International Piano NO.45 SEPT/OCT 2017 £5.50 www.international-piano.com
RED OCTOBER INSIDE Revolutionary trends SHEET MUSIC in Russian music TURTLE DOVE POLKA at the turn of BY FRANZ BEHR the 20th century SEE PAGE 55 SEPTEMBER/OCTOBER 2017SEPTEMBER/OCTOBER RUSSIAN MASTER FINAL Vladimir Ashkenazy at 80 RECKONING Was the right winner picked for PLUS this year’s Cliburn Rapid repeated Competition? notes made easy Learn to play Indian ragas on the piano 15% OFF MEMBERSHIP SEE PAGE 20 BORIS www.international-piano.com GILTBURG 09> Incisive interpreter 077005 772042 9
IPSO17_001_Cover_OM0908.indd 2 09/08/2017 11:09 Model pictured: K-300 ATX2
Enjoy Playing AnyTime With A Kawai ATX2 Hybrid Piano
/KawaiUK www.kawai.co.uk @KawaiPianosUK
IPSO17.indd 2 07/08/2017 17:30:52 CONTENTS SASHA GUSOV SASHA KEITH SAUNDERS 18 32 ROLAND GODEFROY JULIEN FAUGERE 68 88
Contents 5 EDITORIAL 36 PERSONAL TOUCH 55 SHEET MUSIC SPECIAL FEATURES Revolutionary reflections Russian-born composer Franz Behr’s Turtle Dove Elena Langer introduces Polka – and how it came 18 PICTURE PERFECT 6 LETTERS her world premiere to inspire Rachmaninov Boris Giltburg reveals his Your thoughts and commission for this year’s deep-rooted love for comments London Piano Festival 67 LIVE REVIEWS Russian culture as he Concert coverage from prepares to launch his 9 NEWS & EVENTS 38 AN ENGLISHMAN London and Boston latest disc of music by Evgeny Kissin signs with ABROAD Rachmaninov DG | Robbers desecrate Sam Haywood unearths a 73-85 NEW RELEASES Thalberg’s grave | Casio treasure trove of piano CDs, DVDs, books and 27 AUGERS OF launches new digital piano | rarities by Charles Villiers sheet music REVOLUTION Girls’ school given Steinway Stanford Piano music and pianism accreditation | and more… 86 AUDIOFILE in Russia at the turn of 41 LESSONS BY THE LAKE Finding the best fit with the 20th century 12 ONE TO WATCH IP pays a visit to the in-ear headphones French pianist François International Piano 32 ROUNDABOUT ROUTES Dumont Academy Lake Como 88 TAKE FIVE IP celebrates the 80th Dave Brubeck’s birthday of Russian 14 COMMENT 46 PIANO STUDIES experiments with time master Vladimir Can music help in times Conservatoire courses for Ashkenazy of crisis? pianists in 2017/18 90 MUSIC OF MY LIFE Swiss pianist Andreas 62 HORSES FOR COURSES 16 ILL-TEMPERED CLAVIER 51 KEY NOTES Haefliger’s pick of Was the right winner Why streaming services Rapid repeated notes recordings from a picked for this year’s Van are failing classical music made easy bygone era Cliburn Competition?
September/October 2017 International Piano 3
IPSO17_003_Contents_OM0908.indd 3 09/08/2017 16:05 The World´s Most Advanced Piano Has Arrived
We live in a world of constant change and technological in recording studios, the Disklavier ENSPIRE is still in essence advancement, from culture and the arts to computers and a beautifully crafted acoustic piano with a rich, resonant sound. communication. The new Disklavier ENSPIRE is a reflection of Whether playing for yourself, listening to a recorded piece, or the times we live in, offering a perfect symbiosis of cutting-edge using the dedicated ENSPIRE controller software with an digital technology and the traditional craftsmanship that has Android or iOS device for even more advanced playback won Yamaha pianos world-wide renown. While advanced digital functionality, this unique instrument allows you to experience the functionality and performance features such as music playback piano of the future today. make it perfect for use at home, in schools, restaurants, or even www.yamaha.com/dkv
IPSO17.indd 4 07/08/2017 17:30:53 #42405 - Disklavier ENSPIRE ad V2.indd 1 31/05/2016 13:47 EDITOR’ S NOTE Welcome his October marks the centenary of Russia’s Managing Editors Ashutosh Khandekar, Bolshevik Revolution, a key moment in modern Owen Mortimer history that led to seven decades of Soviet rule in Editor Owen Mortimer Tthe USSR. Touching every aspect of life for the citizens Head of Design & Production / Designer Beck Ward Murphy living under this regime, the far-reaching effects of the Production Controller Gordon Wallis Revolution – social, political, economic, cultural – are still Advertising Sales Edward Croome being felt more than a quarter of a century after the end of [email protected] the Cold War. Marketing Manager Alfred Jahn Director of Finance and Operations Tony Soave Music, perhaps more than any other art form, has been Publisher Derek B Smith instrumental in shaping our understanding of the psychic Printed by HALSTAN UK, 2-10 Plantation Road, and emotional impact of these events. Many musicians left Amersham, Buckinghamshire HP6 6HJ Russia after 1917: Rachmaninov moved to New York, where Distributed by Comag Specialist Division he died in 1943, while Prokofiev spent the years 1918-1936 Tel: +44 (0)1895 433800 living in Europe and America before resettling in Moscow. Those who stayed either had to Advertising conform or fly under the radar if they wished to avoid persecution. Tel: +44 (0)20 7333 1733 Fax: +44 (0)20 7333 1736 The Russian School of pianism was already well established before the Revolution. Eminent Production teachers from this period include Felix Blumenfeld, Alexander Goldenweiser, Konstantin Tel: +44 (0)20 7333 1751 Igumnov, Leonid Nikolaev and Harry Neuhaus. Their pupils were to dominate the field of Fax: +44 (0)20 7333 1768 piano-playing during the 20th century, both within and beyond the Soviet Union. Editorial Any attempt to engage with Russian music during this period must therefore take Tel: +44 (0)7824 884 882 cognisance of the historical context in which composers and performers were working. [email protected] www.rhinegold.co.uk | www.international-piano.com The specific circumstances in which each piece was written and premiered, together with Twitter: @IP_mag the ideological stance of its creators, should have a direct bearing on how we experience Subscriptions Tel: +44(0)1293 312233 this music. [email protected] On the other hand, our listening need not be reduced to an exercise in historical research. International Piano, Intermedia, Unit 6, The Enterprise Centre, Manor Royal, Crawley, West Even composers and pianists loyal to the Soviet regime were capable of transcendent Sussex, RH10 9PE No part of this publication may be reproduced, stored in a retrieval expression – a beautiful melody is no less beautiful for having been written under duress. system or transmitted in any form or any means (electronic, mechanical, photocopying, recording or otherwise) without the prior In some cases, perhaps, the difficult circumstances in which artists were placed led to permission of Rhinegold Publishing Ltd. The views expressed here are those of the authors and not of the publisher, editor, Rhinegold greater heights of expression than might otherwise have been felt. Publishing Ltd or its employees. We welcome letters but reserve the right to edit for reasons of grammar, length and legality. No These issues are explored by our cover artist Boris Giltburg (page 18), whose passion for responsibility is accepted for returning photographs or manuscripts. Russian music is rooted in his own family’s experiences. This is complemented by a detailed We cannot acknowledge or return unsolicited material. International Piano, 977204207700507, is published bi-monthly by overview of Russian pianism in the run-up to 1917 (page 27), part one of a diptych by Benjamin Rhinegold Publishing, 20 Rugby Street, London, WC1N 3QZ, UK. The US annual subscription price is US$83.00. Airfreight and mailing Ivry examining the cultural impact of the Revolution. We also pay tribute to the Russian-born in the USA by agent named Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA. Periodicals postage paid pianist and conductor Vladimir Ashkenazy, who recently turned 80 (page 32), and introduce a at Jamaica NY 11431. US Postmaster: Send address changes to International Piano, new two-piano piece that takes inspiration from Russian painting in the 1920s (page 36). Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA Air Business Ltd is acting as our mailing agent. Elsewhere in this issue, our mystery columnist Charivari takes aim at streaming services that Editorial and image research services for International Piano are provided by C Sharp LLP propagate misinformation and errors about classical music. Enraged by the basic mistakes he finds while trying to search for his favourite music, Charivari wonders why classical music seems to come ‘at the bottom of their list of priorities’ for such companies. Readers keen to explore this question can find out more from the August 2017 issue of Classical Music magazine – including a special focus on the classical recording industry led by guest © Copyright Rhinegold Publishing 2017 editor Costa Pilavachi. Log on to our website for details: www.classicalmusicmagazine.org OWEN MORTIMER EDITOR International Piano is proud to be a media partner of the International IP is available as an interactive International Piano NO.45 SEPT/OCT 2017 £5.50 www.international-piano.com Piano Series at Southbank Centre digital magazine from RED OCTOBER INSIDE Revolutionary trends SHEET MUSIC in Russian music TURTLE DOVE POLKA at the turn of BY FRANZ BEHR the 20th century SEE PAGE 55 pocketmags.com, iTunes and 2017SEPTEMBER/OCTOBER RUSSIAN MASTER FINAL Vladimir Ashkenazy at 80 RECKONING Was the right winner picked for PLUS this year’s Cliburn Rapid repeated GooglePlay – read on your notes made easy Competition? Learn to play Indian ragas on the piano 15% OFF MEMBERSHIP iPad, iPhone, Android device, SEE PAGE 20 BORIS
www.international-piano.com GILTBURG Kindle Fire or computer. Incisive interpreter App FREE, single issues £2.99
September/October 2017 International Piano 5
IPSO17_005_Editorial.indd 5 10/08/2017 15:12 LETTERS LETTERS Write to International Piano, 20 Rugby Street, London, WC1N 3QZ, email [email protected] or tweet @IP_mag. Star letters will receive S P O N S O R E D BY a free CD from Hyperion’s best-selling Romantic Piano Concerto series HYPERION RECORDS UNCELEBRATORY SPIRIT time. In the same way we do not seek to As an avid listener of classical music, I I was saddened to see that the directors of ‘celebrate’ the Revolution but to mark an believe that the Western canon is accurate the London Piano Festival have decided to anniversary of great historical importance in its ranking of composers and works that link this event with the centenary of the (as the Royal Academy, British Library and can be considered ‘first-rate’. I’m certainly in Bolshevik Revolution in Russia (IP Jul/ others have done). We certainly recognise favour of straying off the beaten track, and Aug, page 34). I am sure you would not that the Soviet state came to inflict agree with Charivari that doing so can lead dream of celebrating the rise of Fascism enormous suffering on its people and we to the discovery of interesting music, but so why the rise of Communism? It would are neither Marxists nor Soviet apologists. if it came down to compiling a selection have been more logical if it were possible But we also recognise the vast political for Desert Island Discs, I’d wager that most to link this event with the abdication of and cultural importance of the event. It is music lovers (Charivari included) would the Tsar some seven months earlier. central to any understanding of the lives of choose Bach, Mozart and Beethoven over I for one will not support this even for Russian composers or the course of musical Hummel, Saint-Saëns and Scharwenka! the above reason despite having a high history. Reflecting on the Revolution leads Louise Martin, via email regard for Russian pianists. us to explore and consider the Russian Alan Lomas, London piano repertoire – and that, we have no ERRATA hesitation in saying, we do celebrate. Colin Clarke’s four-star review of Meg Katya Apekisheva and Charles Owen reply: Morley’s Through the Hours (IP Jul/Aug, page In recent years society has marked the PULLING RANK 71) misspelt the name of her drummer centenaries of the beginning and end I usually agree with Charivari’s views, but Emiliano Caroselli. Morley’s association of the First World War and reflected on was unconvinced by his/her recent call with the English National Ballet School was their significance, without celebrating to reconsider the status of second-rate also wrongly attributed. We apologise to nationalism or the military practices of the composers (IP Jul/Aug, page 14). Meg Morley for these errors.
