American Classics Barber and Copland

Total Page:16

File Type:pdf, Size:1020Kb

American Classics Barber and Copland AMERICAN CLASSICS BARBER AND COPLAND SEAN KENNARD, piano DE 3554 1 DELOS DE 3554 DELOS DE 3554 AMERICAN CLASSICS BARBER AND COPLAND SEAN KENNARD SEAN KENNARD SAMUEL BARBER ● ● Sonata for Piano, Op. 26 ♦ Ballade, Op. 46 AMERICAN CLASSICS AMERICAN CLASSICS Excursions, Op. 20 AARON COPLAND Piano Variations ♦ Four Piano Blues ● ● BARBER & COPLAND BARBER & COPLAND SEAN KENNARD, piano Total Playing Time: 55:07 DE 3554 © 2018 Delos Productions, Inc., P.O. Box 343, Sonoma, CA 95476-9998 (800) 364-0645 • (707) 996-3844 [email protected] • www.delosmusic.com AMERICAN CLASSICS BARBER AND COPLAND SAMUEL BARBER (1910−1981): Sonata for Piano, Op. 26 (18:24) 1. Allegro energico (6:59) 2. Allegro vivace e leggero (1:59) 3. Adagio mesto (5:28) 4. Fuga: Allegro con spirito (3:58) 5. Ballade, Op. 46 (5:12) Excursions, Op. 20 (11:54) 6. Un poco allegro (3:10) 7. In slow blues tempo (3:37) 8. Allegretto (2:51) 9. Allegro molto (2:16) AARON COPLAND (1900−1990): 10. Piano Variations (10:53) Four Piano Blues (8:37) 11. For Leo Smit — Freely poetic (2:28) 12. For Andor Foldes — Soft and languid (2:31) 13. For William Kapell — Muted and sensuous (2:34) 14. For John Kirkpatrick — With bounce (1:06) SEAN KENNARD, piano Total Playing Time: 55:07 8 NOTES ON THE PROGRAM more chromaticism and dissonance than he had used before, as well as twelve-tone or his Delos debut album, brilliant style. Such modern techniques notwith- emerging keyboard virtuoso Sean standing, Barber cast all four movements in FKennard has chosen piano music by traditional forms. Upon its 1949 premiere, two of America’s most iconic composers: the Sonata for Piano was immediately Samuel Barber and Aaron Copland. pronounced an American masterpiece. Horowitz himself called it “the first truly The first and third of the album’s Barber great native work in the form.” works — his Sonata for Piano and four- piece Excursions — are closely associated The first movement — Allegro energico — is with another virtuoso, legendary Rus- in sonata-allegro form. It’s a marvel of sian-American pianist Vladimir Horo- headlong intensity, contrasting Barber’s witz, who premiered both works. After penchant for free-flowing lyrical passages Horowitz’s resounding success in 1945 with craggy rhythmic shifts and angular with the first, second and fourth pieces harmonies. The following Allegro vivace from Excursions (the third wasn’t played e leggero is a sparkling and fleet-fingered because Schirmer — Barber’s publish- scherzo with exquisitely delicate textures. er — omitted it from the first edition), the The third movement — marked Adagio composer naturally had Horowitz in mind mesto — takes a darker turn, with partic- while working on the sonata (composed ular attention paid to chromaticism and between 1947 and 1949). Horowitz’s vir- twelve-tone melodies. The final Fuga: Al- tuosity no doubt influenced the sonata’s legro con spirito is imbued with much the often fiendish technical difficulty. And same spirit with which the sonata began. while Barber originally envisioned his so- It’s a powerful and hard-driving four- nata as a three-movement work, Horowitz voice fugue that reflects Barber’s love of prevailed upon him to end it with a “very Bach and even expands into five and six flashy” fourth movement. mind-bending voices. Listen for the com- plex rhythms and jazzy harmonies in this Owing to the prevailing judgment that final movement, which ends the work with Barber’s earlier music reverted to a more a resounding bang. Romantic era, the composer resolved to craft his new work using more up-to-date The Op. 46 Ballade — Barber’s final work compositional techniques, including much for piano — dates from 1977, almost a 2 year after he had been asked to compose The opening piece — marked Un poco a “morceau de concours” (test