would be his last.; the only scherzo in a major key, it is song cycle Winterreise are apparent in the emotional tur- both joyous and poetic. The scherzo has a sonata-rondo moil inherent in the sonatas and often ascribed to the form, moving to a trio in C-sharp Minor that is based harsh reality of Schubert’s late life. on a Polish folk song; it ends with a triumphant coda. In the warm, lyrical Barcarolle, Op.60, the three song- like themes each bringing a slight increase in tempo, are eventually gathered together in an exultant apotheosis. — 54 Robert Schumann In a letter to Simonin de Sire (1839), Schumann claimed (1810–1856) that in humor was a concept deeply rooted in the German Abegg Variations, Op.1 national consciousness involving “the fortunate union of geniality and wit.” Jean Paul, one of Schumann’s favorite

Humoreske, Op.20 P

writers viewed humor as “an infinite contrast.” The work r contains the succession of larger movements, each of o

Schumann was the son of a bookseller, a circumstance a r g that brought him into close contact with the writings of them unified by a network of recurrent but transformed themes.

the new Romantic movement during his formative years. m

After a period of law study and an unsuccessful attempt to become a concert pianist, he turned his efforts towards G u

composition and musical journalism. Schumann, more i

Franz Liszt d than any other composer, became the spokesperson (1811–1886) e for the revolt against Classicism and the champion for Années de Pèlerinage, Suisse, S.160 revolutionary tendencies in music. In addition, he became Vallée d’Obermann the ardent supporter of such men as Chopin and Brahms, Années de Pèlerinage, Italie, S.161 and it was through his writing that much of their music Sposalizio became known to the world. Harmonies poétiques et religieuses, S.173 Funérailles Schumann’s music can be identified by its lyric melody, Spanish Rhapsody, S.254 its vague and imaginative formal structure, and its remarkable range of expression from the most tender to In the chapter “Thunder, Lightning, Mesmerism, Sex” the most heightened passion. He showed his interest in of his book The Great Pianists, Harold C. Schonberg Bach by using contrapuntal devices within the framework describes the hysteria Liszt created: “When Liszt PLAYED of Romantic harmony. His piano music is idiomatic, the piano, ladies flung their jewels on the stage instead making full use of the harmonic and tonal possibilities of bouquets. They shrieked in ecstasy and sometimes of the instrument. Throughout his career Schumann fainted. Those who remained mobile made a mad rush to was occupied by writing character-pieces, and though the stage to gaze upon the features of the divine man. They he wrote in larger forms, he continually favored that fought over the green gloves he had purposely left on the genre. Hinson lists characteristics of Schumann’s piano piano. One lady fished out the stub of a cigar that Liszt writing, including “his use of fast harmonic rhythm, had smoked. She carried it in her bosom to the day she unusual pedal effects, syncopation and cross rhythms, died.” Schonberg concludes that Liszt did not give mere varied accompaniment figurations, chord doublings, and concerts; they were saturnalia. Regarding the composer’s a unique exploitation of contracting and expanding the music, Hinson states that “the piano works of Liszt are pianist’s hand.” an essential ingredient of the pianist’s repertoire, and no pianist who desires to develop a complete equipment can Schumann’s dedicated the Abegg Variations to the ignore them.” Countess von Abegg. The five letters of the name can be represented as an ascending series of notes (B in German Années de Pelerinage (Years of Pilgrimage) is the title notation is the English B-flat), which Schumann employs Liszt gave to the two large volumes of piano music he first inanimato rising octaves, then in sequence at lower composed while traveling in Switzerland and Italy with pitch levels, and finally in inversion. The effective pianistic his companion Marie d’Agoult between 1835 and 1839. figurations in the variations are in the elegant style of These pieces are based on images of nature and literature Hummel or Field; there is a brilliant finale. Charles Rosen in the first volume,Suisse , and on Italian poetry and points out that in the last pages of the Abegg Variations works of art in the second volume, Italie. Schumann plays the motto theme not by sounding the last four notes but by taking them away, one by one, from Funérailles is the best known of the ten pieces that make up the chord of B-flat—E—G. He adds to the paradox by the cycle Harmonies poétiques et religieuses. It was written adding accents to the sustained notes. in October 1849, the month Chopin died, and there seems to be good reason for the supposition that Liszt wrote it in mourning for his friend, especially in middle

— 2016 New Orleans International Piano Competition 55 section with its ostinato octaves in the bass reminiscent of a similar passage in Chopin’s A-flat Polonaise. From (1833–1897) one of Liszt’s letters we learn that it was written in Six Piano Pieces, Op.118 memory of his friend Prince Felix von Lichnowsky and No.3. Ballade in G Minor e the Hungarian counts Teleki and Barthyányi, all of whom d No.6. Intermezzo in E-flat Minor i had been killed in battle. u Four Piano Pieces, Op.119 G The Spanish Rhapsody is an exuberant evocation of Hinson believes a pianist should aim for a comprehensive m remembered impressions written almost two decades acquaintance with Brahms’ complete piano works. They after a tour of the Iberian peninsular. It is based on two span his entire career and offer a complete view of his g r a traditional melodies—La Folia and La Jota Aragonesca.

o development. The piano was the instrument of choice r The extroverted nature of the music shows that while for his earliest works and for his final period, the group P Liszt may have foresworn the life of a virtuoso, he had of short character pieces of Op.116-119. Although lost none of his keyboard prowess. universally recognized to be one of the greatest German composers, it was not until Arnold Schoenberg published his essay “Brahms the Progressive” that Brahms began to be viewed as a revolutionary and forward-looking – Liszt Transcriptions Schumann/Liszt Widmung composer. Bellini/Liszt Réminiscences of Norma, S.394 One of the most famous in Brahms’ late style is the It was during the nineteenth century that the transcriber’s heroic Ballade from Op.118. It has at its center a tender art had its heyday. When the recital became a public daydream. In the final Intermezzo in E-flat Minor, one institution, musical heroes such as Liszt were eager and can hear the Gregorian Dies irae motive, like a haunted willing to offer audiences their impressions and syntheses dream, meditative and tragic. This is briefly interrupted by of the latest opera. Liszt frequently turned to songs as a hail of chord and octaves. With the Four Pieces Op.119, subjects for his piano transcriptions; more than a third, Brahms brings to focus some of his most characteristic of the approximately 150, were songs by Schubert. moods in three Intermezzi and one Rhapsody with an ultimate concentration of means and effect. The “concert version” of 1848 Widmung (Dedication), from Schumann’s Myrthen cycle, Op.25, was originally a gift to his wife Clara. The touching lyrics by Friedich Gabriel Fauré Rückert embody Robert’s complete dedication and love (1845–1924) for Clara. Nocturne No.11 in F-sharp Minor, Op.104, No.1

Based on Bellini’s contemporary opera Norma, Liszt The French composer Gabriel Fauré wrote thirteen created a pianistic fantasy, incorporating the seven nocturnes during several decades in his long career that different themes from the opera, in a highly effective and display the change in his style from uncomplicated dramatic way. youthful charm, to a turbulent period in his middle years, to a final enigmatic introspection. Though difficult to play, Fauré’s piano music is rarely virtuosic in style. He disliked showy displays, the predominant characteristic of his piano music is a classical restraint and understatement. Nocturne No.11 in F-sharp Minor was written in memory of Noémi Lalo; her widower, Pierre Lalo, was a music critic and friend and supporter of Fauré. Bryce Morrison suggests that its funereal effect of tolling bells may reflect the composer’s state of anguish, with deafness encroaching. The melodic line is simple and restrained, and except for a passionate section near the end is generally quiet and elegiac.

— 56

ˆ ˆ Leos Janácek beforehand. Book II was published in 1913: Feuilles mortes (1854–1928) translates as “Dead leaves;” in the style of a cakewalk, the Piano Sonata 1.X.1905 famous American juggler General Lavine entertains with wit; Feux d’artifice depicts a fireworks display in Paris with P

r ˆ reference to “La Marseillaise.”