IPSO17_006_R_Letters_0908OM.indd 6 09/08/2017 11:12 Stetson University is proud to announce the appointment of award-winning pianist Sean Kennard to the esteemed faculty at the School of Music.
Kennard is a graduate of the Curtis Institute of Music and the Juilliard School and is currently completing his doctorate at the Yale School of Music. He joins 47 distinguished artist- scholar faculty members and 200 undergraduate music majors at the NASM-accredited School of Music.
stetson.edu/music Photo Credit: Grace Song
“A luminous pianist...powerful, involved music-making” - The Washington Post SCHOOL OF MUSIC
MUS_InternationPiano_Ad_072617.inddIPSO17.indd 7 1 07/08/20178/2/17 10:1217:30:53 AM 18501 Steinway Int. Piano (Grimaud) July_Layout 1 07/06/2017 16:30 Page 1
“Thank you for providing pianos that have personality and even more importantly, soul.” HÉLÈNE GRIMAUD steinway artist photography: mat hennek mat photography:
STEINWAY HALL LONDON 44 marylebone lane, london w1u2db for more information or to arrange a private appointment at our london showrooms, please call: 0207 487 3391 or email [email protected]
IPSO17.indd 8 07/08/2017 17:30:54 NEWS & NOTES news notes EVGENY KISSIN SIGNS WITH DG USSIAN PIANIST EVGENY KISSIN for me, because I feel more inspired when Rhas signed an exclusive recording playing for an audience. It means a lot to contract with Deutsche Grammophon, me to be able to share the spirit of that resuming an association with the Yellow live experience with others.’ Label after a 25-year hiatus. Kissin’s previous recordings for DG Kissin’s first new release for DG is a include collaborations with the Berlin double-disc set of live recordings of four Philharmonic, Herbert von Karajan and Beethoven sonatas (Moonlight, Appassionata, Claudio Abbado. Since breaking with the Les Adieux and Op 111) plus the composer’s label in the early 1990s, he has recorded 32 Variations in C minor WoO 80. for a number of other record companies, ‘These recordings were made in the including RCA Victor and EMI Classics. moment of performance,’ said Kissin. ‘Live Evgeny Kissin: ‘Live recordings always recordings always surpass studio albums www.deutschegrammophon.com/kissin surpass studio albums for me’
ROBBERS DESECRATE THALBERG’S GRAVE HE ITALIAN NEWSPAPER an impressive structure befitting the son Renata and Giulia Ferrara Pignatelli, TIl Mattino recently ran a story with the of an Austrian aristocrat who became one daughters of Princess Francesca Ferrara headline ‘Raid on Naples cemetery: tomb of the greatest piano virtuosos of the day. Pignatelli, are Thalberg’s great-great of the composer Thalberg desecrated.’ Thalberg’s embalmed body was placed in granddaughters. Donna Renata says that When Sigismond Thalberg died in a glass coffin and wrapped in an ermine it was her sister Giulia and Francesco April 1871, his wife Francesca Lablanche cape, a gift from the Tsar of Russia. Nicolosi who made the discovery when built a mausoleum to house his remains Within a few days of his interment, the they visited to check if the cleaning of the in Naples’ Poggioreale cemetery. It is close lid of the glass coffin had been raised and external walls of the tomb had been done. to the graves of Mercadante and Donizetti, the ermine cape stolen. Pianist Francesco British virtuoso Mark Viner, today’s Nicolosi, president of Sigismund leading champion of Thalberg, reacted Thalberg International Study with a mixture of sadness and shock. ‘The Centre, says ‘this led to the end of desecration of any grave is an outrage on the embalming, and Thalberg’s any level,’ he says, ‘but during the arduous body from that moment became process of preparing the music for petrified’. Now, nearly 150 performance and recording, these distant years later, robbers have again names become close acquaintances. I vandalised his sepulchre, forcing think this comes close to explaining my the front door and a second gate, feeling of real pain and sadness.’ and smashing the marble floor Thanks to the generosity of Donna with a pickaxe in order to reach Giulia, the tomb and mausoleum have the underground tomb. Marble now been restored and Thalberg’s body and lead seem to have been the has been placed in a new glass coffin. target, as well as the valuable ‘Before closing the new lid,’ says Nicolosi, brass that held the structure of ‘I made visible Thalberg’s hand that was the glass coffin in place. Worst previously covered by a blanket.’ of all, Thalberg’s body had been plucked from its resting place Thalberg’s tomb can be visited by appointment. and thrown into a corner. Write to the Sigismund Thalberg International Study Centre at [email protected]
Sigismond Thalberg (1812-71) JEREMY NICHOLAS
September/October 2017 International Piano 9
IPSO17_009-011_R_News_OM0908.indd 9 10/08/2017 11:53 NEWS & NOTES
CASIO LAUNCHES NEW DIGITAL PIANOS ASIO MUSIC HAS UNVEILED Cthree new designs in its Privia and Celviano digital piano ranges together with a new-look website offering improved navigation for visitors: www.music.casio.co.uk. The three new models in Casio’s Home Piano range will be on sale from early September: PX-870, PX-770 and AP-270. Controls have been moved to the instruments’ side panel in a cabinet redesign, resulting an overall cleaner look. Jack Terroni at Casio Music UK said that the company’s ‘refreshed aesthetic’ reflects a new creative and modern direction for the brand. Casio’s Privia PX-870 The Celviano AP-270 features improved European and new American Grand Piano samples, plus Android and iOS App Compatibility with Casio’s new is equipped with a Sound Projection of playing with an orchestra. Chordana Play. The Privia PX-770 and PX- Speaker System and responsive The Privia PX-870, Privia PX-770 and 870 each boast an improved Stereo Grand Headphone Mode. All three models Celviano AP-270 will retail between Piano tone with damper resonance and include Concert Play with 10 expandable £799-£999. 19 additional tones, while the PX870 songs, providing a simulated experience www.music.casio.co.uk
UK GIRLS’ SCHOOL RECEIVES STEINWAY ACCREDITATION ROMLEY HIGH SCHOOL IN that pupils will have access to Steinway instrument for the school at Steinway BKent, UK, recently became the first artists as well as receiving opportunities to Hall. She played several pianos which had girls’ school to be accredited as an All attend masterclasses and play in London’s been shipped directly from the Steinway Steinway School. Steinway Hall. Factory in Hamburg before selecting a All pianos in the institution are now Six pupils were present when Steinway Steinway Concert Grand Model D. Steinways, and the accreditation means artist Joanna MacGregor selected an Director of music Caroline Daniel accompanied the students to see MacGregor choose the instrument. ‘Joanna MacGregor is inspirational – we all came away from the experience wanting to up our practice and aim higher,’ she said. ‘It was such a privilege to hear her play and discuss the different tone qualities of these beautiful instruments.’ The Steinways are set to be delivered in September. The school plans to celebrate their arrival with a celebrity masterclass and inaugural concert.
www.bromleyhigh.gdst.net
Joanna MacGregor at Steinway Hall
VINCENT OLIVER with students from Bromley High School
10 International Piano September/October 2017
IPSO17_009-011_R_News_OM0908.indd 10 10/08/2017 11:53 NEWS & NOTES
NEWS IN BRIEF The Scottish International Piano Competition has selected 32 highlights include Beethoven’s Bagatelles, piano quartets by Brahms competitors from four continents to take part in this year’s final in and Fauré, a masterclass for emerging pianists and a late-night recital Glasgow, 1-10 September 2017. The first prize-winner will receive by David Greilsammer. www.newrosspianofestival.com £10,000, the Alexander Stone Memorial Trophy and the Frederic Lamond Gold Medal. The winner is also offered a performance with Applications are now the RSNO in their 2018/19 season. Tickets for all rounds and the open for this year’s final are now on sale from Royal Conservatoire of Scotland (first two Cambridge Piano rounds and semi-finals) and Glasgow Royal Concert Hall (final). Weekend, which www.scottishinternationalpianocompetition.com celebrates the influential teaching philosophy of Dudley Piano Competition, UK, is celebrating its 50th anniversary the great Swiss pianist
in 2017. Preliminary rounds and semifinals take place 21-22 October COLLECTION POTTER TULLY Alfred Cortot. Course in Dudley, with the concerto final at Birmingham’s Symphony Hall tutors include Éric on Saturday 4 November. The winner will receive a cash prize of Heidsieck, a former £4,000 plus a debut recording opportunity with the Somm label. The pupil of Cortot, and competition is open to pianists of all nationalities studying or resident Frédéric Aguessy, winner in the British Isles. Past winners include Paul Lewis and Benjamin Frith. of the 1979 Concours www.dipc.org.uk Marguerite Long-Jacques Thibaut and currently The New Ross Piano Festival has announced a Hungarian theme professor of piano at the for this year’s event in County Wexford, Ireland, 20-24 September 2017. Alfred Cortot (1877-1962) Conservatoire de Rouen Pianists Finghin Collins, Zoltán Fejérvári, Klára Würtz and Elizaveta in Normandy. Ukrainskaia will perform Kodaly’s Marosszeki Dances, a selection All events take place at Anglia Ruskin University, Cambridge, 15-17 from Kurtág’s Játékok (Games) and works by Liszt and Bartók. Other September 2017. www.cortotheritage.com
World-class training
· Top rated conservatoire in the Guardian University Guide 2017 for Music · Internationally-renowned teaching staff, led by Head of Keyboard Studies, Professor Ronan O’Hora · Alumni include Paul Lewis, Lucy Parham, Sa Chen and Tom Poster · State-of-the-art facilities in the heart of the City of London
Auditions in London, New York, Hong Kong, Seoul and Taipei Application deadline for 2018 entry: 11 October 2017 Watch video tours, book on to an open day and apply online at gsmd.ac.uk
September/October 2017 International Piano 11
IPSO17_009-011_R_News_OM0908.indd 11 10/08/2017 11:53 ONE TO WATCH Mister Cool Michael Johnson encounters a French pianist who breathes music from every pore in performances that combine technical daring with soul-baring emotional directness JEAN-BAPTISTE MILLOT HEN YOUNG FRENCH pianist François Dumont struck the opening chord andW first bars of Bach’s Italian Concerto BWV 971 at a Bordeaux recital a couple of years ago, I perked up and made a mental note to follow his career. Through sheer musicality, his playing spoke of a rare individuality. The audience in the ancient stone church of Notre Dame agreed, giving him a standing ovation. Now 31 and much in demand in France, Dumont has begun to attract audiences abroad – this year in Colombia, China and South Korea. I am still following him. Eventually, major venues in the United States may be possible for his solo, ensemble or concerto performances. He tells me he believes the US is ‘a really great country for music, with enthusiastic and cultivated audiences, and the most wonderful orchestras’. Dumont has built an impressive discography featuring 21 CDs so far, to be augmented this autumn by a recording of the two Schubert trios, performed with the Elegiac Trio, his longtime partners in A native of Lyon, where he still resides, Dumont was recognised ensemble works. It will include the Notturno and a short piece early as a natural; aged just 14, he was accepted into the Paris Schubert composed at the age of 16. Dumont’s existing recordings Conservatoire National Supérieur de Musique. His formative range from the Beethoven Trios, the complete Mozart Piano studies there were with Bruno Rigutto and Hervé Billaut. Other Sonatas, Ravel’s complete piano music, two albums of Bach’s mentors include Murray Perahia, Dmitri Bashkirov, Stanislav keyboard works, various Chopin selections and Liszt-Wagner Ioudenitch and Paul Badura-Skoda. He is also an alumnus of the operatic transcriptions. International Piano Academy Lake Como, Italy, where he continues Contemporary music holds a special attraction for Dumont. He to study with president and artistic director William Naboré. recalls the ‘immense privilege’ of playing Henri Dutilleux’s Le jeu A laureate of multiple piano competitions, he says he is finished des contraires for the composer in person. On the recital stage he with those rituals: ‘I have other things to do,’ he shrugs. has often performed works by his friend Eric Tanguy, among other Dumont is currently recording a cycle of Mozart piano concertos, contemporaries: ‘They all have different personalities,’ he says. Their conducting from the keyboard. The experience, he says, has brought music ‘forces your brain to work differently and find solutions in him back to some of the basics. ‘The sonorities of the orchestra, a non-traditional way’. With enough preparation, he adds, you can the structure of a movement, feeling the right tempo, finding the ‘make the impossible possible’, all of which constantly renews his right balance, expressing the right emotion – all these things are approach to music. extremely fulfilling and exciting.’