piece) for allegro — has a distinctly metropolitan the Van Cliburn competition. The piece’s flavor, with its hubbub of skillfully craft- rather dark and pensive mood is hardly ed “urban” musical clichés. Barber’s bi- a surprise, given Barber’s loneliness and ographer, Nathan Broder, described it as periodic depression after his nearly for- a “boogie-woogie,” owing to its repeti- ty-year relationship with fellow compos- tive bass-line patterns that characterize er Gian Carlo Menotti had ended a few early American jazz. Listen for its catchy years earlier. Still, this masterfully crafted rhythms and playful sense of headlong work — while expressing distinct feelings momentum. The second of these so-called of sadness and resignation — stops short bagatelles, In slow blues tempo, reveals an of despair or hopelessness. atmosphere of cheeky, stop-and-go com- placence, despite what the title may imply. Written in ABA form, the piece opens with a series of descending chords that are then The third piece, Allegretto, takes listeners repeated with minor variation. An abrupt along on an excursion into the folk music upward surge leads into a memorable of the American West, with a set of clever theme comprising three motifs that arise variations on the classic Western song “The from and return to a single chord. From Streets of Laredo.” Beginning as a touching there, a sinking phrase soon dissolves the lament, the work’s subdued mood is soon prevailing harmonic scheme before the dispelled by variations that are alternative- near-violent central section erupts. The ly jazzy and frisky. The final Allegro molto opening section then repeats, carrying takes the unmistakable form of a manic listeners to an ending that breathes quiet square dance, full of thorny rhythms that acceptance. can test even a virtuoso’s abilities. In his Excursions, Barber built all four Many musicologists and classical musi- movements upon distinctly different as- cians — and others who respect “modern- pects of musical Americana, basing each ist” styles and harmonic structures — re- one on either traditional American idioms gard Aaron Copland’s Piano Variations or folk songs. But despite Barber’s often as one of his most significant early mas- sophisticated elaborations, listeners famil- terpieces. Written in 1930, the work can iar with such American motifs can clearly stand as one of the final outcomes of the hear them. years he spent in Paris as a student of the 3 legendary Nadia Boulanger, who helped ble mentally processing the meanderings expose him to the prevailing styles and of the twelve-tone system — will seldom emerging musical movements in Europe. “get lost” in the music. And despite its varying levels of musical appeal, no one The work’s craggy rhythms, sharply dis- can dispute the crucial place the Piano sonant harmonies, twelve-tone elements Variations will forever hold as a milestone and astringent textures first met with in Copland’s musical development. mixed reviews from performers, audienc- es and critics. The great German pianist Copland composed the short pieces Walter Gieseking — who Copland hoped that comprise his Four Piano Blues at would perform it — commented that the different points in his career. The first piece’s “crude dissonances” and “severity two were written in 1926, and the latter of style” would alienate most audiences. two — created in 1947 and 1948 — pro- And its first New York Times review was vided melodic content that he adapted distinctly unfavorable. Yet forward-look- for his 1948 Clarinet Concerto. But the ing musicians like Leonard Bernstein four pieces weren’t published as a set un- (among others) came to champion the til 1949, after Copland had revised them, piece, describing it as “... hard as nails” determined their sequence, and decided and a “…synonym for modern music — so on a dedicatee for each work, drawn from prophetic, harsh and wonderful, and