The Sonata in E-flat Minor 1.X.1905, composed in o

1905, almost didn’t come down to us at all. Janácek had a r g already destroyed the finale when he heard the other two

movements played by pianist Ludmila Toutchkova at a Enrique Granados m

concert in Brnu. The pianist had taken the trouble to

(1867-1916) G copy out the first two movements or they wouldˆ have Los Requiebros from “Goyescas” u

been destroyed. In 1924, she suggested to Janácek that he i d

should publish the movements. Granados studied in Barcelona and in Paris, returning to e Barcelona to work as a teacher, pianist, and composer. It was the death of a worker killed during an anti-German His greatest success came with the piano suite Goyescas

demonstration in support of Brnu University which (1911), virtuoso studies inspired by the paintings of inspired the composer to write this dramatic work. Itsˆ Goya. Here we find a world of majos and majas with their subtitle, From the street, is taken from the title Janácek elaborate courtesy, brilliant attire, provocative sensuality, initially gave to the first movementPresetiment. The and knife-quick tempers. These piano tone poems were second movement is titled Death. expanded to form an opera of the same title and produced at the Metropolitan Opera in New York in 1916. When President Wilson invited Granados to play a recital at the White House, plans for his return voyage to Spain were (1862–1918) altered, and the ship Granados eventually boarded was Preludes, Book II torpedoed in the English Channel on March 24, 1916. Feuilles mortes Général Lavine—“eccentric” Los Requeibros is a Spanish expression that is difficult to Feux d’artifice translate into English. It signifies “a charming form of gallant conduct in which the lover praises the grace and Debussy created the unique and forward-looking style that beauty of his beloved in a whisper.” Manuel Valls offers came to known as Impressionism (the realization in music that the aim of such a compliment “is not the conquest of the aesthetic of the symbolist poets and impressionistic of the lady but rather the reaffirmation of mutual love.” painters), which constitutes one important facet of his style. He was fascinated with the exotic, the Orient, and the fantastic. He esteemed Russian composers, the Alexander Scriabin Javanese and Cambodian musicians he heard at the Paris (1872–1915) World Exposition of 1889, the color and rhythms of Etude in B-flat Minor, Op.8, No.11 Spanish-Moorish folk music, and above all the symbolist Sonata No.5, Op.53 poets from whom he received inspiration for exquisite Sonata No.9, Op.68 “Black Mass” sonorities and poetic lyricism. Melodically, he sometimes employs whole-tone, pentatonic, and modal scales. Scriabin was a fellow pupil of Rachmaninov’s in Zverev’s His keyboard style is characterized by parallel chordal class from 1884 and at the Moscow Conservatory treatment, layers of refined sound, and unusual pedal (1888–1992). An outstanding pianist with a fluent and effects. spontaneous style of playing, his early piano composition and preference for miniature forms (etudes, preludes, Debussy’s Préludes consist of two books, each containing mazurkas) show the influence of Chopin and Liszt. In 1905 twelve preludes. The titles of the preludes are significant, Scriabin encountered Madame Blavatsky’s theosophy and both in terms of their descriptive quality, and in the way evolved a highly individual style, closely related to his were placed in the written score. The titles are written at mystic-theosophic interests, These developments reached the end of each work, allowing the listener to experience a critical stage in the Sonata No.5, Op.53 (1907), one the sound world, without being influenced by the title

— 2016 New Orleans International Piano Competition 57 the the last pieces to carry a key signature. The static and Irregular baring and chant-like melodies pervade ecstatic tendencies in his music are vividly expressed in these pieces. As a whole, they fully explore both the Prometheus (subtitled The Poem of Fire) intended to be pianist’s and the instrument’s capabilities and show performed with a play of colored light. The last five piano Rachmaninov’s ability to crystalize perfectly a particular

e sonatas and a number of shorter piano compositions mood or sentiment. The original 1914 edition of d i written between 1908 and 1913 were intended to be Op.33, published by A. Gutheil, announced nine pieces; u preparatory for his Mysterium, a quasi-religious act however, only six were issued at that time (nos.1,2,6-9). G

that would transform humanity. This journey into the In later reprints of Op.33 Gutheil tried to suppress the

m mystical hysteria and going beyond tonality to a floating previously advertised nos.3,4,5. Rachmaninov withdrew dissonance is often based on the so-called “mystic chord”. three of the etudes before submitting the manuscript to

g r a (The most common form is C, F-sharp, B-flat, E, A, D.) the printer. The A Minor etude (No.4) was later rewritten o

r The subtitle “Black Mass” of Sonata No.9 is the in 1916 and incorporated (as No.6) into the second set

P invention of Alexi Podgayetsky, a pianist, theosophist, (Op.39). The C Minor and D Minor etudes remained and companion of Scriabin. Musicologist Simon Nicholls unpublished until after the composer’s death, but they agrees that the title Black Mass certainly reflects the nature are now included as part of the composer’s Op.33. In of the music, “the atmosphere is Satanic.” Scriabin seems addition to the Dies irae of the Roman Catholic church, to delight in mixing pain and pleasure; the composer the chants of the Russian Orthodox church had an describes one sensual passage as “poisonous.” Later in the important influence on Rachmaninov ’s melodic style. As march section, Scriabin describes the passage as a “parade a young boy, he accompanied his maternal grandmother, of the forces of evil.” Madame Boutakova, to services, where the choral singing and the sound of church bells greatly impressed him. These sources of imagery had an important influence on Sergei Rachmaninov Rachmaninov throughout his life. (1873–1943) Rachmaninov began work on his second sonata in the Moments muicaux, Op.16, Nos.1–4 spring of 1913, simultaneously with his cantata The Bells. 8 Etudes-Tableaux, Op.33 He was staying in the same apartment in the Piazza di Sonata No.2 in B-flat Minor, Op.36 (1913/1931) Spagna where Tchaikovsky had composed during his Etude-Tableau in E-flat Minor, Op.39 No.5 many visits to Rome. The sonata’s kinship with The Polka de W.R. Bells is evident above all in the frequent occurrences Variations on a Theme of Corelli, Op.42 of bell-like sonorities. One can hear thundering bells in the conclusion of the development section of the Op. 16 comprises a group of six separate works which first movement and elsewhere throughout this work. reproduce musical forms characteristics of previous eras. Rachmaninov originally wrote this sonata in 1913 but No.1 Andantino opens the set with a long reflective revised it in 1931, tightening the structure, thinning the melody that develops into a rapid climax. The piece texture, and bringing it in line with his current thinking. combines elements of the nocturne and variation. No.2 Allegretto is referred to as a “glittering showpiece” Polka de W.R. was written for Wassili Rachmaninov, representing a typical nineteenth etude. No.3 Andante Rachmaninov’s father and an amateur pianist. cantabile is structured as a three-part form and described as a mixture between the Song Without Words and funeral The Variations on a Theme of Corelli were composed march genres. No.4 Presto is similar to the second in during a holiday in France in 1931. Rachmaninov had first quality, revealing a resemblance to Chopin’s Revolutionary encountered the theme in Liszt’s Spanish Rhapsody, which Etude (Op.10, No.12). frequently appeared in his recital programs a dozen years earlier, but had renewed his acquaintance in 1928, while Rachmaninov wrote two sets of Etudes-Tableaux, Op.33 collaborating with Fritz Kreisler in a series of recordings. (1911) and Op.39 (1916–17). These etudes mark a distinct The theme, however, is not Corelli’s but an anonymous development in Rachmaninov’s career as a composer. seventeenth-century Portuguese dance song La Folia. Persistently chromatic, his harmonic formations are Only two of the twenty variations do not have D minor complicated and sophisticated with varied use of altered as their basic key, and the tautness of construction shows chords and bold digressions within a given key. Rachmaninov’s compositional powers at their finest.

— 58 Béla Bartók (1875–1937) (1881–1945) Oiseaux triste (Miroirs) Improvisations on Hungarian Peasant Songs, Op.20

Gaspard de la Nuit Out of Doors, Sz.8 P

La Valse With Drums and Pipes r o

Barcarolla a r g Ravel was one of the most famous and most accomplished Musettes

composers of his time; virtually every one of his works The Night’s Music m entered and has remained in the international repertory. The Chase He made a significant contribution to early 20th century G u

piano literature; his Jeux d’eau (Fountains), 1901, opened Bartók is perhaps the foremost twentieth-century i d