12 International Piano September/October 2017
IPSO17_012-013_R_OnetoWatch KC OK 0708.indd 12 08/08/2017 17:12 ONE TO WATCH
François Dumont: ‘Contemporary music forces your brain to work JEAN-BAPTISTE MILLOT differently and find solutions in a non-traditional way’
He also enjoys accompanying his wife, the Irish soprano Helen Kearns, finding the colours, vibrations and phrasing of the singing voice inspiring. Working with his wife has its moments, sometimes heated, but ‘the pleasures are far superior to the pains’. In a private chat after his Bordeaux recital, Dumont was at his most personable and self-effacing. He explained how he makes a piece his own – approaching new repertoire with a detailed study of the score to determine the full potential for individual
JEAN-BAPTISTE MILLOT interpretation. ‘I always try to make it different.’ That evening, he followed his Bach with the four Chopin Ballades, establishing his own vision with audacious liberties, such as extended rubato, crystalline articulation, abrupt silences and the When you hear this warhorse in his hands, you do not think of singing melodic lines that Chopin intended. He told me Chopin a competition, but rather a recital where a close friend pours out has taught him the art of cantabile. His program climaxed with his heart to you in his art.’ Another Cliburn critic summed him us Ravel’s La valse, an explosive work that seems to pose no technical thus: ‘He is Mister Cool, like most Frenchmen tend to be.’ problem for him. He grasps Ravel as few young pianists do, finding e within this music ‘an elegance of soul … a secret sensitivity which François Dumont’s album of Schubert trios with the Elegiac Trio will be he distils in the alchemy of his harmonies’. released in October 2017 by Artalinna & Academy Productions. Dumont’s Chopin Sonata No 3 created a stir at the Van Cliburn www.artalinna.com Competition a few years ago. One critic wrote that Dumont’s playing ‘was outstanding, breathing music from every pore. www.francoisdumont.com
Inspiring all piano teachers, performers and enthusiasts
Join now NewRoss for HALF Piano Festival PRiCE KRISTIAN BEZUIDENHOUT / FINGHIN COLLINS ZOLTÁN FEJÉRVÁR / DAVID GREILSAMMER • Public liability insurance - £10,000,000 cover SEÁN MORGAN-ROONEY / ENRICO PIERANUNZI • Over 30 regional centres ELIZAVETA UKRAINSKAIA / PHIL WARE / KLÁRA WÜRTZ • 24-hour legal helpline KRISTÓF BARÁTI violin / JENNIFER STUMM viola • Piano Professional magazine ISTVÁN VÁRDAI cello / DAMIAN EVANS double bass • Annual piano & composers competitions • The Piano Teachers’ Course EPTA UK for new and experienced teachers Wednesday 20to Sunday 24 September • Bursaries St. Mary’s Church, New Ross, Co. Wexford, Ireland • National & international events in 42 EPTA countries Booking: 00353 51 421255 • www.newrosspianofestival.com
NEW ROSS PIANO FESTIVAL IS SUPPORTED BY Enquiries to The Administrator [email protected] NEW ROSS PIANO FESTIVAL 08456 581054 or 07510 379286 epta-uk.org
September/October 2017 International Piano 13
IPSO17_012-013_R_OnetoWatch KC OK 0708.indd 13 08/08/2017 17:12 COMMENT Beyond words Imperial War Museum holds a drawing around our ears. Dad taught me that music – Jonathon Brown takes by fellow captive Ronald Searle in which and by extension all the arts – is not just the my father can be seen evidently enjoying wallpaper covering up the cracks of life, but exception to the idea a cigarette – made, he once mischievously part of the very living edifice. (We used to told a religious friend of mine, from dried laugh at the way political powers put the arts that music is yam leaves rolled in pages of the silk-paper in the same boat as frivolities such as sport.) Bibles sent out by the Red Cross: the finest Perhaps even Igor Levit has changed his powerless to help in smoke of his life, he said. mind as to whether or not music can help At Changai the prisoners made their own in challenging times: on the first night of times of grave crisis entertainment, gathering to listen to 78s, the BBC Proms, his encore was Beethoven’s also sent by the Red Cross, played under Ode to Joy (in Liszt’s wordless transcription) N RESPONSE TO THE HORRIFIC the swaying gum trees in intense, dusty which he played as expression of his personal terrorist attack in Manchester in May, heat. Among these records were Toscanini’s view of Brexit as an excremental act. In fact, Igor Levit, an increasingly formidable Beethoven Symphony No 7 with the New Schiller had tweaked his title and words Iand versatile presence on the world stage as York Phil, and that Cortot-Thibaud-Casals to distance his humanistic sentiment from well as an unusually personable presence Schubert trio. ‘What the Japs didn’t realise,’ vulgar politics; and I noted that Levit did on Facebook, posted the following said Dad, ‘was that in giving us this music not play Wellington’s Victory. sentiment: ‘Music doesn’t help sh*t’. they reminded us that we came from a Whether Beethoven, with his well-known Levit’s normally gushing and supportive civilisation that could not be done down, dislike of unwieldy empire-building, would Facebook fans were, on this occasion, far neither by might nor barbarity.’ have agreed with any political appropriation from unanimous in their approval. There This, of course, is a hubristic thing to say: of his great choral summons, is a good post- was dissent all round, including by those no doubt there were Incas who thought concert debate to have in the pub round who had suffered trauma. One follower the same of their civilisation; then there’s the corner from the Albert Hall (Daniel drily observed that ‘music is very powerful Shelley’s Ozymandias in a glory of rubble, Barenboim’s political speech at a later Prom and much less expensive than psychiatry’. let alone the Romans, whom some fear we delayed many from their pints, I know.) My comment, unusually succinct, resemble today. Yet I would still contend But clearly Levit had decided, at least was ‘WRONG’. that music is very far from unhelpful when in this instance, that music might indeed However, wrong isn’t enough of a response civilisation seems to be falling to pieces help – without words. to Levit’s assertion: the idea that music doesn’t e help in times of great crisis is, in my view, Hot-blooded trio: Pablo Casals, Alfred Cortot and Jacques Thibaud a profound and even unworthy mistake. ‘We have art lest we perish from the truth’: Nietzsche, in aphoristic flow, might even have become a hit on Twitter; as indeed might van Gogh, who, in his communications with his more functional but less creative brother, declares that if people were happy, artists would be out of a job. I feel strongly about this, recalling my father listening to his 78s of Cortot, Thibaud and Casals playing Schubert’s Piano Trio No 1 in B-flat D898. The hot- blooded muscularity of this music-making, urgent even in gentleness, would bring a tear to his eye. He once told me why.
Captured at the fall of Singapore in TULLY POTTER COLLECTION February 1942, Dad was taken to be a prisoner of war at Changai. He was one of the lucky ones: having lost an arm he was considered by the Japanese to be a non- combatant and his surrender, therefore, not to be a dishonour. The cruelty meted out was thus, in his case, mitigated. The
14 International Piano September/October 2017
IPSO17_014_R_Comment KC OK 0708.indd 14 08/08/2017 11:21 www.liudmilajeremies.de Upright and Grand Pianos ©
New CD on C. Bechstein:
“C. Bechstein grand pianos have everything a pianist wishes for – clarity, wonderful colors, a wide dynamic range and a unique singing tone!”
Saleem Ashkar
For more information about C. Bechstein: C. Bechstein Pianofortefabrik Aktiengesellscha · im stilwerk, Kantstrasse 17 · 10623 Berlin · Germany +49 30 2260 559 100 · [email protected] · www.bechstein.com Importer for Great Britain: Intermusic Ltd. · +44 120 269 69 63 · [email protected]
IPSO17.indd 15 07/08/2017 17:30:54 THE ILL-TEMPERED CLAVIER
Trawling through some of the most popular music streaming sites, Charivari is outraged to find services that are not fit for purpose, run by people who are ignorant of classical music and peddling information that is just plain wrong
EALLY, I’M SHOCKED AT HOW Brahms and any other great composer that are clearly and accurately labelled and levels of ignorance of classical you’d care to name. signposted. But when it comes to classical music seem to be sinking ever It is these very generations who, oblivious music, those in charge of content appear deeper.R I blame the parents; and the to musical history and unfamiliar with its to be clueless. Their limited experience of schools; and, of course, the government. repertoire, run online music streaming music genres, and their lack of interest in Lack of education has led to lack of services such as Spotify, Deezer, Qobuz and anything that dates beyond a few recent exposure to the great works of Western Napster. If your interest is primarily pop decades, has not taught them that the pop music, and has left at least two generations music – by which I mean everything from music template isn’t fit for the purpose of without any knowledge of – let alone love soul and garage to hip hop and hard rock classical music. The result, as far as classical for – the music of Bach, Beethoven, – then you are well catered for, with sites music streaming is concerned, is not a case of dumbing down. It’s much worse. It’s a case of errors, inaccuracies, inconsistencies and misinformation on a massive scale. I took a look at several of these streaming services with the benefit of the free trials on offer. It was quickly apparent which ones had the most resources and which were best designed for classical music and, for our purposes, the pianophile. But this is not an article attempting to compare the benefits or otherwise of different streaming services. It is to draw to the attention of the faceless CEOs who run them the lamentable standards they offer anyone hoping to pursue a love of classical music. Either they don’t know or they don’t care or – more likely –
IPSO17_016-017_R_ITClavier_BWM0908.indd 16 10/08/2017 10:20 THE ILL-TEMPERED CLAVIER
they put classical music at the bottom of tracks is the Overture, The Consecration of the examples of hopelessness but here is the most their list of priorities. House. The same page tells us that ‘artists’ enjoyably bizarre I encountered: type in Josef I shan’t name names, but in my similar to Brahms are Busoni, Borodin, Hofmann and up comes a decent selection (admittedly limited) survey there are Saint-Saëns and Goldmark. Discuss. Of the of CDs featuring the great pianist. One in a couple of sites that have particularly five ‘Latest Albums’ of Brahms highlighted, particular caught my eye: The Best Classical poor metadata. More is the pity, because three are identical albums all with different Pieces Performed By Hofmann – Josef Hofmann the actual music resources on offer are covers and titles. Berlin Philharmonic Orchestra. The cover quite extraordinary, giving access to an The next search was for Czerny. There is intriguing: ‘Ernst T A Hoffmann plays enormous range of recordings, both was a gratifyingly large number of discs to Chopin, Schubert, Liszt and many more in familiar and (sometimes unbelievably) choose from (with, for some reason, many Original Recordings 1903-1918’. Sadly, of obscure. Yet the information about the Ed Sheeran tracks among them) including course, the Berlin Philharmonic Orchestra composer and/or artist and/or title of one of virtuoso Etudes played by pianist does not feature. Nor does E T A Hoffmann, what is presented is often so inadequate, Carlo Lombardi. The first Etude is by who died in 1822 and was not a pianist. How so stupid and so obviously wrong, it will Czerny. The remaining 24 are not. None of many subscribers to this site will view this, leave any half-knowledgeable classical buff them have a composer’s name attached to play the tracks listed and for the rest of their numb with disbelief. Who, you end up them. Only a piano specialist would be able lives think that Ernst Hoffmann was the asking, checks what is being put up on sites to identify them by the titles given (and pianist they were listening to? that rely for their existence on advertising even some of these are incorrect). The non- Terminologies are routinely changed and subscriptions? specialist is left believing that all 25 tracks by these streaming sites: movements of Here are some examples taken from are by Czerny. It’s one way of ignorance sonatas, concertos and symphonies are different sites, the results of some completely spawning even greater ignorance. designated as ‘songs’; great composers are random searches. On one, I typed in ‘Brahms’. The Czerny is duplicated on at least two ‘artists’. Fake news on social media is one An ‘Overview’ takes you to a list of ‘Top (unconnected) streaming sites. I could concern. Disseminating rubbish on the Tracks’. In fourth place of four top Brahms fill the rest of this column with similar internet is another. e
Clementi Sonatinas, Op. 36 AUTHENTIC REVISED VERSION “With Considerable Improvements”
We have many strings......