so among his friends and colleagues. Each full of modern feeling and thinking.” piece thus has a title identifying the per- son to whom it was dedicated, as well as Most open-minded listeners can follow a subtitle drawn from its tempo marking. the progress of the work — a theme and All four feature recognizable elements of twenty variations—with relative ease, American jazz and blues, though cloaked thanks to its four-note theme (E — C — D somewhat in the impressionistic styles of sharp — C sharp) that serves as the work’s Debussy and Ravel. building blocks. Once attentive listeners allow these four notes to sink into their The first piece is “For Leo Smit — Freely musical consciousness, the piece’s sense poetic” (Leo Smit the American compos- of musical continuity is rarely lost. er-pianist, not the Dutch composer of the same name), and reflects a bluesy style Even those listeners who cringe at strong, and sound reminiscent of Gershwin. The spiky dissonances — and who have trou- second is “For Andor Foldes — Soft and 4 languid,” Foldes being a famous Hungari- the pianist’s “perfect blend of lyricism and an-American pianist. The subtitle certainly romantic passion, huge romantic sound, reflects the piece’s overall mood, but with and bold melodic vision.” It further pro- fleeting moments of a livelier nature. Next claimed that he “plays Chopin’s Preludes comes “For William Kapell — Muted and with more poise and vision than most sensuous,” with its substantial opening pianists who have recorded them.” Fan- chords lending the piece a more serious fare named the album “a very desirable and stately feel. Finally, we hear “For John disc,” citing “Kennard’s mastery of Cho- Kirkpatrick — With bounce.” (Both Kapell pin’s idiom” and “impression of complete and Kirkpatrick were renowned pianists effortlessness.” Naxos Records released as well.) As the subtitle suggests, this is his album of sonatas by Domenico Scar- a much more energetic piece, but with a latti in 2017.
Recommended publications
  • This Month's Highlights Release Date a - Friday 28Th September Release Date B - Friday 5Th October Release Date C - Friday 12Th October
    OCTOBER 2018 DEALER INFORMATION SERVICE: NO. 321 THIS MONTH'S HIGHLIGHTS RELEASE DATE A - FRIDAY 28TH SEPTEMBER RELEASE DATE B - FRIDAY 5TH OCTOBER RELEASE DATE C - FRIDAY 12TH OCTOBER Download this month's information here: www.selectmusic.co.uk - USERNAME: dealer • PASSWORD: select All orders must be received a week prior to release date. Orders are shipped on the Wednesday preceding release date Please click on a label below to be directed to its relevant page. Thank you. CDs APR Novum BIS Obsidian BR Klassik Oehms Classics Capriccio Ondine Cedille Records Orchid Classics Champs Hill Records Osjalive Chandos Phasma Music Coro Profil CPO Reference Recordings Dacapo Resonus Classics Delos Retrospective Divine Art Rondeau Production Dynamic Saydisc EOS Guitar Series Seattle Symphony Media Fieri Records Solo Musica Genuin Classics Somm Recordings Gramola Sono Luminus Grand Piano Steinway & Sons Hyperion Sterling Records ICA Classics SWR Classic Kairos SWR Jazzhaus LPO Tactus Melodiya Toccata Classics Metier Wergo Nimbus Alliance Wiener Symphoniker Nimbus Music Publishing Willowhayne Records Nimbus Records Yarlung DVDs Belvedere Opus Arte C Major Entertainment Seventh Art Dynamic Select Music and Video Distribution Limited Unit 8, Salbrook Industrial Estate, Salbrook Road, Salfords Redhill RH1 5GJ Tel: 01737 645600 • Fax: 01737 644065 • E: [email protected] • E: [email protected] • Twitter: @selectmusicuk Highlight of the Month Ralph Vaughan Williams A Sea Symphony BBC Symphony Orchestra; BBC Symphony Chorus; Elizabeth Llewellyn; Marcus Farnsworth; Martyn Brabbins CDA68245 £9.00 CD 28/09/18 About this Release One of the mightiest of first symphonies, Vaughan Williams’s setting of Walt Whitman creates a very special sense of occasion.