a new era of piano sonority. Ravel, who was criticized representative of Nationalism in music; he succeeded in e during his lifetime for being an imitator of Debussy, bringing authentic folk elements into an unprecedented made it clear that his Jeux d’eau was written two years synthesis with the techniques of traditional art music. He before Debussy’s Jardins sous la pluie and four years before developed five levels of complexity for using his newly Reflet dans l’eau. discovered materials: from 1) Genuine folksongs are featured in a composition, and invented material is of Concerning Oiseaux tristes, Ravel wrote: “Here I evoke secondary importance; to 5) The work is pervaded by the birds lost in the torpor of a dark forest in the hottest atmosphere of folk music. hours of the day. Gaspard de la nuit marks the summit of Ravel’s output for solo piano. The composer described the Out of Doors is a set of five solo pieces written in 1926. work as “a set of three romantic poems of transcendental Although the set is often referred to as a suite, Bartók did difficulty.” He insisted that each of the poems be printed not always play the set in its entirely. Originally published as a preface to the corresponding piece of music. In in two volumes; one contained the first three pieces and Ondine, Ravel evokes the shimmering moonlight on the other the last two. With Drums and Pipes can be traced the lake. Angela Hewitt writes: “The repeated chords to a specific folk song.The Night’s Music is a loose rondo that open in the right hand have a tongue-twister of a form in which the imitation of natural sounds of birds, rhythm that is enough to put off many a player from cicadas, and the Hungarian unka frog randomly appear. going any further. Yet it all has to sound easy!” Ravel The Chase is considered to be the most demanding piece beautifully evokes the fluid surrounding of the water in Bartók’s entire output for solo piano. sprite. In Le Gibet (the Gallows) the composer creates an atmosphere of tension and death (“the body of a hanged man, reddened by the setting sun”). The tolling of the bell is symbolized by the static B-flat which is heard over (1882–1971) two hundred times at regular intervals. Hewitt writes that Trois mouvements de Pétrouchka Scarbo is almost entirely constructed from three motifs: Stravinsky/Agosti The Firebird “the first is presented in the opening opening bar, the Danse infernale du roi Kastchei second which is the repeated-note figure, and the third Berceuse which surely must be Scarbo’s claws, scratching the silk Finale coverlet.” Perhaps the greatest composer of the twentieth century, La Valse, set in a grand ballroom during the mid-1850s, Stravinsky was certainly one of the most versatile and portrays the heady decadence and catastrophic downfall of influential. His impact stemmed principally from his Imperial Vienna in one of the composer’s finest orchestral emancipation of rhythm, his orchestrations (especial his scores. Originally commissioned by Diaghilev’s Ballets use of instrumental soloists), his revival of traditional Russe in 1919, the work charts the demise of Viennese forms and styles, his use of folk, popular, and jazz society as the great waltz itself plummets headlong toward elements, and his ultimate recourse to serial techniques. its own ecstatic collapse. Ravel’s 1921 piano version has One of his greatest gifts was that of realizing in sound the become as popular as the original work. movements of dance. In his notes to the Kissin recording of Trois mouvements de Pétrouchka, Steven Wigler points

— 2016 New Orleans International Piano Competition 59 out that although this is one of the piano repertory’s Olivier Messiaen most famously flashy works, Stravinsky was suspicious of (1908–1992) what he called “go-getting and tyrannical virtuosi.” It was Vingt Regards sur l’Enfant Jésus who inspired Stravinsky to transcribe No.10 Regard de l’Esprit de joie e three scenes from the ballet; the transcription was d i completed in 1921 and programmed for the first time in

u Messiaen continued the development of the whole line of 1924. Wigler states that any pianist can understand what

G French piano music from Debussy. Although an organist, Rubinstein meant when he remarked that “proposing to a Messiaen wrote with enthusiasm for piano throughout m beautiful woman requires only slightly more courage than his career. After his mid-thirties, his piano writing playing Pétrouchka on the piano.” benefitted from his artistic collaboration with Yvonne g r a Loriod, who became his second wife. For Messiaen, the o

r The last three scenes of The Firebird have been brilliantly concept of harmony and color were always intertwined, P transcribed for piano by Guido Agosti (1901–1989). and like Scriabin he heard and composed his music in terms of visual colors. In an age when others exploited the percussive attack of the piano’s timber, Messiaen’s Sergei Prokofiev music is notable for its exploration of resonant decay of (1891–1953) the sound. Messiaen worked with terraced dynamics, so Suggestions diabolique, Op.4, No.4 that the melody is often colored by the quieter sounds Sonata No.6 in A Major, Op.82 that surround it; these composed-in resonances are barely heard in themselves but serve instead to transform Blending lyricism and dissonance, Prokofiev developed the color of the main strand of sound. His music was an individual, percussive style of writing for the piano. influenced by his beliefs as a Catholic mystic; bird calls He strove for simple melodic expression and for the and Hindu ragas also had an important effect on his proper subordinate position of dissonance within an compositional style. essentially tonal orientation: “All my work is founded on melodies.” Prokofiev lists five principal elements Vingt Regards sur l’Enfant Jésus (Twenty Contemplations in his musical composition: “1) the classical (related or Glimpses on the Infant Jesus) was composed in 1944. specifically to Beethoven’s piano sonatas); 2) the search Messiaen described his work: “Contemplation of the for innovations and new harmonic idioms for strong Child-God of the Manger and Looks cast on Him: from emotional expression; 3) the toccata or motor element the multiple Look of the Church of Love, to the ineffable (the use of insistently repeated rhythmic patterns); 4) Look of the Spirit of Joy, the very tender Look of the the lyrical; and 5) the satirical or grotesque (qualified in Virgin, then to that of the Angels, of the Magi and of stages as scherzoness, jest, laughter, mockery).” symbolic creatures (Time, the Elevation, Silence, the Star, Suggestions diabolique is the last of four pieces of Op.4. the Cross). Apart from these specific to each of the twenty Hinson describes it as “mocking, bravura, driving” and pieces, four cyclical themes run through the work: the the most difficult of the set. Theme of God, the Theme of Mystic Love, the Theme of the Star and of the Cross, the Theme of Chords.” Taken as a whole, the nine sonatas of Prokofiev are a monument in twentieth-century piano literature. It is through a survey of the sonatas that Prokokiev’s musical evolution is most clearly and fully presented. The sixth, seventh, and eighth were written during World War II and were finished in 1940, 1942, and 1944. The first movement of Sonata No.6 in A Major grabs the listener’s attention immediately with its conflict of A major versus A minor, and its principal opening motive of descending major thirds (this motive later recurs in the third and fourth movements). Reflecting the violence of wartime, Prokofiev directs the performer at one point to playcol pugno (with the fist). This demanding movement involves difficult leaps and hand-crossings. — 60 Elliott Carter Pierre Boulez (1908–2012) (1925–2016) 90+ 12 Notations P

Carter was an American composer who was twice awarded During the winter of 1945, the twenty-year-old Pierre r o

the Pulitzer Prize. After an early neoclassical phase, his Boulez composed Douze Notations. The piano pieces a r g style shifted to an an emphasis on atonality and rhythmic offer a fascinating insight into the early development of

complexity. He was hailed as “America’s great musical the musical language of one the leading composers of m poet” by Andrew Porter and noted as “one of America’s the twentieth century. Notations was dedicated to Serge most distinguished creative artists in any field” by his Nigg, an individual Boulez came to know through his G u

friend Aaron Copland. work with Messiaen and Leibowitz. The work explores i d

many of the different aspects of musical composition and e 90+ was composed in 1994. During Carter’s several thought. Michael Blostein characterizes those aspects as residences over the years in the American Academy in ranging “… from the mixture of tempo extremes in the Rome, his friendship with the Italian composer Goffredo first movement to the toccata in number 6 and groups Petrassi deepened. To celebrate Petrassi’s 90th birthday, of ostinato spread throughout.” He continues: “over Carter wrote this first of his late miniatures. In his a period of time, the listener can observe many of the program note for the premier, Carter writes: “90+ for musical issues and ideas which would come to define piano is built around ninety short, accented notes played Boulez’ style such as alternations between simplistic ideas in a slow regular beat. Against these, the context changes and extremely thick sonorities, abrupt gestures, and a character continually.” However, this slow tactus is out mixture of different traditional ideas used in new ways.” of sync with the mostly 4/4 bar structure of the score, so This was the first of Boulez’s works to be published. that the regular beats seem “to play hide and seek” with their surrounding figures and chords. Toward the center of the piece, the texture thins; events then accumulate to a brief climax, breaking off for the 90th beat. In a charming Nikolai Kapustin (b.1937) coda the beats continue at a quickening pace, as through Variations, Op.41 Carter were wishing Petrassi to live on for many years. The Variations, Op.41 (1984) encompasses Kapustin’s style in microcosm. A brief introduction leads into a thirty-two bar theme in D-flat Major that moves between a jazzed-up rendition of the solo bassoon theme that opens Stravinsky’s Rite of Spring and a descending bluesy gesture. Like the Concert Etudes, Op.40 written in the same year, Kapustin’s style is at its broadest and most inventive, ranging from jazz to blues, boogie-woogie to stride, and is full of energy and excitement.

“Music expresses that which cannot be said and on which it is impossible to remain silent.” – Victor Hugo

— 2016 New Orleans International Piano Competition 61 in memoriam Deborah Jo Nice August 25, 1950—February 21, 2016 In loving memory of Debbie, and to recognize the New Orleans International Piano Competition for the joy it gave her, Debbie’s family gives our warmest thanks to: • Raymond Gitz, Debbie’s wizard of a piano teacher, one of the two founders of the competition, • All of the board members, staff, Institute faculty, competition jurors, and volunteers of the Musical Arts Society who provided a wonderful, welcoming community for her throughout the years, and • Many people who kindly and generously made donations to MASNO in her memory.

Debbie’s family also extends our heartiest congratulations to all of the 2016 competition semi-finalists, for bringing great music to New Orleans, and for continuing the tradition of pursuing the highest standards of artistry in classical piano.