Piano Sales
Editor: Dr. Arthur Houle Piano Hire • 1st error-free edition in its 220-year history Tuning • 1st & only edition to collate ALL sources Restoration • Extensive scholarly footnotes Transport • Historically grounded creative ideas for 1) lead-in cadenzas Storage 2) variants on repeats Piano Advice Critical acclaim: “...unique...in every way...most scholarly edition Bosendorfer | Bechstein | Sauter | Yamaha ...to excite pupils about authenticity [teachers] Steingraeber | Hoffmann | Zimmermann could do no better than turn to Houle’s Clementi project as a source of inspiration.” – International Piano (July/August, 2017) 7 - 8 Chester Court, Albany Street. London NW1 4BU +44 (0 ) 207 935 8682 [email protected] www.abundantsilence.org www.marksonpianos.com www.amazon.com (“Houle” “Clementi”)
September/October 2017 International Piano 17
IPSO17_016-017_R_ITClavier_BWM0908.indd 17 10/08/2017 10:20 COVER STORY PICTURE PERFECT Boris Giltburg left Russia when he was five years old, but his connections to Russian culture run deep. He adores playing Rachmaninov and Shostakovich and has received rave reviews for best-selling recordings of their music. Away from the piano, he is no less passionate about photography, finding inspiration in the images and philosophical musings of Ansel Adams. Owen Mortimer reports
ORIS GILTBURG BRINGS FOCUS results – in a good way. It’s actually closer of the Second Concerto on Rachmaninov’s and precision to everything he the experience of giving a live concert than own biography: moving from pain and touches. Intense, thoughtful and making a solo recording.’ struggle to dreamy escapism and finally rigorous,B his manner is restless, almost Recording ‘Rach 2’ is something of a triumph. But I’m not sure Rachmaninov nervy. He seems animated by an electric milestone for any pianist, but it’s also a himself conceived such a clear programme. current that runs constantly through his bold step: the bulging catalogue for this It’s true that he didn’t write anything for body. ‘I’m addicted to Shostakovich but work features literally dozens of versions three years and underwent hypnosis with my love for Rachmaninov is on a different going back to Rachmaninov himself, with Dr Nikolai Dahl, but when musical ideas level,’ he tells me. ‘One day I would like other renowned interpreters down the began to come to him again it was quite to play his complete piano works. I really years including Ashkenazy, Hough, Kapell, spontaneous. He said he had many more cannot get enough of Rachmaninov.’ Moiseiwitch, Richter and Zimerman. ideas than he needed for one concerto.’ This autumn sees the release of Giltburg’s Their legacy creates a huge weight of The power of this music, believes second Rachmaninov disc on the Naxos expectation, but Giltburg says he isn’t Giltburg, is in its combination of label. His previous album – described by fazed by the competition: ‘When you go instant emotional appeal and intricate IP as ‘richly nuanced’ – featured the Études- on stage you confront each piece of music craftsmanship: ‘Both as an interpreter and tableaux Op 39 and Moments musicaux on its own terms, not so much because of as a listener, Rachmaninov’s music never Op 16. The new recording completes his what others are doing.’ fails to touch me. It goes straight to the survey of the Études-tableaux, coupling Giltburg is an avid reader and his heart and guts, sometimes even bypassing Op 33 with the composer’s perennially interpretation of the concerto has also the brain. Yet when you look at the scores, popular Piano Concerto No 2. ‘Instead of been informed by immersing himself in the precision and detail is incredible. He pairing Rachmaninov’s Second and Third Rachmaninov’s letters. ‘By doing this you took utmost care with articulation, so that Concertos, we decided to split them over get a strong feeling for Rachmaninov as even the tiniest change in the music is never two CDs and pair them with solo works,’ a person: his very subtle, gentle humour, arbitrary – right down to differentiating explains Giltburg. ‘I also didn’t want to and his unbendable correctness towards between short staccato and long staccato. put both cycles of the Études-tableaux on others. On the one hand he expresses a It’s really inspiring to see how deeply he a single disc, but instead decided to pair complete belief in what he was doing, considered such issues.’ Op 39 with the earlier Moments musicaux. while at other times he was uncertain, I think this provides a little bit of contrast.’ lacking self-assuredness. For example, just In the Second Concerto, Giltburg is after the premiere of the Second Concerto N 1989 GILTBURG MOVED TO joined by the Royal Scottish National he complained that he had ruined the first Israel, where he studied with Arie Vardi Orchestra under Carlos Miguel Prieto. movement because people would think the between 1995 and 2007. Prior to this, Compared with making solo recordings, opening theme was only an introduction.’ Ihe received lessons from his mother, who where a lot of freedom is possible in terms The genesis of the Second Concerto is came from a family of pianists stretching of time for doing re-takes, Giltburg says he also significant for Giltburg, though he is back three generations. Her influence, found working with the orchestra much careful not to overstate the importance of deeply rooted in Russian Jewish traditions,
more pressured. ‘In the end I found that Rachmaninov’s recovery from depression. has had an abiding influence on his this pressure could bring about intense ‘It is all too easy to model an interpretation cultural and artistic outlook. ‘I left Russia ⌂
18 International Piano September/October 2017
IPSO17_018-023_F_CvrStory_OM0908.indd 18 10/08/2017 10:55 COVER STORY SASHA GUSOV
September/October 2017 International Piano 19
IPSO17_018-023_F_CvrStory_OM0908.indd 19 10/08/2017 10:55 ISM MEMBERSHIP OFFER
Exclusive offer forInternational Piano readers: Join the ISM and enjoy 15% off membership The Incorporated Society of Musicians (ISM) has partnered once more with To make us your ISM, join us International Piano to bring you an online at ism.org/join exclusive offer on annual membership. If you would like to join the ISM and Joining the ISM means you will be claim your 15% off membership become part of a growing community of discount, simply go to ism.org/join and professional musicians which includes enter one of the promotional codes performers, composers and educators. We below: • 17FIP: Annual full rate membership are the only professional body in the UK for £149.60 (normal rate £176) that is wholly independent and caters for • 17GIP: Annual graduate rate musicians from every genre and every area membership for £66.30 (normal rate within the music profession. £78). If you have graduated with your We support our members with a range members but also advocate on behalf of first music degree within the last ten of high quality services – one-to-one legal musicians collectively. With our shared years you can take advantage of our advice and representation; public liability voice we continue to lead successful graduate discount. Full rate members get an additional insurance; expert advice; award-winning campaigns, taking your concerns £5 off if paying by annual direct debit, professional development; unlimited to government. or alternatively the cost can be spread discounted insurance on any number over ten months. of musical instruments of any value; Ts&Cs: This offer is available to those who are For further information, please contact opportunities to build connections with not already members of the ISM and for the our Membership team on 020 7313 other music professionals; and much more. first year of membership only. 9311 or email [email protected]. We not only support our individual This offer ends on 30/11/2017.
BORIS GILTBURG | RACHMANINOV
RELEASE DATE 8TH SEPTEMBER
ALSO AVAILABLE:
8.573469
“His vision will place him among the truly memorable Rachmaninov interpreters… His originality stems from 8.573629 a convergence of heart and mind, served by immaculate technique and motivated by a deep and abiding love for one of the 20th century’s greatest composer-pianists.”
© Oliver Binns Gramophone, Recording of the month
naxosdirect.co.uk | www.naxos.com
20 International Piano September/October 2017
IPSO17_020_ISM.indd 20 09/08/2017 11:13 COVER STORY
⌂ when I was five and have only visited a few fascinating to see this happening, and I times, but thanks to my parents I still have think it will continue. But the Russian part Rachmaninov’s music Russian as my mother tongue. My great- inside of me is still very important.’ never fails to touch me grandmother was arrested by the NKVD Giltburg’s experience of cultural (People’s Commissariat for Internal dislocation also informs his feelings – it goes straight to the Affairs) and kept for some time because about Rachmaninov, who emigrated to she had relatives abroad. Luckily she was America in 1918: ‘He was a person without heart and guts released quite quickly, but many other a homeland who had been cut from his people in the same situation were not so roots – I think he missed Russia terribly. lucky. For example Prokofiev’s wife Lena, The Third Symphony, Corelli Variations, who was of Spanish origin, was imprisoned Rhapsody on a Theme of Paganini and and spent eight years in a Gulag camp.’ Symphonic Dances are the endpoint of Apart from this personal connection, Rachmaninov’s transition from lushness Giltburg’s own understanding of Russia and richness to a more ascetic style after comes mainly from literature, poetry and his move. In the two-piano version of the music. ‘Maybe having grown up with Symphonic Dances, in particular, there are literature that is not contemporary, I am almost no chords: there is a lot of single- more acquainted with an image of Russia voice writing. His early works feel velvety from the past,’ he says ‘Also, the Russian and silky, but this is hewn in marble language in Israel has already begun to or some other stone – there is nothing split from that Russian that’s spoken in superfluous, no note which is not needed. Russia. It’s not a dialect, but there are That is Rachmaninov’s late style.’