    [Show full text]
  • School of Music 2016–2017
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Music 2016–2017 School of Music 2016–2017 BULLETIN OF YALE UNIVERSITY Series 112 Number 7 July 25, 2016 BULLETIN OF YALE UNIVERSITY Series 112 Number 7 July 25, 2016 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Goff-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849.
    [Show full text]
  • N E W S L E T T E R Summer 2004
    Strengthening the importance of music in our life and culture since 1940 N E W S L E T T E R Summer 2005 NATIONAL MUSIC COUNCIL Night Music,” “Sunday in the Park with George,” “Assassins,” “Into the Woods,” HONORS STEPHEN “Passion” and the legendary “Sweeney SONDHEIM, HON. JOHN Todd,” soon to be revived on Broadway. CONYERS AND SESAME Sondheim has also written for motion pictures and television, winning several WORKSHOP AT THE 2005 Tony and Oscar Awards. AMERICAN EAGLE AWARDS Broadway stars Michael Cerveris and Liz Callaway presented the award and offered a musical tribute. Cerveris has appeared in The American music community came “Assassins” and will headline in the revival together to honor Broadway of “Sweeney Todd” next fall. Liz Callaway, composer/lyricist Stephen Sondheim with one of the most sought after studio singers in one of the National Music Council’s coveted New York, made her Broadway debut in American Eagle Awards, according to Sondheim’s “Merrily We Roll Along.” Council Director David Sanders. Also receiving awards were Michigan Congressman John Conyers and Sesame Workshop, creators of Sesame Street. The presentations took place during the Council’s 24th annual awards luncheon at New York’s Players Club, 16 Gramercy Park South, Thursday, June 2nd at 12 noon. Stephen Sondheim, who recently celebrated his 75th birthday, is a true icon of the American musical theater. He has brought breadth and scope to his music for the Broadway stage, beginning as lyricist for NMC President Gary Ingle, Director David Leonard Bernstein’s “West Side Story” and Sanders, Stephen Sondheim, and Chairman Jule Styne’s “Gypsy,” through his unique Richard Lowenthal at the 2005 American and creative partnership with another Eagle Awards.
    [Show full text]
  • Rachmaninoff Barber
    RACHMANINOFF ♦ BARBER CELLO SONATAS DE 3574 Jonah Kim, cello ♦ Sean Kennard, piano 1 DELOS DE 3574 DELOS DE 3574 RACHMANINOFF ♦ BARBER CELLO SONATAS JONAH KIM, CELLO ♦ SEAN KENNARD, PIANO ♦ SEAN KENNARD, JONAH KIM, CELLO JONAH KIM, CELLO ♦ SEAN KENNARD, PIANO ♦ SEAN KENNARD, JONAH KIM, CELLO RACHMANINOFF ♦ BARBER: CELLO SONATAS ♦ BARBER: CELLO RACHMANINOFF RACHMANINOFF ♦ BARBER: CELLO SONATAS ♦ BARBER: CELLO RACHMANINOFF Sergei Rachmaninoff 11 Sonata for Piano and Violoncello, Op. 19 11 eno llero moderao ● llero cherando ● ndane ● llero moo Samuel Barber 1111 Sonata for Violoncello and Piano, Op. 6 1 llero ma non roppo ● daio reo di noo daio ● llero appaionao Jonah Kim, cello ♦ Sean Kennard, piano Toal lain ime 1 DE 3574 © 2020 Delos Producti ons, Inc., P.O. Box 343, Sonoma, CA 95476-9998 (800) 364-0645 • (707) 996-3844 [email protected] • www.delosmusic.com RACHMANINOFF ♦ BARBER CELLO SONATAS Jonah Kim, cello ♦ Sean Kennard, piano Sergei Rachmaninoff (1873–1943) Sonata for Piano and Violoncello, Op. 19 (1901) (33:06) 1. Lento; Allegro moderato (9:50) 2. Allegro scherzando (6:43) 3. Andante (5:55) 4. Allegro mosso (10:36) Samuel Barber (1910–1981) Sonata for Violoncello and Piano, Op. 6 (1932) (19:42) 5. Allegro ma non troppo (8:51) 6. Adagio; Presto; di nuovo Adagio (5:03) 7. Allegro appassionato (5:47) Total Playing Time: 52:51 8 Notes on the Program qualities of the cello featured in broad, rhapsodic strokes. Sean Kennard writes, Sergei Rachmaninoff, suffering from the “Rachmaninoff’s Sonata has achieved a critical attacks on his Symphony No. 1 af- universal reputation as one of the great- ter its premiere in 1897, fell into a deep est and most difficult works in its genre.” depression and stopped composing al- together.