We cannot all do great things, but we can do small things with great love. – Mother Teresa, Nobel Peace Prize winner, 1979 — 62 WISHING YOU THE SUCCESS AT LEAST EQUAL TO YEVEGNY SUDBIN OR . — Robert Pope

Best of luck to the contestants of the 26th New Orleans International Piano Competition.

Susan Jeanfreau, M.D. Thomas Ryan, M.D. 3040 33rd Street 4429 Clara Street, Ste. 500 Metairie, LA 70001 New Orleans, LA 70115 Tel. 504-897-4287

— 2016 New Orleans International Piano Competition 63 g n

i v i Become a part of MASNO! G

l e We at MASNO are privileged to be able to present these kinds of Company Matching

b musical opportunities in New Orleans as well as play significant Many companies have programs in place to match or even double roles in the development of young talent and future musical the donations of their employees or their employees’ spouses. You careers through our programming. However, we could not do so can acquire a Matching Gift Form from your company’s Human without the generous support of our Friends, Donors, Partners Resources Office.

h a r i t a and Sponsors.

C Charitable Remainder or Charitable Lead Trusts Membership Gifts that generate income are excellent vehicles for your Our annual membership level starts with a tax-deductible retirement plan. By placing assets in a Charitable Remainder donation of $35 per year. This annual membership includes a Trust for the benefit of the Musical Arts Society, one or another subscription to MASNO’s E-Newsletter, Advance Notice and beneficiary may: Pre-sale Privileges for exclusive MASNO events, and Recognition • Receive fixed or variable income payments for life in the program book of the New Orleans International Piano • Enjoy a current income tax deduction Competition and New Orleans Keyboard Festival. • Eliminate capital-gains tax when using appreciated assets • Convert low-income property or securities into a higher Monetary donations can be made by mail, by phone (call income stream 504.899.4826 or text “MASNO” to 256.542.9309), or securely • Reduce estate taxes online at masno.org. Levels of donations can be found on the With a Charitable Lead Trust, you may provide income to the following pages of this book or on our website. Musical Arts Society for a period of time, passing on the assets to your heirs in the future. Lead Trusts can also help save estate or Corporate and Individual Event Sponsorship Opportunities gift taxes while at the same time providing a major contribution. MASNO offers multiple levels of Corporate and Individual Event Sponsorship Opportunities. These levels of donation are Bequests, Retirement Planning, Life Insurance, and Securities accompanied by benefits to the sponsor. Examples of Individual Gifts Event Sponsorships include the sponsorship of Artist Fees, If you already have an established will, or will soon be having Salon Concert Events, Nocturne, Prizes for the New Orleans one prepared, consider leaving a bequest to the Musical Arts International Piano Competition and more. More information is Society. If you already have a will, naming MASNO can be done available for download on our website. very simply by an amendment (codicil) so that your entire will does not need to be redrafted. To leave a bequest to the MASNO Please note the IRS requires that the Fair Market Value of certain Endowment Fund, please name the beneficiary as the Musical benefits be subtracted from the amount of your gift on your tax Arts Society of New Orleans. return. You may waive any benefits by notifying our office. Qualified retirement plan benefits are excellent choices for Volunteering and Hosting funding a testamentary charitable gift. Because such benefits are MASNO very gratefully acknowledges and relies on the subject to estate taxes and income tax liability to the ultimate support of our volunteers and hosts to ensure the success of our recipient, directing those assets to the Musical Arts Society could events. Examples of some of these volunteering and hosting be eligible to bypass double taxation. opportunities are: • Volunteering at events including the New Orleans Naming MASNO as the beneficiary of a life insurance policy will International Piano Competition allow an estate tax deduction for your estate. • Hosting a contestant for the New Orleans International Piano Competition Contributions of stocks or bonds can be designated for the • Hosting a Juror and Faculty Dinner for the New Orleans MASNO endowment Fund, directed to benefit a specific aspect International Piano Competition of programming or directed to the support of MASNO’s general • Hosting a Salon Concert Event* operating expenses. • Other volunteer opportunities For more information, visit masno.org, call 504.899.4826, or *Salon Concert Events feature internationally acclaimed as well email [email protected] as emerging MASNO artists in intimate concert settings often accompanied by delectable food and drink. From private homes to art galleries, these performances outside of the traditional concert hall have become some of MASNO’s most popular offerings.

— 64 masno raffle_Layout 1 7/8/16 3:38 PM Page 1

RAFFLE BENEFITTING MASNO

Win an Evening with a Steinway Spirio & Artist in Your Home!

The new STEINWAY & SONS SPIRIO is the world’s only high resolution player piano. A masterpiece of artistry and engineering in your home, SPIRIO enables you to enjoy performances by great pianists — played with such nuance, power and passion that it is utterly indistinguishable from a live performance. We can describe what SPIRIO looks like. We can talk about how it sounds. But the only way to fully appreciate the sensation of over 12,000 parts in a STEINWAY SPIRIO working in unison, is to feel them resonating Sponsored by and soaring... in person in your home.

$100 per Ticket Donation Drawing to be held Sunday, July 31, 2016 www.HallPiano.com Scheduling to be determined. The Wine – Spirits- Beer Wine And we deliver 5000 Prytania St [email protected] Seller 504-899-6000

NOMTA, an affiliate of the Music Teachers National Association, is committed to providing opportunities for teachers and students to develop their musical gifts to a level of excellence.

— Jerry2016 New Orleans & RitaInternational Satawa Piano Competition 65 send best wishes to all competitors. Law Of fice of

Dale Edwar d Williams Employment Law

With over 20 years of experience in employment law, Dale Williams handles important cases and gives each one the individual, specialized attention it deserves.

Services Include: •fringe benefits – ERISA •defend judgments on appeal •retaliation (participation or protest) •overtime (Fair Labor Standards Act) •litigate matters in court to judgment •whistleblower (Louisiana and Federal) •severance packages and employment contracts •employee policy manuals and non-compete agreements •sexual harassment (quid pro quo and hostile environment) •provide counseling PRIOR to a workplace situation becoming actionable •discrimination (age, race, sex, physical handicap, pregnancy, national origin) •evaluate terminations, demotions, denials of training, reassignments, etc. for infractions of the law

web: daleslaw.com mailto: [email protected]

212 Park Place Covington, Louisiana 70433 985.898.6368

— 66 — D on a t i on s 67 2016 New Orleans International Piano Competition Fund Gauthier Family Foundation Family Gauthier D. Levy Edward Dr. Family Weilbaecher N. and Sharon Robert Williams and Dale Robin McCall and Mrs. Jonathan Mr. Mindak William Mrs. Mary Monsted Regeczi and Bruce Jensen Joni Resnianski Igor Dr. Ricciardi and Mrs. James Dr. Thomas Sands and Barbara Speyrer and Greg Betty UNO Foundation Usdin and Steve Melanie Weilbaecher Daniel Williams Axtell John and Mrs. Robert Mr. Woolf and Vance Woolf Cara McCool Loyola Univeristy Loyola Paraizo Lescale and Henrique Keith Dr. Pope J. Robert Mr. Orleans of New Society Steinway WWNO 89.9 B. Merritt and Mrs. Christopher Dr. Mize and Ranney Emel Drs. Heritage and Jazz Orleans New Foundation Rosenthal and Steve Sandy Trible and Bruce Madelyn Allegro $500+ Allegro CarverMary Lee and Hampton Alan Chow Coulter Joan Drezdzon William and Mrs. Mr. and Mrs. Charles L. Dupin Dr. Epstein Jep and Scott Kropog Robin La Motte Roy and Lynn Volaufova Julia Laborde and Mary Merle Theodore Lafaye Susan and Allan Ledbetter Toni and Mrs. Clay LeJeune Mr. Martinat and Peter Breaux Marie Mr. and Mrs. Charles Booker Mr. Bradburn Muir Mrs. Donald Anthony Decuir Dr. Faget Mignon Farrow James Dr. Vivace 1000+ Vivace Advantage Capital Partners Advantage Orleans Arts Council New Bluth and Mrs. Edward Dr. Charlie Bohn Brown and Archie Andrea Drs. Dickerson and Jody Darlene Honn Dana Presto $2500+ Prestissimo $5000+ Prestissimo Crutcher and Bruce Robin Gauthier Anne B. Goula Richard Company Piano Hall Larson and Herb Nice Julianne Allegretto $250+ Milton Anderson Paul J. Leamann, Jr. Larry Watts and Joey Bennett Mr. and Mrs. Thomas Lemann Dr. and Mrs. Ted Bloch III Mrs. Jacquelyn S. Lothschuetz Ramona Bond Theresa Lutostanski s Dr. and Mrs. Kenneth Boulton Andrea and Hans Mulder

on Louise and Henry Bush Guillermo Nanez Constance Carroll Vernon Palmer a t i Mary Chapman Mary B. Reidy

on Scott Chotin Dr. and Mrs. Perry Rigby

D Dr. R.W. Culver Dr. and Mrs. James Rioppelle Alexandra Shikhris and Eduard Danilyants Phyllis Robert Debbie Danna Rita and Gerald Satawa Kathan Dearman Karen and Leopold Sher Malise and Eddie Dennard Mr. and Mrs. Frank Stewart Dr. and Mrs. Juan Gershanik George Van Hoose Raymond Gitz Connie and Casey Willems Greater New Orleans Music Club Ann B. Yarborough Herman Kohlmeyer Jr.