already words which we use in Israel that Shostakovich, by contrast, remained in are not used in Russia and vice versa. It’s Russia during the Soviet era – a story that ⌂
Boris Giltburg: ‘I really cannot get enough of Rachmaninov’ HA GUSOV
September/October 2017 International Piano 21
IPSO17_018-023_F_CvrStory_OM0908.indd 21 10/08/2017 11:55 COVER STORY OLIVER BINNS
‘When you go on stage you confront each piece of music on its own terms’
⌂ has become familiar to many through of Testimony comes from the fact that ‘we ‘What Giltburg’s piano transcription the memoir Testimony, allegedly narrated want our heroes to be perfect, including loses in the strings’ sustaining intensity, to the journalist and musicologist morally perfect, so it’s hard for those of it gains in intimacy, as if trying to capture Solomon Volkov during the last years us who adore Shostakovich to accept the the composer at the piano rendering the of the composer’s life. Giltburg flatly fact that some of his behaviour was not as work for his own edification.’ This view rejects the authenticity of Testimony on spotless as we would like – for example, is certainly echoed by Giltburg, who says several counts: ‘If you read Shostakovich’s he signed letters of condemnation that he wanted to do the transcription because letters you get a very clear image of a led many members of the intelligentsia in ‘although we have some great piano music voice, and this voice is utterly different Russia to turn their backs on him. I think by Shostakovich – including his chamber from the one in Testimony. The voice in if once hasn’t lived in such times we cannot music, the Preludes and Fugues, both Testimony belongs to someone who takes understand how it was nor judge. There concertos and the Second Sonata – I feel himself very seriously, but Shostakovich is a strong desire to show Shostakovich that we didn’t have a large-scale piece of never does that – he’s always laughing at as a fighter, a complete dissident, but the the same gruesome depth as his Quartets’. himself, sometimes very wryly, sometimes truth is neither here nor there: he was He is currently working on a transcription seriously, but he never talks with the neither a complete collaborator, nor a of the Third Quartet, and Shostakovich’s grave pomposity of Testimony. He was also complete dissident.’ publisher Sikorski plan to publish his a fiercely private and reclusive person, His own ‘obsession’ with Shostakovich arrangement of the Eighth. ‘I’m really so I find it very hard to believe that he recently led Giltburg to arrange and happy because this means others will be would tell the story of his entire life to a record the composer’s famous String able to play it. Perhaps it can even become journalist whom he didn’t know.’ Quartet No 8 in a version for solo piano. part of the repertoire if enough people Giltburg believes the enduring appeal Reviewing this for IP, Guy Rickards wrote: like it…’
22 International Piano September/October 2017
IPSO17_018-023_F_CvrStory_OM0908.indd 22 10/08/2017 11:55 COVER STORY SASHA GUSOV SASHA OLIVER BINNS IS OWN ENGAGEMENT WITH music is deep and multi-faceted, but Giltburg believes in ‘classical musicH for all’ – the title of his blog. And perhaps unusually for a pianist, some of his closest friends are not even musicians. ‘They are from the computing and science fiction “geek” world,’ he explains. ‘I am a geek myself – I build computers and do a bit of programming. I’ve actually found it quite easy to get into programming because it requires you to think in steps – just like a fugue, or indeed anything by Bach’ This seems like a neat analogy, but Giltburg recognises that understanding the mechanics of music is not enough, especially with the late works of Beethoven: ‘Just to be able to identify the form or describe the variations is nothing, but in performance the music becomes a kind of “emergent property” – suddenly you have Op 111, which is infinitely greater that the notes you have just played. ‘The way I see it is that composers create portals to other worlds, nailing them down to our world via the score, which is a gateway. Our understanding of each pocket universe is highly subjective, which is why Gould and Brendel can play two completely different versions of a piece by Bach. It’s like poetry, where a small number of words can create magic. Music is even more abstract, so a musician’s imagination can take you to a lot of places.’ Photography is another medium that fascinates Giltburg, providing yet more fodder for his searching intellect. ‘Taking photographs is for me complete downtime, because it has no connection whatsoever ‘I am a geek myself – I build computers and do a bit of programming’ with music,’ he says, then immediately contradicts himself with an anecdote about and think’ – and realise that many shots Boris Giltburg’s the American photographer Ansel Adams: he might have captured in digital are not new Rachmaninov ‘He thought of the negative as being like worth taking. album will be a score, and each print as a performance ‘I’d really love to improve my released on 8 – so you can have different performances photography, but sometimes I feel like Septmber by of the score.’ (Adams trained for several I’ve hit a wall,’ he explains. ‘In my first Naxos Records years as a classical pianist before switching year it was like a virus had got inside (Naxos 8573629) to photography.) my brain – I found it hard to practise www.naxos.com Ever the obsessive, Giltburg finds himself the piano as all I wanted to do was go shooting pictures in every spare moment outside and shoot. Now, looking at the output Giltburg can also be heard in this year’s he can find during his tours. He uses an old of that first year, I would say there are only a International Piano Series at St John’s Smith Nikon 531 ‘that cost exactly £5 on Ebay, but few good shots. At some point I realised that Square, London, on 28 February 2018. has a huge viewfinder so it feels like you if I continued like this I would not get any www.southbankcentre.co.uk are in the shot. I love the immersiveness.’ better. If you want really good results, it’s as Shooting with film also makes him ‘stop much hard work as anything else.’ www.borisgiltburg.wordpress.com e September/October 2017 International Piano 23
IPSO17_018-023_F_CvrStory_OM0908.indd 23 10/08/2017 11:55 COVER STORY TRAVELLING LIGHT Boris Giltburg shares some photos taken in rare moments of downtime during his recent international tours
}Saker falcon The falcon seemed to be posing and there was a shaft on light on it, so I tried to process the photo as a seated portrait, a bit in the style of Studio Harcourt in Paris.
~Solitude in Shubuya, Tokyo I liked the contrast between the wistful expression on the passer- by's face and the advertised happiness on the poster. ~Delft shadow The Delft canals in the summer are covered with algae that form a great background for shadows. This was taken with a film camera.
}Seattle abstract A section of the Museum of Pop Culture in Seattle, dissected by the monorail See more photos by Boris Giltburg bridge. I liked the resulting on his blog ‘A photo a day’ angles and splashes of colour. www.bgiltphotos.wordpress.com
24 International Piano September/October 2017
IPSO17_024_F_CvrStory0908OM.indd 24 10/08/2017 10:57 IPSO17.indd 25 07/08/2017 17:30:55 Birmingham International Piano Festival 27 Oct – 4 Nov 2017
We are thrilled to present the 2017 Birmingham International Piano Festival – where we bring some of the world’s finest pianists and keyboard players to Birmingham. Performances will take place in the University of Birmingham’s world class concert halls in the Bramall Music Building and The Barber Institute of Fine Arts between Friday 27 October and Saturday 4 November 2017.
Friday 27 October Friday 27 October Saturday 28 October Wednesday 1 November 1.10-2pm 7.30-9.30pm 7.30-9.30pm 7.30-9.30pm Kenneth Hamilton Syd Lawrence European Union Benjamin Grosvenor piano Orchestra Chamber Orchestra piano with Steven Devine harpsichord
Friday 3 November Saturday 4 November Saturday 4 November 1.10-2pm 2-3.15pm 7.30-9.30pm Ksenija Sidorova Songs About Us Silent Film Night accordion The Hunchback of Notre Dame FAMILY CONCERT with organ improvisation
Admission: Free - £22. See website for details. Tickets + Info birminghampianofestival.com #brumpianofest
IPSO17.inddBIPF 17 IPM Magazine 26 FP August 4 - 15mm version.indd 1 07/08/201703/08/2017 17:30:56 10:21 RUSSIA 1917
day. This extraordinary tale establishes that revolutionary agitators had piano on the mind well before October 1917. The Russian pianist Dmitri Alexeev, in booklet notes about Nikolai Medtner AUGERS OF (1880-1951) for Hyperion Records, suggests that before the October Revolution, ‘Like Scriabin and Rachmaninov, Medtner expressed the raw nerve of this momentous time: his contemporaries noted the “psychologically intense, demonic” REVOLUTION character of his music.’ Beyond the general concept of Zeitgeist, was any precise spirit Benjamin Ivry explores the development of of the times identifiable in this era’s piano music? Lest we be over-hasty in labeling piano music and pianism in Russia in the music as reflecting revolutionary mores, Béla Bartók’s essay Revolution and Evolution turbulent years leading up to the October in Art, posthumously published in 1972 in Tempo, warns: ‘The word “revolution” Revolution of 1917 is often misused in connection with contemporary music. Every composer who writes some kind of new music is called a Part I: Eve of the Cataclysm revolutionary musician by many people.’ For Bartók, music was ultimately an evolutionary, rather than revolutionary, N ITS CENTENNIAL YEAR, THE what [Hambourg described] as “one of the art. He added: ‘Complete revolution in art, event known in Soviet propaganda best instruments I ever played on”.’ The therefore, is impossible or, at least, is not as the ‘Great October Socialist revolutionaries withheld any applause, but a desirable means to an end. Applied to IRevolution’ is illuminated by the work assured him that they would express their music, it would even mean the elimination
and lives of Russian pianists and piano thanks; this turned out to be by serving as of all known musical sounds in use today, composers. The civil war that ensued a claque at Hambourg’s concert with the and it would require the invention of some ⌂ would cause nine million casualties by Warsaw Philharmonic on the following kind of different material as a substitute… violence, famine and disease, according to historians. Yet even shortly before this Mark Hambourg reported being kidnapped Timeless lyricism: composer-pianist hecatomb, the piano was very much heard. during his 1908 tour to Poland Nikolai Medtner (1880-1951) By that fateful October, revolutionary activity was already common in Russia and its satellites. Piano lovers who recall history lessons at school know about the Russian Revolution of 1905 following much 19th-century anarchist agitation and violence. The pianist Mark Hambourg (1879- 1960), born in Boguchar, Russia, had fled the Tsarist regime to London with his family in 1889. In 1908, Hambourg was reminded of ambient turmoil when touring Russian-controlled Poland. As The
Dominion and other international press TULLY POTTER COLLECTION TULLY POTTER COLLECTION reported, Hambourg was kidnapped in Warsaw by a band of revolutionaries on 11 January, before the second of his scheduled performances. Bound, gagged and
blindfolded, he was led to an underground room and was not permitted to leave ⌂ ‘until he had performed four pieces on
September/October 2017 International Piano 27
IPSO17_027-030_F_Russia_OM0908.indd 27 09/08/2017 11:32 RUSSIA 1917
TULLY POTTER COLLECTION springs to mind of Adolf Hitler repeatedly failing the entrance exam of the Academy of Fine Arts Vienna, and so pursuing other goals. This was reinforced by a reminiscence from 1924 by the notoriously unreliable memoirist Maxim Gorky, who paraphrased Lenin:
‘I know of nothing better than the Appassionata and could listen to it every day. What astonishing, superhuman music! It always makes me proud, perhaps with a childish naiveté, to think that people can work such miracles! … But I can’t listen to music very often, it affects my nerves. I want to say sweet, silly things, and pat the little heads of people who, living in a filthy hell, can create such beauty. These days, one can’t pat anyone on the head nowadays, they might bite your hand off. Hence, you have to beat people’s little heads, beat mercilessly, although ideally we are against doing any violence to people.’