    [Show full text]
  • 2008-2009 Junior Recital-Jonah Kim (Cello)
    LYNN UNIVERSITY CONSERVATORY OF MUSIC 2008-2009 :O..Iusician with Cello---Vem.: ent Ko W'llen talent meets inspiration, the results are extraordinary. Friday, January 23, 2009 Junior Recital Jonah Kim, cello Sean Kannard, piano Friday, January 23, 2009 7:30p.m. Amamick-Goldstein Concert Hall Lynn University Conservatory of Music Boca Raton, FL ZwOlfVariationen iiber das Thema Beethoven "Ein Madchen oder W eibchen" aus Mozarts Oper Die Zauberflote, Op. 66 Sonata fiir Klavier und Violoncello A major, Op. 69 Beethoven Allegro ma non tanto Scherzo: Allegro molto Adagio cantabile - attaca Allegro vivace Intermission Sonata in G minor, Op. 19 Rachmaninov Lento -Allegro moderato Allegro scherz.ando Andante Allegro mosso Scherzo a us Sonatensatz (FAE) WoO posth. 2 Brahms (arr. Jonah Kim) Born in Seoul, South Korea, cellist Jonah Kim moved to the United States to begin his musical studies at seven years of age. An alumnus of The Juilliard School and the Curtis Institute of Music, he was first recognized as an exceptional talent by the legendary cellist and pedagogue, Janos Starker who placed him at "the top of his generation". He has since studied with cellists Orlando Cole (Curtis String Quartet), Peter Wiley (Guarneri Quartet) and solo cellist Lynn Harrell, who has praised Kim for his unique creativity. Kim has received high praises in solo masterclasses with cellists Joel Krosnick, Timothy Eddy, Stephen Isserlis, Gary Hoffman, Marcy Rosen, Andre Diaz, and Ron Leonard, etc. As a chamber musician, he has worked with violinists Pamela Frank, Ida Kavafian, Elmar Oliveira, Joseph Silverstein, Arnold Steinhardt, Aaron Rosand, pianists Claude Frank, Gary Graffman, Robert Levin, Seymour Lipkin, the Emerson, Guarneri, Vermeer and Takacs quartets, etc.
    [Show full text]
  • The Sound of Pittsburgh's Artists Pittsburgh Concert Society
    Pittsburgh Concert Society Non-Profit Org . P.O. Box 14843 U.S. POSTAGE Pittsburgh, PA 15234 PAID Pittsburgh, PA Permit No. 1094 T P h e i T t s h t o e s u s b n 2 o 0 d u u 1 n r 3 o d g – f o 2 h P f 0 i P 1 t C i 4 t t s t o • b s b u n 7 u r 1 r c g s g t e h h S ’ r ’ s s e t a a a s r S o t r i n s t o t i s s c t i s e t y The mission of the Pittsburgh Concert Society is to encourage S20c1h3–e2d0u14l eSe aosfo n Events Pittsburgh Concert Society and develop local music talent All events are at 2:00 p.m. at Kresge Recital Hall, WHAT WE’RE ABOUT by providing financial rewards Carnegie Mellon University. A “Meet the Artists” reception follows each concert. Tickets can be and formal performance purchased at the door, by phone (412-279-2970) or online at pittsburghconcertsociety.org: Major Auditions , held each spring, are judged by The annual June Alumni Concert features “return opportunities to musicians living Adults $15 – Seniors $10 – Students (Free) independent adjudicators selected from among deans performances” by former Pittsburgh Concert Society or studying within a 75-mile radius and faculty of leading schools of music. Candidates winners who have achieved distinguished careers in the MAJOR WINNERS RECITALS audition anonymously and are judged solely on the field of music.