Moderato $100+ Drs. Barbara and Edwin Beckman Betty Karam Emily Clark and Ron Biava Fred Kasten Roselyn Boneno Mary and Lee Longstreet James Boyd Faina Lushtak Florence Brown Beth and Charley McCool Mary Jane Butera Mary Lee McKee Mary Sue Chambers Dr. Judith G. Miranti Claudia Champagne Marsha Rapfogel Dee Clubb Ben Rauch Dr. Raquel Cortina Mary Alma Riess Phillip Delony Barbara Robinson Catherine Durnin Van Dalton Jenkins and Barbara Robinson Mr. and Mrs. George Freeman Eduardo E. Rodriquez Anita Garcia Cynthia A. Samuel Mr. and Mrs. Samuel Giberga Sheila Schwartzmann Melissa and Bruce Gordon Robert Skinner Mariko Gunge Marly Sweeny Michael Harold Elaine Thompson Margarita and Kim Harvey Martha Treen Kathleen Hebert Robert Whann III Susan and Bill Hess Mrs. Claire Whitehurst Dr. and Mrs. Thomas Irwin, Jr. Beth Turner and Clarence Wolbrette Dr. and Mrs. Bernard Jaffe

— 68 CTH • Columbia Theater, Hammond LOUISIANA PHILHARMONIC FBC • First Baptist Church, Covington JPAC • Jefferson Performing Arts Center ORCHESTRA OT • Orpheum Theater CARLO S MIG U E L PRIET O , MUSIC DIRECT O R SMA • Slidell Municipal Auditorium Don’t miss these 2016-2017 keyboard artists performing with the LPO!

OPENING WEEKEND: TCHAIKOVSKY PIANO ANNE-MARIE MCDERMOTT BEETHOVEN ‘PASTORAL’ SYMPHONIE FANTASTIQUE CONCERTO NO. 1 PLAYS MOZART SYMPHONY OT Thursday, Sept. 15, 7:30 p.m. JPAC Thursday, Oct. 13, 7:30 p.m. OT Thursday, Jan. 5, 7:30 p.m. OT Friday, Feb. 3, 7:30 p.m. FBC Friday, Sept. 16, 7:30 p.m. CTH Friday, Oct. 14, 7:30 p.m. FBC Friday, Jan. 6, 7:30 p.m. Andrew Grams, conductor OT Saturday, Sept. 17, 7:30 p.m. William Wolfram, piano SMA Saturday, Oct. 15, 7:30 p.m. Carlos Miguel Prieto, conductor Carlos Miguel Prieto, conductor Anne-Marie McDermott, piano THEOFANIDIS: Dreamtime Ancestors Aram Demirjian, conductor Lilya Zilberstein, piano SCHNITTKE: Moz-Art à la Haydn (co-commission) Sean Chen, piano MOZART: Piano Concerto No. 21 LISZT: Piano Concerto No. 1 ADAMS: Short Ride in a Fast Machine 2013 Van Cliburn Competition BEETHOVEN: Symphony No. 6, “Pastoral” SAINT-SAËNS: Piano Concerto No. 5, Crystal Award Winner SIBELIUS: Symphony No. 5 “Egyptian” BEETHOVEN: Overture to Coriolan BERLIOZ: Symphonie Fantastique KORNGOLD: Overture to Much Ado About Nothing Subscribe and Save! TCHAIKOVSKY: Piano Concerto No. 1 Become an LPO Bronze Subscriber - 5 concerts for AS LOW AS $85

LPOmusic.com • 504.523.6530

The most important thing in your ife, is her ife.

Specializing in the care of women with the Westchester diffi cult diagnosis of a high risk pregnancy. 600 Mamaroneck Ave, Ste 110, Harrison, NY 914.670.0500 With emphasis on prenatal screening and diagnosis, Dr. Lescale uses the latest technologies in ultrasound imaging & Manhattan procedures throughout each trimester of 523 East 72nd St, 9th Floor, NY, NY your pregnancy. We will manage all aspects 212.249.1788 of your pregnancy in conjunction with your obstetrician. We also offer - • Genetic & Diabetic Counseling • Chorionic Villus Sampling (CVS) Dutchess • Nuchal Translucency Screening • Non-Invasive Prenatal Screening 68 West Cedar St, 1st Lvl, Poughkeepsie, NY • Targeted Ultrasound • Amniocentesis • Consultations 845.483.0500 LESCALE MFM Maternal-Fetal Medicine St. John’s Riverside Hospital 967 North Broadway, Yonkers, NY Keith B. Lescale, MD, FACOG, Medical Director 914.964.4646 Selected as a Top Doctor – Westchester Magazine and New York Magazine

Westchester Dutchess 600 Mamaroneck Ave, Ste 110, Harrison, NY 68 West Cedar St, 1st Lvl, Poughkeepsie, NY 914.670.0500 www.lescalemfm.com845.483.0500 Manhattan St. John’s Riverside Hospital 523 East 72nd St, 9th Floor, NY, NY 967 North Broadway, Yonkers, NY — 2016 New Orleans International Piano Competition 69 212.249.1788 914.964.4646 www.lescalemfm.com Andante $35+ Mrs. Bethlehem K. Andrews Ann Babington Norton Berman William R. Cullison s Connie Dahlberg

on Terressa Davis Autry P. Dore a t i Martin Drell

on Ernestine and Michael Eckstein

D Dana Eness Jane Eyrich Henry Folse Peggy and Ray Fransen Evelyn Grijak Seth Harris Sheldon Hersh LOYOLA Irene Klinger Charles Kunz III PREPARATORY Mrs. James C. Landis Rachelen Lien ARTS Mr. and Mrs. Roger Peck Virginia Roddy PROGRAM Pamela Rogers Beth Bloch Rosenthal Loyola Preparatory Mrs. James F. Roy Arts Program offers Margaret and Wade Shields instruction in piano, Charles Rodney Smith guitar, voice, string Charles R. Smith instruments, trumpet, Dr. and Mrs. Terence Walsh saxophone, dance, and Margot Markle Wilkinson Musikgarten™. Dr. and Mrs. Lawrence Zaslow

COURSES OPEN TO ADULTS AND CHILDREN.

cmfa.loyno.edu/prep-arts

For questions or to register, call (504) 865-3627 or email [email protected]

— 70 E MASNO Endowment Fund O D N An endowment fund has been established to honor the memory of friends and loved ones or to celebrate their lives or special occasions. Interest realized from this untouched principal investment will help fund w various projects of the Musical Arts Society of New Orleans. m e n

Gifts have been made in memory and in honor of: t

Melvin G. Alford Mrs. Hazel Melancon F Elissa Bluth Betty and Dick Mize D N U Robin and Bruce Crutcher Deborah Jo Nice Fritz Dahlberg Fay and Joe Rosenberg Midge Dean Rahmiye and Celalettin Songu Dr. and Mrs. Arthur Dickerson Dianne Tell Frank Gonzalez Merlyn Weilbaecher Lois Chalona Hawkins Daniel Weilbaecher, Sr. Bernard Hirsch Herman George W. Wilkins and Marilyn Wilkins Viktor Khalimsky Clarence Pete Wolbrette Mary Lou MacDowell John M. Yarborough, Jr., M.D.