The concept of Lenin as a fanboy of Beethoven’s Appassionata would eventually inspire the playwright Tom Stoppard’s Scriabin on acid: Nikolai Roslavets (1881-1944) Travesties. Fortunately, Russian piano composers before the October Revolution were unaware of Lenin’s conclusion that ⌂ [E]ven the most revolutionary movement children’s tunes well on the piano eras of political foment were no time for in music has its natural limits. It must keep and often sat down to play a duet human sentiments sparked by music. the original material, but it can, at least, with some older person. However, Instead, Russian Futurist composers and destroy the system or systems which have when he entered the gymnasium pianists followed the Italian poet Filippo been developed from this material for the he gave up music… Most likely he Tommaso Marinetti, whose manifesto past several thousand years and which have did so because in those days piano from 1909 celebrated speed, machinery, been in use until now.’ playing was considered rather youth and violence. If piano music could not be wholly an unsuitable occupation for revolutionary, was there any place for it in boys... [His sister] Maria told me Russia’s social and political ferment before afterwards that Vladimir Ilyich HE EPONYMOUS VERSE October 1917? Propaganda surrounding very much regretted not having tragedy to which the Russian the life of Vladimir Ilyich Ulyanov, continued his studies of the piano...’ Futurist poet Vladimir Mayakovsky alias Lenin (1870-1924), leader of the Tgave his own name features a pianist Bolshevik Revolution, would suggest not. The notion that pianism was seen as ‘unable to pull his hands out from between In the treacly, hagiographic Reminiscences unmanly in the age of the hyper-masculine the white teeth of the enraged keyboard’. of Lenin by his Relatives (Moscow, 1956), keyboard hero Anton Rubinstein (1829- This image of the piano as a Venus flytrap the dictator’s brother Dmitry Ilyich 1894) strikes a false note. Nor was being echoed stage decor at Russian Futurist Ulyanov recalled: able to play children’s tunes at the age poetic evenings, where a grand piano of eight all that uncommon. The lasting would be suspended over the heads of ‘Vladimir Ilyich learned to play the impression of Lenin’s pre-Revolutionary reciters as a sword of Damocles, dealing piano when he was still a boy… brush with the piano as described, is of a potential death. Overtly iconoclastic, At the age of eight he could play frustrated creative channel. The example Futurist poets saw the piano as an icon
28 International Piano September/October 2017
IPSO17_027-030_F_Russia_OM0908.indd 28 09/08/2017 11:32 RUSSIA 1917
to be manhandled. Of Futurist piano Tales’). His Op 34 and Op 35 (both 1916- an idyllic past. His refined Sonata in G composers in the era before the October 17) evoke magical woodlands in the spirit, minor Op 22 (1901-10) is informed with Revolution, the brooding, suffocating, if not the idiom, of Robert Schumann’s suffering, attracting interpreters such as adamant disquiet in the Piano Sonata Kinderszenen. Medtner’s earlier Skazki Op Vladimir Horowitz, Benno Moiseiwitsch No 1 (1914) of Nikolai Roslavets (1881- 26 (1910–12) have nostalgic Old World and Emil Gilels. Directions in the score 1944) illustrates why this composer was candour, especially in the recording from include ‘with anger’, ‘in pain’ and ‘with later called ‘Scriabin on acid’ by Marc- 1936 by the composer (APR 5546). Medtner contempt’. Its opening movement, André Hamelin. Even when Roslavets also produced Three Novellas Op 17 (1908– marked ‘Tenebroso, sempre affrettando’ tried to charm or enchant, as in his Trois 09), of which No 1 in G major, subtitled (Gloomy, always hastening) is especially Études, also from 1914, the result can seem ‘Daphnis and Chloe’, is a retrospective eloquent as played by Moiseiwitsch, yet forced, like an over-intrusive street mime interpretation of an ancient love story with to claim this as foreshadowing national straining to entertain passers-by. One of none of the freshness or daring of Ravel’s trauma would be over-reaching. As with Roslavets’ most rewarding works from this ballet of that title. Medtner’s Skazki Op all pre-Revolutionary pianism, inner era is the contemplative Two Compositions 8 (1904–05) revive a world of childhood emotions, not newspaper headlines, were for Solo Piano (1915), in which a borderline enchantment, again following the example prime motivators. Medtner’s Sonata No personality disorder might nevertheless of Schumann in an ultra-Russian way. 9 in A minor Op 30 (1914), despite its be diagnosed. His ambiguous, highly Once out of fashion amidst modernist subtitle ‘After the War’, is more about the pianistic Sonata No 2 (1916) is an extended strivings, Medtner’s conservative lyricism composer’s feelings than WWI itself. search for personal equilibrium, not about now sounds timeless. The stark and stern works by Nikolai
war or imminent revolution. In pre-Revolutionary days, Medtner Obukhov (1892-1954) are about sin and Works by another Russian Futurist was no one-dimensional yearner for repentance. Obukhov’s Conversions, for ⌂ pianist and composer, Arthur Lourié, are even less fraught with supposed Rachmaninov’s artistic force has long outlasted the spirit of his age zeitgeist. Lourié’s Five Fragile Preludes for Piano Op 1 (1908-10), plumb pianistic depths, achieving mystic profundity, as if effortlessly. His Two Poems for Piano Op 8 (1912) have the aura of an intimate personal conversation, while Two Mazurkas for Piano Op 7 (1912), convey luscious seduction. Lourié was capable of being assertive and declarative, as in Synthèses for Piano (1914), but never obstreperously so. Possibly French influence, audible in his Piano Sonatina No 3 (1917) helped Lourié retain Cartesian control of his rhetoric. His scores, especially Formes en l’air (‘Forms in the Air’, dedicated to Pablo Picasso; 1915) offer breathing room, with empty spaces visually and sonically. Such works surpass current events to address more permanent matters of artistic conscience, just as Sergei Rachmaninov’s world fame as a pianist and composer outshone contemporaneous worries. Rachmaninov’s Études-tableaux Op 39 (1916) emanate artistic force that outshines most of the other material discussed here, outweighing any so-called spirit of the age. The same is true of keyboard works of Sergei Prokofiev,
which emerged before and after the KUBEY REMBRANDT October Revolution. Another composer-pianist who defied contemporary trends, Nikolai Medtner (1880-1951), wrote a series of Skazki (‘Tales’, known imprecisely in English as ‘Fairy
September/October 2017 International Piano 29
IPSO17_027-030_F_Russia_OM0908.indd 29 09/08/2017 11:32 RUSSIA 1917
⌂ piano (1915), while modernist in idiom, TULLY POTTER COLLECTION looks back pietistically to such 17th- century Old Believers as the Archpriest Avvakum, who endured torture to prove his faith. At the start of Samuil Feinberg’s (1890-1962) distinguished career as composer and pianist, his Sonata No 2 Op 2 (1915-1916) was completed only after he was invalided out of war service. Like Medtner’s works, Feinberg’s sonatas also represent an individual sensibility making its way through landscapes of retrospective delights and challenges. Later in life, Feinberg would record Two Pieces Op 3 (1913, rev 1919) by a colleague, Anatoly Alexandrov (1888-1982), but even Feinberg’s sublime artistry could not transfigure a dreary nocturne followed by a manic waltz. While enjoying recent attention, Alexandrov’s early works, dilutions of Scriabin and Medtner, are not among his best. Unlike some of his contemporaries, Mikhail Gnesin (1883-1957) actively sought to charm in the piano part of his chamber work, Requiem Op 11 for two violins, viola, cello and piano (c 1914). An aspirational, optimistic score, it offers solace in a surprisingly conventional way from this composer-pianist sometimes considered offbeat in his personal life. Igor Stravinsky’s co-authored Dialogues and a Diary (1963) claims that Gnesin ‘dressed as an Orthodox Hebrew, but Russian composer and teacher Mikhail Gnesin (1883-1957) at the same time was identified with radically anti-sectarian political and piano composition, latterly revived and even to Scriabin, a neighbour of the Pasternak social views’. recorded (by Inna Faliks on MSR Classics family’s dacha in Obolenskoe. To these pianists and composers creating MS 1333). Yet Pasternak’s Piano Sonata in B So much for the cosy musical soirées of a keyboard world shortly before the minor (1909) is so much weak tea dribbling the aristocracy; of Rachmaninov, Medtner, October Revolution may be added the out of the samovar, and his Deux Préludes Lourié, and others who produced immortal Nobel-prizewinning poet and novelist (1906) sound like what they are: a 16-year- piano works and performances, none was Boris Pasternak (1890-1960). In Pasternak’s old’s cloyingly ardent, imitative homage prepared for the carnage awaiting Russia. poem Above the Barriers, piano keys are e transformed into a ‘flock of birds the poet feeds’. The young Pasternak was a pianist SUGGESTED LISTENING who would improvise musical portraits of his friends as they arrived at a soirée. His Preludes to a Revolution Medtner Complete Piano Sonatas Jenny Lin (piano) Marc-André Hamelin (piano) Autobiographical Essay declared: ‘The voice Hänssler Classic 98480 Hyperion 67221/4 of the piano seemed to me an integral part of music itself.’ Pasternak was influenced Russian Futurist Piano Medtner Plays Medtner Thomas Gunther (piano) Nikolai Medtner (piano) by his mother Rozaliya Kaufman, a Cybele 160404 Melodiya 2200 (Vol 1) / 2274 (Vol 2) student of Anton Rubinstein and Theodor Leschetizky who kept a Bechstein grand in Rachmaninov Études-tableaux Op 39 Feinberg Piano Sonatas Howard Shelley (piano) Christophe Sirodeau and Nikolaos the drawing room of the family home, as Helios 55403 Samaltanos (piano) well as an upright piano in her bedroom. BIS 1413 (Vol 1) / 1414 (Vol 2) Pasternak made a few early attempts at
30 International Piano September/October 2017
IPSO17_027-030_F_Russia_OM0908.indd 30 09/08/2017 11:32 An Eastman education forges the
highest levels INTRODUCING FOR FALL 2017 of artistry and scholarship with deep musicianship skills and entrepreneurial savvy. Eastman graduates emerge as leaders in their respective fields, create their own professional opportunities, and shape the future of music.
FACULTY Douglas Humphreys, Tony Caramia chair Alan Chow Natalya Antonova Alexander Kobrin ALAN CHOW Associate Professor of Piano Jean Barr Vincent Lenti (accompanying) Nelita True ALEXANDER KOBRIN Assistant Professor of Piano
For application information visit esm.rochester.edu/admissions
IPSO17.indd 31 09/08/2017 10:43:49 ASHKENAZY AT 80 SASHA GUSOV / DECCA SASHA Roundabout routes As he celebrates his 80th birthday, Vladimir Ashkenazy can look back over a lifetime as a pianist and conductor who has confounded all attempts to define his artistry, amassing a vast legacy of recordings that are as diverse in repertoire as they are unpredictable in style. Benjamin Ivry attempts to grasp hold of an elusive musical career
LADIMIR DAVIDOVICH ASHKENAZY, WHO with the legendary Anna Nikolayevna Yesipova (1851-1914), one turned 80 on 6 July this year, has spent a lifetime escaping of Theodor Leschetizky’s most acclaimed pupils, admired by any sort of predetermined path or cultural stereotype as a Tchaikovsky and Liszt. Ashkenazy’s artistic lineage was, therefore, Vmusician. Undistracted by anything apart from the music and its clear from the beginning. When it was time to graduate to a new message, Ashkenazy has eluded classification and categorisation, as teacher, Sumbatyan spared Ashkenazy the star-making factory if recognising that a solo pianist’s role is to be sui generis. of Heinrich Neuhaus at the Moscow Conservatory, from which This habit started early in his hometown of Gorky, Soviet Sviatoslav Richter and Emil Gilels had emerged. Instead, the Union (now Nizhny Novgorod, Russia), where he neatly young pianist was assigned to Boris Zemlyansky, a devoted and sidestepped membership of a father-and-son team of pianists. nurturing teacher. David Vladimirovitch Ashkenazi (1915-1997), after studies at the The classes with Zemlyansky were tailored to Ashkenazy’s individual Moscow Conservatory, worked as a barnstorming accompanist for skills and quirks. Zemlyansky was, himself, a far from conventional Soviet pop singers in provincial music halls and variety shows. figure: in his 1984 memoir Beyond Frontiers, co-authored with his Ashkenazy junior and his mother sniffed at this infra dig music- manager Jasper Parrott, Ashkenazy describes how Zemlyansky making by the absent father. They allowed grudging admiration was arrested by the KGB in an anti-gay purge, imprisoned for nine when in one provincial hall, he had to play what remained of the months, and in 1976 reportedly committed suicide. Ashkenazy would amputated torso of a piano lying backstage, minus legs and pedals. leave his homeland in 1963 to escape such Soviet tyranny as well as The sheer technical bravado of pater improvising an evening’s a musical mindset prizing athleticism and technical virtuosity over worth of rapid-paced variety fare while lying on his stomach spiritual development. The official Soviet line dismissed J S Bach’s impressed young Ashkenazy, although not to the point of wishing music as ‘mere mathematics’. Ashkenazy, whose late-Bach recordings to imitate the precedent. are noteworthy, stated that in the USSR he rarely played Mozart either, Ashkenazy also bypassed the typical attributes of a Soviet pianist. feeling that the inner meaning escaped him. As a seven-year-old, he began studies with the Armenian pedagogue As soon as he was past the age of competitions, Ashkenazy Anaida Stepanovna Sumbatyan (1905-1985) who would also teach recused himself from the usual Russian virtuoso repertoire of Vladimir Krainev, Nelly Akopian-Tamarina, Sergey Musaelyan concertos by Tchaikovsky and Liszt. The excuse he offered was and Oxana Yablonskaya. Sumbatyan’s own teacher had studied that his hands were too small, although he would thrive in works