    [Show full text]
  • School of Music 2019–2020
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Music 2019–2020 School of Music 2019–2020 BULLETIN OF YALE UNIVERSITY Series 115 Number 7 July 25, 2019 BULLETIN OF YALE UNIVERSITY Series 115 Number 7 July 25, 2019 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Goff-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 4th Floor, 203.432.0849.
    [Show full text]
  • School of Music 2020–2021
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Music 2020–2021 School of Music 2020–2021 BULLETIN OF YALE UNIVERSITY Series 116 Number 7 July 25, 2020 BULLETIN OF YALE UNIVERSITY Series 116 Number 7 July 25, 2020 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in October; three times in September; four and employment of individuals upon their qualifications and abilities and a∞rmatively times in June and July; five times in August) by Yale University, 2 Whitney Avenue, New seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Senior Direc- tor of the O∞ce of Institutional Equity and Access, 221 Whitney Avenue, 4th Floor, The closing date for material in this bulletin was July 15, 2020.
    [Show full text]
  • Spring 2005 7Th National Chopin Competition Issue
    Spring 2005 7th National Chopin Competition Issue The semi-annual publication of the Chopin Foundation of the United States, Inc. Chopin Foundation of the United States, Inc. Officers & Directors cÉÄÉÇt|áx Blanka A. Rosenstiel — Founder & President Spring 2005 Olga Melin — Vice President Volume XIV—Number 1 Kris Lewicki — Treasurer Hanna Saxon — Past President Table of Contents Adam Aleksander Wegrzynek — Artistic Advisor Jadwiga “Viga” Gewert — Executive Director Message from the Founder and President 1 Directors Message from the Competition Director 2 George Berberian, Mercedes Ferré, Peter Goodrich, Dr. Tomasz A. Grabczak, Dr. William Hipp, Harriet Irsay, Dr. Gera Kent, Malgorzata Kossakowska, Dr. Steven Competition Winners 3 Lagerberg, Andrea Lippen, Edmund Sadowski, Jerzy Stryjniak. International Artistic Advisory Council 1st Prize Winner Concert Tour 4 Agustin Anievas, Martha Argerich, Emanuel Ax, Jeffrey N. Babcock, John Bayless, Luiz Fernando Benedini, John Corigliano, Ivan Davis, Christopher T. Dunworth, Competition Jury 5 Charles Dutoit, Marian Filar, Nelson Freire, Bruno Leonardo Gelber, Gary Graff- man, Horacio Gutierrez, Leonid Hambro, Marta Istomin, Byron Janis, James Judd, Competition Contestants 6-7 Cyprien Katsaris, Zoltan Koscis, Jacob Lateiner, Garrick Ohlsson, Paloma O’Shea, Daniel Pollack, Maurizio Pollini, Harold Schonberg, Abbey Simon, Stanislaw Competition Sponsor Thanks 8-9 Skrowaczewski, Michael Tilson Thomas, Charles Wadsworth, Susan Wadsworth, Krystian Zimerman Competition Host Families 10 Editorial: Competition Event Photos 11 Polonaise is published semi-annually by the Chopin Foundation of the United States, Inc. Regional Council Contacts 12 1440 79th Street Causeway, Suite 117, Miami, FL 33141 Editorial Office: 305-868-0624 • 305-865-5150 (Fax) Regional Council Activities 13-15 E-mail: [email protected] • Website: www.chopin.org Publisher: Lady Blanka A.
    [Show full text]