Contributions to the Endowment Fund have been made by: June Aiken Dr. James Farrow Dr. and Mrs. James Ricciardi Melvin G. Alford Mr. and Mrs. Darwin C. Fenner Van Dalton Jenkins and Barbara Bellsouth Richard Ford Robinson Norton Berman Anne B. Gauthier Cynthia A. Samuel Emily Clark and Ron Biava Dr. Raymond Gitz Mr. and Mrs. Jack Scheinuk Dr. and Mrs. Edward Bluth Melissa and Bruce Gordon Mr. and Mrs. Jeff Scurlock Charles Bohn Richard Goula Karen and Leopold Sher Roselyn Boneno James O. Gundlach Dr. Eduard Danilyants and Mrs. Mrs. Donald Muir Bradburn Liz Hampton Alexandra Shikhris E. John Bullard George Van Hoose Michelle and Oren Smith Brad Buras Jhane Barnes Menswear, Inc. Mr. and Mrs. Warren Stern Charlotte Buras Lynn Johnston Mr. and Mrs. Frank B. Stewart Mr. and Mrs. Peter G. Burke Cosette Kaufmann Rachel and Ron Tell Hope Cantrelle Nina Kelly Philip Fuselier and Anthony Linton Carney Brenda and Lance Lafargue Terranova Mary Lee and Hampton Carver Dr. and Mrs. Alphonse Landry The Lupin Foundation Mary Sue Chambers Julianne Nice and Herb Larson Mr. and Mrs. Bruce C. Trible Mr. and Mrs. Edgar Chase III Dr. and Mrs. Ricardo Leoni Mr. and Mrs. Mark Vile Mr. and Mrs. William Coe Dr. Edward D. Levy, Jr. Dr. Daniel Weilbaecher Mary Wilkins Costa Rachelen Lien Dr. and Mrs. Robert Weilbaecher Joan Coulter Jacquelyn Lothschuetz Jay Welch Robin and Bruce Crutcher Theresa Lutostanski Mr. and Mrs. Robert J.A. Williams Janet Daly Robert J. MacDowell Mr. and Mrs. Dale Williams Virginia Darmstadter Sandie and Jim McNamara Sam Wong Dr. and Mrs. Arthur Dickerson Dr. Thomas Melancon Dr. David G. Wood Anita and William Drezdzon Drs. Emel and Ranney Mize Cara McCool Woolf and Vance Dr. and Mrs. Charles L. Dupin Phillip and Babs Mollere Woolf Dana Eness Ava Rosenberg Nowalsky Dr. Roger Wortham Dr. and Mrs. Stuart Farber J. Robert Pope Dr. and Mrs. John Yarborough

— 2016 New Orleans International Piano Competition 71 Competition Housing and Dinner Hosts An event of this scope is dependent on finding comfortable housing with access to a piano in excellent

ts working order for the visiting artists. We have been fortunate to have always been able to rely on the generous n

e and hospitable nature of this city’s music lovers. The Musical Arts Society is grateful to the following people

m for opening their homes to this year’s visiting musicians: ge

d Larry Watts and Joey Bennett Julie Nice and Herb Larson Elissa and Eddy Bluth Marie Breaux and Peter Martinat wle Charlie Bohn Evie and Chris Merritt

no Joan Coulter Mary and Scott Monsted k Robin and Bruce Crutcher Keith Lescale and Henrique Paraizo c

A Debbie Danna Robert Pope Malise and Eddie Dennard Pamela and James Ricciardi Darlene and Jody Dickerson Sandy and Steve Rosenthal Jim Farrow Barbara and Thomas Sands Anne Gauthier Lizbeth Turner Susan Lafaye M a c b e

ni t MMMaaadddnnnnnnsss,,, Don GioOcvt. 7a & n9, 2016 h Sweeney tODD Nov. 11 & 13, 2016 MMMuuuuuueeerrr,,, aaannnddd Feb. 10 & 12, 2017 dddmmmmmmtttiiiooonnn... aan 2016-2017 הt Fau NewOOeansOpee.oo . 504-529-3000 Mar. 31 & Apr. s2, 2t017

— 72 LOUISIANA PHILHARMONIC ORCHESTRA CARLO S MIG U E L PRIET O , MUSIC DIRECT O R

Concerto Showcase IX presented by the Musical Arts Society of New Orleans Louisiana Philharmonic Orchestra Carlos Miguel Prieto, conductor 2016 New Orleans International Piano Competition Medalists

Enjoy an afternoon of piano concertos as the three medalists from the 2016 New Orleans International Piano Competition perform with the LPO.

Adult tickets from $20 Students $10 at the door

Introducing

presented by the Musical Arts Society of New Orleans and the Louisiana Philharmonic Orchestra January 3 - 8, 2017

2017 Festival Artist Anne-Marie McDermott

SCHEDULE

Community Masterclass LPO Events MASNO Events

Tuesday, January 3 Thursday, January 5 Saturday, January 7 Masterclass Auditions LPO Open Rehearsal Salon Concert featuring Time TBA I Location TBA Anne-Marie McDermott Anne-Marie McDermott Play for a chance to participate in a Plays Mozart 6:30 p.m. I 2702 Saint Charles Ave. community masterclass with famed 10 a.m. I Orpheum Theater Home of Keith Lescale and pianist Anne-Marie McDermott. Tickets: $10 Henrique Paraizo Application to participate required. Tickets: $175 Register online at LPOmusic.com. Thursday, January 5 Includes a preferred seating ticket to LPO Concert Piano Concerto Showcase Wednesday, January 4 Anne-Marie McDermott Sunday, January 8 Anne-Marie McDermott Plays Mozart Concerto Showcase IX Community Masterclass 7:30 p.m. I Orpheum Theater 2:30 p.m. I Roussel Hall, Loyola Univ. 6 p.m. I Orpheum Theater SCHNITTKE: Moz-Art á la Haydn Three winners selected from the MOZART: Piano Concerto No. 21 Featuring the three medalists of the masterclass audition participate SIBELIUS: Symphony No. 5 2016 New Orleans International Piano in session led by McDermott at Tickets: From $20 Competition. the Orpheum Theater on the Tickets: $20-$55 LPO’s newly dedicated John M. Friday, January 6 Reception to follow Yarborough Steinway grand piano. LPO Concert Reception to follow. Anne-Marie McDermott USE ONLINE PROMO CODE Free Admission Plays Mozart PIANOLA TO PURCHASE 7:30 p.m. I First Baptist Covington TICKETS BEFORE THEY GO SCHNITTKE: Moz-Art á la Haydn ONSALE TO THE PUBLIC MOZART: Piano Concerto No. 21 SIBELIUS: Symphony No. 5 AUGUST 1 AT LPOMUSIC.COM Tickets: From $20

Tickets and Information at LPOmusic.com • 504.523.6530 ts

n Acknowledgements e

m Acadiana Symphony Orchestra Katie Hallman Keith Lescale and Henrique Paraizo

ge Advantage Capital Partners Margarita Harvey Parkview Guest House d Alink-Argerich Foundation Kathy Hebert Katherine Poche Arts Council New Orleans Judy Heinrich J. Robert Pope wle Astral Artists Frank Heneghan Carlos Prieto

no Carmen Balthazar Shearon Horton Marianna Prjevalskaya k

c Baton Rouge Symphony Orchestra Brian Hsu Ben Rauch

A Larry Watts and Joey Bennett Fred Kasten Joan Jensen and Bruce Regeczi Ron Biava Clinton Keene Igor Resnianski Scott Bickford Mimi Kruger Joycelyn Reynolds Hristo Birbochukov Susan Lafaye RHR Photography Elissa and Eddy Bluth Lisa Lafleur Pam and Jim Ricciardi Charlie Bohn Julie Nice and Herb Larson Susan Roesgen James Boyd Ben Lazich Nigel Rogers Andrea and Archie Brown Le Petit Theatre Jessica Roma Lou Bush Ed Levy Sandy and Steve Rosenthal Cary Byrd Louisiana Division of the Arts Julia Rubio Rebecca Cain Louisiana Philharmonic Orchestra Barbara and Tom Sands Constance Carroll Loyola University New Orleans Scott Myers Photography Mary Sue Chambers Faina Lushtak Dean Shapiro Kevin Chance Theresa Lutostanski Margaret Shields Alan Chow Paul Maassen Talmadge Singer City of New Orleans Diane Mack Karen and Jimmy Smith Clavier Companion Marie Breaux and Peter Martinat Mariusz Smolij Dee Clubb Jonathan McCall Sean Snyder Peter Collins Beth McCool St. Charles Avenue Magazine Cheryl Conway Mark McCreary Steinway and Sons Joan Coulter Mary Lee Murphy McKee Steinway Society of New Orleans Robin and Bruce Crutcher Matt McWilliams Sue Strachen Debbie Danna Emily McWilliams Sally Suthon Kathan Dearman Evie and Chris Merritt Saegan Swanson Anthony Decuir Emel and Ranney Mize Charles Taylor Malise and Eddie Dennard Mary and Scott Monsted The Advocate Darlene and Jody Dickerson Lina Morita The Ritz Carlton Anita and William Drezdzon Marie Kuebel Morris The Times-Picayune Danny Driver Alexandre Moutouzkine Madelyn and Bruce Trible Judy and Elroy Eckhardt Timothy Muffitt Nelita True Jep Epstein New Orleans Center for Creative Viktor Valkov Mignon Faget Arts (NOCCA) George Van Hoose Jim Farrow New Orleans Civic Symphony Chris Waddington Gambit New Orleans Friends of Music Daniel Weilbaecher Buddy Ganier New Orleans Jazz and Heritage Wigmore Hall Anne B. Gauthier Foundation Robin and Dale Williams Gauthier Family Foundation New Orleans Music Teachers Lizbeth Turner and Pete Wolbrette GetAcceptd.com Association Cara and Vance Woolf Raymond Gitz NOLA.com John Wright Dustin Gledhill Nell Nolan Amanda Wuerstlin Julie Gorham Noya Design WWLTV Richard Goula Rob Olmstead WWNO 89.9 Hall Piano Company Al Palumbo WWOZ — 74 LOOKING FORWARD: The Age of Enlightenment