32 International Piano September/October 2017
IPSO17_032-034_F_CDs_OM0908.indd 32 10/08/2017 11:56 ASHKENAZY AT 80 SASHA GUSOV / DECCA SASHA by Rachmaninov, whose own mighty span was legendary, as well extrovert maestros he heartily admired. His most congenial meeting as the Liszt Transcendental Etudes. In truth, he simply gravitated of styles, however, was possibly with the Hungarian maestro István towards repertory he preferred. Kertész, though this collaboration was limited to Mozart concertos While sensibly acknowledging a Russian influence on his before the conductor’s untimely demise in 1973. artistry, his own pan-European trajectory served him well. He In fact, Ashkenazy worked well even with potentially fled to the UK and later to Iceland, before settling in Switzerland. obstreperous or self-involved conductors: in a radio recording from Thus he followed the precedent of itinerant Europeanised émigré 1958, the young Ashkenazy played Prokofiev’s Piano Concerto composers, including Rachmaninov and Prokofiev. In music No 2 with the New York Philharmonic led by Leonard Bernstein. by composers who remained in Russia, such as Shostakovich, This unusually lyrical performance seems to be the only recording Ashkenazy was idiomatic without straying into the over-imposing featuring these two musicians. Perhaps being signed with different approach of some keyboard colleagues. recordings companies (Bernstein with CBS then latterly Deutsche In 1983, having long divested himself of Soviet accretions, Grammophon) kept them apart. An extraordinarily vivid and Ashkenazy offered up a spanking fresh version of Musorgsky’s dramatic, albeit imperfectly recorded, Rachmaninov Concerto Pictures at an Exhibition, filmed by Christopher Nupen. So bright No 2 with the Los Angeles Philharmonic conducted by William and brisk is the keyboard performance that the familiar work Steinberg from 1968 has circulated online. Of these conductors, sounds as if the paintings in question had undergone artistic perhaps the most surprising result was what may be André restoration. In the same Nupen film, Ashkenazy led the Swedish Previn’s finest hour on record in Prokofiev concertos; by contrast, Radio Symphony Orchestra in an orchestration of Pictures by the Ashkenazy’s Brahms Piano Concerto No 2 with Bernard Haitink is Slovenian conductor Leo Funtek, closer to Musorgsky’s keyboard marred by an oozing, ponderous orchestral reading. original than Maurice Ravel’s celebrated version. Ashkenazy Ashkenazy aspired to a distilled form of artistry that is not exults in Funtek’s literal faithfulness and would produce his own easily defined. A few critics have charged him with sounding orchestration of the work, also recorded. bland, because the musical dishes he served lacked a particular national spice. In chamber music especially, the results depended on partners as much as upon the pianist himself. In Beethoven’s OST AUDIENCES BECAME AWARE OF ASHKENAZY Kreutzer Sonata, with the star soloist Itzhak Perlman, Ashkenazy as an orchestral conductor over three decades ago, and eschews any form of galvanising drama. In fact, the sunny-toned his conducting in public became more frequent after Perlman was perhaps not the fieriest partner for Ashkenazy. When heM became afflicted by arthritis. In 2007, he announced he would the pianist did record a diverse programme with a more unbridled no longer play solo recitals due to this impediment, although he violinist, the ever-animated Ida Haendel, Decca’s engineers would continue to record and play chamber music. Long before curiously placed him in the sonic background. Nor was Ashkenazy this development, Ashkenazy clearly indicated that his first and ideally matched with the lumbering approach of American cellist lasting love was orchestral conducting, even more than piano Lynn Harrell, another longtime friend and frequent recording
playing. Instead of being a pianist who also conducts to some partner. Of his two musician sons, Vovka Ashkenazy has a nervy, extent, he essentially claimed to be a conductor who also happens brittle tone, while Dimitri Ashkenazy⌂ is an introspective clarinetist to have outstanding keyboard skills. He recalled that as a youngster, and able chamber musician. around the time he began working with Sumbatyan, he was taken to the Bolshoi Theatre in Moscow, where he was transfixed by the ‘Ashkenazy aspired to a distilled form of artistry that is not easily defined’ orchestra pit rather than onstage events. As he was bored by studies and exercises at the piano, his parents gave him piano reductions of operas and other orchestral works, honing his sight-reading skills. The communality of conducting and chamber music remain close to Ashkenazy’s heart. An emblematic recording, made a year after he defected, was of Mozart’s Sonata for Two Pianos in D major K448 with the American pianist Malcolm Frager, who visited him in the USSR in 1958. In this recording may be heard two pianists’ sensibilities blending to the point of sounding like a single heart and brain. This is rather different from Ashkenazy’s 1966 performance of the same work with Daniel Barenboim, filmed by Christopher Nupen in rehearsal and performance. Despite Barenboim’s usual boiling energy and impulsiveness, Ashkenazy’s sense of musical shape and chaste modesty were not shared by his duo partner. In an endearing moment, Ashkenazy laughs a trifle nervously as he advises his duo partner: ‘No really, count!’ When it comes to conductors, Ashkenazy’s luck has varied, as demonstrated vividly on recordings. His Beethoven concertos were accompanied by Georg Solti (1973) and Zubin Mehta (1984), two
September/October 2017 International Piano 33
IPSO17_032-034_F_CDs_OM0908.indd 33 10/08/2017 11:56 ASHKENAZY AT 80
Icelandic pianist Þórunn Jóhannsdóttir, this decision has been a reasonable one. Meanwhile, his vast and varied discography comprises Bach, Bartók, Beethoven, Brahms, Chopin, Debussy, Liszt, Mozart, DECCA/JIM STEERE Musorgsky, Prokofiev, Rachmaninov, Schubert, Schumann, Scriabin and Shostakovich, among others. The pure, refined results may be heard in his recordings, reissued in 2013 as a 50-CD set, Ashkenazy: 50 Years on Decca: 1963-2013. Another gargantuan collection of recordings, out this year, is Ashkenazy: The Complete Piano Concerto Recordings (Decca 0289 483 1752 3) on 46 CDs and 2 DVDs. Are there regrets or unfulfilled wishes for a career so rich in achievement? Often shy about adding major new repertory, in 1991 he told interviewers from DSCH Journal (a publication dedicated to the life and work of Shostakovich) that it was a ‘bit too late now’ for him to learn Shostakovich’s Preludes and Fugues, adding, ‘I have other priorities.’ He similarly told Linda J Noyle, the author of Pianists on Playing (Scarecrow Press, 1987) that he felt ill-equipped by his Russian education to perform music by Bach. An inspired orchestral conductor: Vladimir Ashkenazy He reconsidered in both cases, and some of his most representative latter-day recordings resulted. Happily, Ashkenazy has always been a musician to circumvent diktats, especially when they concern VEN TODAY, ASHKENAZY CONTINUES TO himself, defying anyone who tries to pin down his considerable ⌂ confound definitions and expectations. After announcing musical legacy. his retirement from his solo concert career, he carried e onE recording challenging works such as the Bach Partitas, not A 56-CD box set of Ashkenazy’s sounding like a pianist who had renounced live performance solo and chamber music recordings due to arthritis. Indeed, his spiffy, agile renditions, prone to fast will be released on 1 September tempos, were anything but arthritic, as if impishly saluting those (Decca 4832182). who wrote off his performing career too soon. As a latecomer to www.vladimirashkenazy.com the conductor’s podium, he opted not to hazard the technically demanding domains of opera or oratorio, although he did accompany singers from Elisabeth Söderström to Dietrich Fischer- Dieskau. Like most of Ashkenazy’s artistic choices, made with sustained advice over a half-century and more from his wife, the
SUGGESTED LISTENING Bach The Well-Tempered Clavier (Decca 000637802) Rachmaninov Piano Trios with Zsolt-Tihamér Vistonay Bach 6 Partitas (Decca 001455802) and Mats Lidstrom (Decca 001903402) Bartók Piano Concertos with Georg Solti (Decca Rachmaninov Preludes (London/Decca Double 001746002) Decker 443841) Beethoven Piano Concertos, as soloist and conductor Rachmaninov Études-tableaux Op 33 & 39 (Decca with the Cleveland Orchestra (Decca 421718) Eloquence 4803606) Chopin, Debussy, Ravel Solo works (Decca Rachmaninov Piano Concertos 2 & 4 with Bernard 000897302) Haitink (Decca 414475) Liszt Transcendental Etudes S139 (Decca 425045) Rachmaninov Piano Pieces (Decca B0004200-02) Mozart Concertos with István Kertész (Decca 443576) Scriabin Sonatas (Decca 452961) Prokofiev Piano Sonatas 6-8 (Decca 001888702) Shostakovich 24 Preludes & Fugues Op 87 (Decca 0289 466 0662 9) Prokofiev, Bartók Piano Concertos No 3 with Georg Solti (Decca 411969) Elisabeth Söderström: The Russian Songbook (Decca Eloquence 4802067) Prokofiev Piano Concertos with André Previn (London/Decca Double Decker 452588) Russian Piano Encores (Decca Eloquence 4803607 Rachmaninov Variations on a Theme of Corelli Op 42 Vladimir Ashkenazy & Dimitri Ashkenazy: Father & (Testament 1046) Son (Paladino Music PMR0030)
34 International Piano September/October 2017
IPSO17_032-034_F_CDs_OM0908.indd 34 10/08/2017 11:56
WORLD PREMIERE PERSONAL TOUCH Elena Langer introduces her world premiere commission for this year’s London Piano Festival, finding inspiration in the creative ferment of early 20th-century Russian art and breaking the boundary between music and painting
HE BEGINNING OF THE LAST musical and words were colourful. As a and Lev Oborin, who prepared me in my century was a thrilling time in student, I was fascinated by Scriabin’s ideas mid-teens for the entrance exam to Gnessin art and in art synthesis. Poets of colour in music: ‘What colour is E-flat College. He suggested that to know the Tpainted (Mayakovsky and Khlebnikov major? Is it yellow? And C-sharp minor? music properly and avoid a memory lapse began their careers as artists) and painters Purple?’ – though that now seems like a in performance, I should write down by wrote words (Larionov and Chagall childish game. heart the Bach fugue I was learning. published poetry). Many poets and artists I started playing the piano when I was six I have not written much music for were amateur musicians. Kandinsky years old, and throughout my studies I was solo piano, but I like composing and was an accomplished pianist and lucky to have excellent piano teachers. I improvising at the keys. I use the piano translated some of Schoenberg’s Theory received private lessons from Emmanuil in my orchestrations too – it is my very of Harmony. Paintings from that era were Monaszon, a pupil of Konstantin Igumnov good friend! In the past, however, I have
Fantasy by Kuzma Petrov-Vodkin (1925) © 2017, RUSSIAN STATE MUSEUM, ST PETERSBURG
36 International Piano September/October 2017