MARIANNA PRJEVALSKYA, PIANO 2014 New Orleans International Piano Competition Gold Medalist

Thursday, February 23, 2017 | 7:30 PM HAYDN Symphony No. 69 in C major MOZART Piano Concerto No. 21 in C Major, K. 467 BEETHOVEN Symphony No. 7

BATON ROUGE BRSO SYMPHONY ORCHESTRA PEOPLE + MUSIC �TOGETHER BRSO.ORG 225.383.0500 Application Deadlines and Contact Undergraduates: November 15 Graduates: December 1 music.lsu.edu/admissions 225-578-9291

LSU Fall 2016 Piano Concerts School of Music Recital Hall at 7:30 p.m. Bachelor of Music September 12 – Zachary Lopes, Manship Guest Artist, Piano Bachelor of Music Education October 2 – Lin He and Gregory Sioles, LSU Faculty, Violin and Piano Bachelor of Arts in Music November 3 – Willis Delony, LSU Faculty, Piano Master of Music Tickets at cmda.lsu.edu Doctor of Musical Arts

1-4 page ad 7-16_Layout 1 7/1/16 9:18 AM Page 1

s for Better Solution save the date Aging Well in New Orleans 27th New Orleans International Piano Competition July 22–29, 2018

Serving New Orleans families since 1991, we are experts in aging well! An independent, locally owned company specializing in in-home and Alzheimer’s care, our comprehensive approach includes assessment, family consultations, caregiver availability 24/7 and peace of mind. 504.828.0900 • HomeCareNewOrleans.com

Every principal is an

— 76 steinway society 7-16_Layout 1 6/30/16 3:55 PM Page 1

S T E I N W A Y The Official Piano of the New Orleans International Piano Competition

From piano competitions for scholarships to providing Special musical and social events throughout the year, The Steinway Society of New Orleans works to further musical appreciation and education. Musical patrons across Louisiana have come together in advancing the musical arts for all ages. As a member of the Steinway Society of New Orleans you join an exceptional circle of P

friends. For more information call 1-800-STEINWAY, and join with us as t r a we support the Arts and Artists of our communities. n MASNO is proud to thank s r e

our Partners and sponsors a D N

S N O P

S TEINWAY SOCIETY s

STEINWAY & SONS o the Official Piano of the New s r OrleansN Internationalew Or leans Piano Competition 1-800-SofTEINWAY

LOUISIANA PHILHARMONIC ORCHESTRA CARLO S MIG U E L PRIET O , MUSIC DIRECT O R

Gauthier Family Foundation

WE MAKE YOU LOOK GOOD ON PAPER.

Member of

— 2016 New Orleans International Piano Competition 77 2014 2000 1st Marianna Prjevalskaya Spain 1st Stanislav Ioudenitch Uzbekistan 2nd Florian Feilmair Austria 2nd Dmitri Teterin Russia 3rd Kenny Broberg USA 3rd Ketevan Badridze Republic of Georgia

i nn ers 2012 1999 1st Viktor Valkov Bulgaria 1st Sergey Schepkin Russia

W 2nd Sejoon Park USA 2nd Petronel Malan South Africa 3rd Evgeny Brakhman Russia 3rd Won Kim Korea 2011 (Young Artist Series) 1998 1st Anna Han USA 1st Eun-Jung Shon Korea

omp etiti on 2nd Yutong Sun China 2nd Natalia Lavrova Russia

C 3rd Angie Zhang USA 3rd Thomas Pandolfi USA

ast 2010 1997 P 1st Eduard Kunz Russia 1st Csaba Kiraly Hungary 2nd Andrey Ponochevy Belarus 2nd Anton Mordasov Russia 3rd Stanislav Khristenko Russia/Ukraine 3rd Yoshikazu Nagai Japan 2009 (Young Artist Series) 1996 1st Sean Yeh USA 1st Igor Resnianski Russia 2nd Alexsandra Swigut Poland 2nd Lydia Brown USA 3rd Connie Kim-Sheng USA 3rd Franklin Larey South Africa 2008 1995 1st Spencer Myer USA 1st James Nalley USA 2nd Dmitri Levkovich Canada 2nd Pasquale Iannone Italy 3rd Vakhtang Kodanashvili Republic of Georgia 3rd Alexander Tselyakov Russia 2007 1994 1st Konstantin Soukhovetski Russia 1st James Giles USA 2nd Alex McDonald USA 2nd Irina Morozova Russia 3rd Christopher Atzinger USA 3rd Jun Eui Chun Korea 2006 1993 1st Dustin Gledhill USA 1st Rafael Guerra Mexico 2nd Chetan Tierra USA 2nd Natalia Bolshakova Russia 3rd Dmitri Levkovich Canada 3rd So-Yeun Ahn Korea 2005 1992 1st Tanya Bannister England 1st Richard Dowling USA 2nd Alexandre Pirojenko Russia 2nd Bridget Olavson USA 3rd Luca Trabucco Italy 3rd Kevin Ayesh USA 2004 1991 1st Alexandre Moutouzkine Russia 1st Brent Runnels USA 2nd Jae-Hyuck Cho United States 2nd Rosa Park Korea 3rd Darrett Zusko Canada 3rd Aviva Aranovich Lithuania 2003 1990 1st Dmitri Vorobiev Russia 1st Peter Mack Ireland 2nd Hsiang Tu Taiwan 2nd Mark Puckett USA 3rd Spencer Myer United States 3rd Chao-Yin Chen Republic of China 2002 1989 1st Hee Sung Joo South Korea 1st William Koehler USA 2nd Lev Vinocour Germany/Russia 2nd David Brunell USA 3rd Esther Jung-A Park South Korea 3rd Andrew Cooperstock USA 2001 1st Robert Henry USA 2nd Anton Mordasov Russia 3rd Yuri Blinov Belarus

— 78 CELEBRATING OVER 100 YEARS OF EXCELLENCE IN MUSIC Tulane University School of Liberal Arts Newcomb Department of Music

http://tulane.edu/liberal-arts/music

Del Musical Classical Classic Tulane Marmol Jazz Ensemble Theatre Music at Choral Orchestra Piano Guitar Marching Vocal Workshop Midday Concerts Concerts Series Performances Series Performances Series Band

For more information or to be added to the mailing list, please call 504.865.5267, or visit us at http://tulane.edu/liberal-arts/music 2014 2005 Natalya Antonova Eastman School of Music Andrew Ball Royal College of Music, London Alan Chow Northwestern University of Illinois Alan Chow Northwestern University of Illinois Jennifer Hayghe Ithaca College, New York Sean Duggan, O.S.B. State University of New York at Fredonia rs

o Igor Resnianski West Chester University of Pennsylvania Nelita True Eastman School of Music r Viktor Valkov Houston Nancy Weems University of Houston u

J 2012 2004 on Alan Chow Northwestern University of Illinois Angela Cheng Oberlin Conservatory of Music

etiti Faina Lushtak Tulane University Alvin Chow Oberlin Conservatory of Music Alexandre Moutouzkine Manhattan School of Music Paul Pollei Gina Bachauer Foundation

omp Igor Resnianski West Chester University of Pennsylvania Sandra Rivers Univ. of Cinncinnati College-

C Sandra Rivers Univ. of Cinncinnati College- Conservatory Conservatory Klauspeter Seibel Louisiana Philharmonic Orchestra ast P 2011 2003 Peter Mack Trinity College Dublin Mark Anderson United States John Murphy Loyola University New Orleans John Barstow England Andrey Ponochevny University of Dallas, Irving James Giles Northwestern University of Illinois Robin McCabe University of Washington 2010 Nelita True Eastman School of Music Philippe Bianconi France Louis Nagel University of Michigan 2002 Pamela Mia Paul University of North Texas, Denton Anne Epperson University of California, Santa Barbara Igor Resnianski West Chester University of Pennsylvania Faina Lushtak Tulane University, New Orleans Nelita True Eastman School of Music Bryce Morrison England Daniel Sher University of Colorado-Boulder 2009 Robert Weirich University of Missouri, Kansas City Constance Carroll Louisiana State University, Baton Rouge Christopher Elton Royal Academy of Music, London 2001 Douglas Humpherys Eastman School of Music Andrew Cooperstock University of Colorado-Boulder Faina Lushtak Tulane University Jennifer Hayghe Louisiana State University, Baton Rouge Igor Resnianski West Chester University of Pennsylvania Frank Heneghan Ireland Martin Jones England 2008 Pamela Mia Paul University of North Texas, Denton Stanislav Ioudenitch Park University Paul Pollei Gina Bachauer Foundation 2000 Ann Schein Aspen Music Festival and School Jeffrey Biegel New York Nelita True Eastman School of Music Alan Chow Northwestern University of Illinois Nancy Weems University of Houston Anne Koscielny University of Maryland Bryce Morrison England 2007 Nancy Weems University of Houston Constance Carroll Louisiana State University, Baton Rouge Alan Chow Northwestern University of Illinois 1999 Anne Koscielny University of Maryland Frank Heneghan Ireland Igor Resnianski West Chester University of Pennsylvania Alfred Mouledous Southern Methodist University, Dallas Klauspeter Seibel Louisiana Philharmonic Orchestra Aiko Onishi Japan/California Ruth Tomfohrde University of Houston 2006 Diane Walsh Mannes School of Music, New York Gregory Allen University of Texas, Austin James Giles Northwestern University of Illinois 1998 Jennifer Hayghe Ithaca College, New York Jeffrey Biegel New York Frank Heneghan Ireland Constance Carroll Louisiana State University, Baton Rouge Robin Williams University of New Orleans Robin McCabe University of Washington, Seattle John Murphy Loyola University, New Orleans Hanni Schmid Wyss Switzerland

1997 Robert Roux Rice University, Houston Bela Siki University of Washington, Seattle — Logan Skelton University of Michigan, Ann Arbor 80 aarrkk iieeww G U E S T H O U S E PG U E VSVT H O U S E ark View Guest House welcomes Park View Guest House welcomes visitoorrss wwiitthh ggrraaccee a anndd s usupperebr bs osuotuhtehrenr n hospiittaalliittyy.. OOuurr h hisistotorirci ci ninn o no nS tS. tC. hCahralersle s Avenuuee oovveerrllooookkss ththee mmajaejsetsicti co aoka k treess ooff AAuudduubboonn PPaarkrk. .T hTrhoruoguhg ho uoru r windoowwss yyoouu ccaann s seeee t hthe es tsrtereetectacra or non its waayy ttoo tthhee FFrerenncchh Q Quuaratretre. r.V iVsits ith teh e Audubboonn ZZoooo, , ththee a aqquuaariruiumm, ,m musuesuemums, s, restauurraannttss aanndd sshhoopps st hthata ta raer eu nuinqiuqeulye ly New OOrrlleeaannss.. OOnn y yoouur rr erteuturnr,n i,n idnudluglege in a sswweeeett ttrreeaat t aanndd c ocmomplpimlimenetnatrayr y libattiioonnss oonn oouurr b beeaauutitfiuful ls hsahdaedde dp oprochrc. h. Our nneewwllyy rreennoovvaatetedd twtwenetnyt-yo-noen eg ugeuset st roomss aarree ffuurrnnisishheedd w witihth p pereiroido da natniqtiuqeuse, s, are noonn--ssmmookkiningg a anndd i ninclculuded ec ocnotnintiennetnatl al breakkffaasstt,, mmooddeerrnn a ammeennititeise sa nadn ds tystliyslhis h privattee bbaatthhss. .

Park View Guest House Timeless elegance, modPeranr kam Veineiwtie Gs uaneds ts uHpoeurbs esouthern hospitality. Timeless eCleagll a(n50ce4,) m86o1d-e7r5n6 a4 more nToitlli eFsr eaen 1d- s8u8p8e-5rb33 s-o0u7t4h6ern hospitality. 7C00a4ll S(5t.0 C4h)a 8r6le1s- A75ve6n4u oer, NToelwl F Orerele 1an-8s8, L8A-5 73031-108746 V7i0s0it4 u Ss to. nC hthaer lwese bA vaet npuaerk, vNieewwg Ouerlsetahonus,s eL.Aco 7m0118 Visit us on the web at parkviewguesthouse.com We make M PRESS ADyou look good on paper.

504-524-8248 4100 Howard Avenue New Orleans, LA 70125 mpressnow.com 1996 1992 Martin Jones England Dolores Fredrickson Chicago Peter Collins Southwest Missouri State University, Raymond Jackson Howard University, Washington, D.C. P

Springfield Eugene Rowley International Festival Institute, Texas ast Michael Gurt Louisiana State University, Baton Rouge Brent Runnels Rollins College, Florida Krassimira Jordan Baylor University, Waco Oxana Yablonskaya Juilliard School of Music, New York C

Anne Koscielny University of Maryland, College Park omp 1991 1995 Seth Carlin Washington University, St. Louis etiti Alan Chow Northwestern University of Illinois Martin Jones England Sean Duggan, O.S.B. St. Joseph Abbey, Covington, LA Krassimira Jordan Baylor University, Waco on

Jean-Pierre Marty France Joseph Rezits Indiana University, Bloomington J u

Madelyn Trible University of Louisiana at Lafayette Eleanor Statmore New Jersey r Nancy Weems University of Houston o rs 1990 1994 William Koehler University of Northern Illinois, Dekalb Constance Carroll Louisiana State University, Baton Rouge Mack McCray San Francisco Conservatory Rafael Guerra Mexico Louis Nagel University of Michigan, Ann Arbor Ray Luck Randolph-Macon College, Virginia Michi Hirata North Pacific Northwest School of Music, Paul Pollei Brigham Young University, Provo, Utah Seattle Robert Roux Rice University, Houston Robert Silverman Piano Quarterly, Editor

1993 1989 Richard Dowling New York Alan Chow University of Arkansas Tristan Foison France Lillian Freundlich Peabody Conservatory of Music Faina Lushtak Tulane University, New Orleans Paul Maillet USA Barry Snyder Eastman School of Music, Rochester Paul Pollei Brigham Young University, Provo, Utah Eleanor Statmore New Jersey S. Zakarin-Rutstein Oberlin

Best of Luck to all Competitors in the 26th New Orleans International Piano Competition

Compliments of British Acadian Ltd., Inc.

Specialists in the acquisition and development

of producing properties.

BRITISH ACADIAN LTD., INC. 103 Exchange Place Suite 200 Lafayette, Louisiana 70503

Oil and Gas Exploration and Production for the Gulf Coast

— 2016 New Orleans International Piano Competition 83 Saturday, October 22, 2016, 7:00 PM Sunday, January 8, 2017, 2:30 PM University of Louisiana, Lafayette Roussel Hall, Loyola University, New Orleans New Orleans International Piano Concerto Showcase IX Competition 2014 Gold Medalist The top three Medalists of the 2016 New Marianna Prjevalskaya performs Orleans International Piano Competition return with the Acadiana Symphony to New Orleans for an afternoon of piano Orchestra. concertos with Carlos Prieto and the Louisiana Philharmonic Orchestra. Sunday, October 23, 2016, 3:00 PM 1133 Margaret Place, New Orleans Thursday, February 23, 2017, 7:30 PM MASNO presents acclaimed River Center Theatre, Baton Rouge classical guitarist Pavel Steidl New Orleans International Piano Competition of the Czech Republic in a 2014 Gold Medalist Marianna Prjevalskaya Salon Concert Event. performs Mozart Piano Concerto No. 21 with the Baton Rouge Symphony Orchestra.

Sunday, March 12, 3:00 PM Sunday, November 20, 2016, 5:00 PM Le Petit Théâtre du Vieux Carré, New Orleans Ritz-Carlton New Orleans GREAT SCOTT! - Joplin in the Quarter! NOCTURNE XIV In commemoration of the Having become 100th Anniversary of the King one of the most of Ragtime’s death in 1917, anticipated evenings American pianist and former of the year, New Orleans International Piano MASNO’s annual Competition Gold Medalist black-tie gala and Richard Dowling performs a fundraiser includes selection of Scott Joplin’s best-known and most a champagne reception, salon recital and sit beloved piano masterpieces in recital at the down dinner. This year, MASNO welcomes historic Le Petit Théâtre. renowned Israeli pianist Inon Barnatan. July 23–30, 2017 January 3–8, 2017 Roussel Hall, Loyola University, New Orleans New Orleans, Louisiana New Orleans Piano Institute and Keyboard Festival Talented college, high school, and junior high pianists from More information available at across the United States and www.lpomusic.com around the world are invited to New Orleans for a week of Saturday, January 7, 2017, 6:30 PM intensive study, performances 2702 Saint Charles Avenue and competition opportunities including MASNO partners with the the NOPI Solo Competition and Concerto Louisiana Philharmonic Orchestra Competition. In addition, the Keyboard Festival to present acclaimed American presents Guest Artist Recitals performed pianist Anne-Marie McDermott in by former winners of the New Orleans a special Salon Concert Event. International Piano Competition.

Official Sponsors

Member of Alink - Argerich Foundation

2016-2017 SEASON HIGHLIGHTS For more information and to purchase tickets, visit masno.org or call 504.899.4826