IPSO17_036-037_R_PTouch_OM0908.indd 36 09/08/2017 15:55 WORLD PREMIERE ROBERT WORKMAN been put off writing for two pianos by exhibition of Russian art. I was drawn to the feeling that one ought to write a lot of Petrov-Vodkin’s Fantasy by its sense of notes, almost like an orchestral score, yet rhythmic drive. The image of a red horse without the orchestra’s variety of colour is rather striking – both realistic and and timbre. The challenge of writing fantastical. I also like the fact that it is a for this medium, I think, is in finding a duet with two characters: the red horse is musical idea which will make good use moving forward while the rider is looking of the rich piano textures and ensemble backwards. possibilities. I have attempted to come up RedMare is a festival piece for two with material that will be interesting for virtuoso pianists, so expect a lot of fast Katya Apekisheva and Charles Owen to notes, chastushki-like tunes and horsey play – showing off their technique but also rhythms! It is a fun, visual piece that I their wonderful skill of listening to each hope will be accompanied by projections other and playing lyrically. of paintings by Kandinsky, Malevich and When Katya and Charles asked me to Petrov-Vodkin, making it a cinematic, write a short piece for the London Piano Elena Langer: ‘The image of a red theatrical experience. Festival, they said they wanted something horse is rather striking – both realistic e vaguely Russian, perhaps connected to the and fantastical’ Elena Langer’s RedMare will be given 1917 Revolution. Initially, I looked for its world premiere by Katya Apekisheva inspiration in pictures from that year by I wanted my piano piece to achieve and Charles Owen at this year’s London Wassily Kandinsky: colourful, bold works something similar in spirit. Coincidentally, Piano Festival, Kings Place, on Saturday which are very Russian, but also strange and at around the same time that we began 7 October unique. None of them actually depicts the discussing the commission, the Royal Revolution, as if it weren’t happening! Academy in London presented a wonderful www.londonpianofestival.com OF MUSIC & DANCE CONSERVATOIRE LABAN TRINITY LONDON’S CREATIVE CONSERVATOIRE PROFESSIONAL TRAINING FOR PIANISTS
/ Undergraduate, postgraduate / andBA one(Hons) year in programmes Contemporary Dance / One-to-one Masters programmes tuition with our world © 2017, RUSSIAN STATE MUSEUM, ST PETERSBURG / renownedResearch teaching degrees staff / Regular performance opportunities Professional development programmes / in London’s leading venues / Amazing learning environment at
the Old Royal Naval College in ROBERT WORKMAN
Greenwich, London photo: jk-photography
Audition now in the UK and International locations: TRINITYLABAN.AC.UK/PIANO FOLLOW US: /TRINITYLABAN
September/October 2017 International Piano 37
IPSO17_036-037_R_PTouch_OM0908.indd 37 09/08/2017 15:55 RHINEGOLD LIVE AN ENGLISHMAN ABROAD Jeremy Nicholas catches up with September’s Rhinegold LIVE artist Sam Haywood, whose international career has recently been punctuated by recordings of some rare and quintessentially English piano repertoire OVIDIU MICSIK
38 International Piano September/October 2017
IPSO17_038-039_F_RGLive OM0908.indd 38 09/08/2017 10:22 RHINEGOLD LIVE
AM HAYWOOD HAS BEEN have always been immensely supportive with Joshua Bell about six years ago and attracting a lot of publicity recently and bought me my own piano when I keep going back every couple of years.’ for his new album of Preludes by Sir was four.’ (Haywood is Bell’s regular duo partner, SCharles Villiers Stanford, recorded on the While still at Chetham’s School of touring extensively with him in the USA Hyperion label. That the great composer, Music, Haywood won second prize in and Europe.) ‘But this was the first time famous for his choral and organ music, the piano final of the 1986 BBC Young I had played in Arequipa. It’s incredible. wrote such pieces must have come as a Musician of the Year. With the help of the Up in the Andes. Three volcanoes. A most surprise for even dedicated piano buffs. Isserlis Scholarship, he studied in Vienna beautiful place. I played in this amazing They turn out to be – in Haywood’s hands with Paul Badura-Skoda and then returned monastery covering 20,000 square metres – an enchanting discovery. The British to London for lessons with Maria Curcio – like a city within a city. It was lovely to be pianist first programmed six of them for before moving to Berlin. For the past greeted by a young audience, too, with an a recital at the Wigmore Hall some years 10 years his home has been a basement average age of about 30.’ ago – ‘I paired them with some Chopin apartment behind the Wigmore Hall, Coming up are more tours with Bell in Preludes, and enjoyed them enormously’ but he and his talented web designer wife Europe and the US, a solo recital tour of – then investigated the collection further. Sophia Pagoni have recently moved to Florida and another trip to Indonesia. ‘I There are 48 of them, based on Bach’s relatively rural Tonbridge. ‘There’s a lot to go there quite a lot and have made some model, from which he eventually cherry- be said for living above ground!’ he jokes, good friends. I also do a lot of teaching picked 38. ‘It’s quite a treasure trove, and ‘and it’s so much more neighbourly. It’s there. The kids are amazing.’ But the rather a rare experience to come across something I missed in London, having enterprising Sam Haywood has left one something unusual like this and then feel grown up in the Lake District.’ He met unexpected card up his sleeve. ‘I have this passionate about it.’ How did he unearth Sophia on an aeroplane: ‘It was one of invention for memorising music. It’s called them? ‘It must have been in about 2000, Memory Stars, a device which has now rummaging about in a pile of old music got a patent. It’s going quiet well via the OVIDIU MICSIK someone had given me. That’s how I got ‘My parents have website. Difficult to explain but basically to make my first recording for Hyperion.’ it’s a masking device. It makes memorising Haywood was a mere 17 years old when always been a fun game rather than something to be he was awarded the Royal Philharmonic afraid of. It’s really helped me!’ You won’t Society’s Julius Isserlis Scholarship immensely supportive need any help remembering the name Sam in 1989. Having become friends (and Haywood, though: we’ll be hearing a lot frequent collaborator) with Julius’s and bought me more from him in the future. famous grandson Steven, he was given my own piano when e permission by the cellist’s late father to Sam Haywood will give a Rhinegold LIVE rummage through his own father’s pile I was four’ recital of works by Stanford, Schumann, of music. ‘We dug up this piece that had Chopin and Mendelssohn at London’s Conway never been published, which was rather Hall on Tuesday 5 September 2017. Register exciting.’ So taken was he by the music online for free tickets and a complimentary that Haywood made his own edition. drink: www.rhinegoldlive.co.uk His subsequent disc of the piano music of Julius Isserlis (1888-1968) appeared those free-seating flights and I found Haywood’s album of Stanford Preludes in 2014. myself next to this guy who had a little is now available from Hyperion Records Haywood was born in Brisbane, problem with body odour. I wondered if I (CDA68183). www.samhaywood.com Australia, but his parents moved back could stick this to Berlin and I decided not, to their home country when he was not so I went further down the plane and sat quite two years old to live in St Bees, next to her. I am heavily in his debt.’ Cumbria. ‘My father is a computer In 2013 he co-founded the Solent Music consultant and Mum’s latest venture is a Festival in Lymington (Hampshire). ‘It has jewellery business using locally mined developed beyond all our expectations, hematite for her necklaces etcetera. So the town has taken ownership of it in a they’re not musicians, though Dad plays way and everyone wants to be involved. the guitar very beautifully in private. They Hopefully that will continue to flourish. We don’t want it to become huge – I’m not sure we could cope! – but want it to retain its family feel.’ Sam Haywood: ‘It’s a rare experience to Haywood has just returned from South come across something unusual like this America where he gave recitals in Lima and then feel passionate about it.’ and Arequipa. ‘I first performed in Lima
September/October 2017 International Piano 39
IPSO17_038-039_F_RGLive OM0908.indd 39 09/08/2017 10:22 2017_08_International_Piano_International Piano 08/08/2017 17:31 Page
‘A thrilling new recording’ THE TIMES ‘Quietly sensitive … precise, thoughtful’ FINANCIAL TIMES CDA68148 Ravel: Piano Concertos Falla: Nights in the gardens of Spain STEVEN OSBORNE piano BBC SCOTTISH SO LUDOVIC MORLOT conductor
‘Sam Haywood … Shape your artistry. does this repertoire absolutely proud … his is a decidedly superior brand of pianism’ GRAMOPHONE
CDA68183
Stanford: Preludes SAM HAYWOOD piano
‘I have listened to the disc five times now … my enjoyment has increased exponentially’ GRAMOPHONE CDA68151
Cipriani Potter: Piano Concertos Nos 2 & 4 HOWARD SHELLEY piano TASMANIAN SO
‘Slow, minimalist, yet strangely evocative and expressive’ BBC MUSIC MAGAZINE
CDA68048
Morton Feldman: For Bunita Marcus Offering programs in MARC-ANDRÉ HAMELIN piano Piano
Collaborative Piano OTHER LABELS AVAILABLE FOR DOWNLOAD ON OUR WEBSITE CDs, MP3 and lossless Learn more at bostonconservatory.berklee.edu downloads of all our recordings are available from Gimell www.hyperion-records.co.uk
IPSO17.indd 40 08/08/2017 17:47:29 CONSERVATOIRES
LESSONS BY THE LAKE Michael Johnson visits the International Piano Academy on the idyllic shores of Lake Como, where students are encouraged to explore music deeply, guided by some of the most illustrious teachers in the business and taking their playing to a new level – without having to pay a penny
N THE NORTHERN ITALIAN TOWN OF DONGO, to the next hurdle. At the keyboard, on this sun-drenched May William Grant Naboré ushered me into the majestic Palazzo morning in this idyllic lakeside setting, was Emil Gryesten, said del Vescovo, a former Bishop’s palace which for the past 15 years to be one of the best pianists in Denmark. Gryesten is a recent Ihas been home to the International Piano Academy Lake Como. graduate of the Academy who is shuttling between Dongo and I was greeted by the sound of a piano rattling the hallway with Copenhagen to prepare for a recital at Musikhuset Aarhus, the
Liszt’s Reminiscences of Norma. The music stopped and restarted largest concert hall in Scandinavia. twice. At last the pianist navigated his way forward and continued The International Piano Academy Lake Como has become, since ⌂
September/October 2017 International Piano 41
IPSO17_041-044_F_Como_OM0908.indd 41 10/08/2017 10:53 “Piano study at Lynn is a golden opportunity to follow your unique path of artistic development. You can fully unleash your solo and chamber potential in our performance-oriented curriculum under the guidance of supportive faculty, motivated colleagues and a caring community.”
Roberta Rust Professor, piano Head, piano department
When talent meets inspiration, the results are extraordinary.
The Lynn University Conservatory of Music attracts some of the finest performers and teachers. Noted pianist Roberta Rust is the perfect example: Talented students choose Lynn University • B.M., University of Texas at Austin; P.C., Mozarteum-Salzburg; M.M., Manhattan Conservatory of Music for: School of Music; D.M.A., University of Miami • Soloist with the New Philharmonic, Philippine Philharmonic, Boca Raton Symphonia, • Our distinguished faculty the New World Symphony and orchestras throughout Latin America
• Specializing in solo, • Extensive recordings featuring the music of Debussy, Haydn, Villa-Lobos, Prokofiev concerto and chamber and contemporary American composers music opportunities • Master class instructor at prominent institutions throughout Asia and the Americas • Award-winning students • Free-tuition scholarships* for all enrolled students
Offering Bachelor of Music, Master of Music and Professional Performance Certificate programs of study Contact us to learn more about piano performance at Lynn University Conservatory of Music.
+1 561-237-9001 lynn.edu/music
*Room and board scholarships available
Lynn University does not discriminate on the basis of race, color, gender, religion, sexual orientation, national origin, disability, genetic information, age, pregnancy or parenting status, veteran status or retirement status in its activities and programs. In accordance with Title IX of the Education Amendments of 1972, Lynn University does not discriminate on the basis of sex. Inquiries concerning the application of the non-discrimination policy may be directed to the University Compliance Officer/Title IX Coordinator at 3601 N. Military Trail, Boca Raton, FL 33431; via email at [email protected]; by phone at +1 561-237-7727 or to the U.S. Dept. of Education OCR. Lynn University is accredited by the Southern Association of Colleges and Schools Commission on Colleges (SACSCOC) to award baccalaureate, master’s and doctoral degrees. Contact the SACSCOC at 1866 Southern Lane, Decatur, Georgia 30033-4097 or call +1 404-679-4500 for questions about the accreditation of Lynn University. © 2017 Lynn University
IPSO17.indd 42 07/08/2017 17:31:00 CONSERVATOIRES TANYA ROSEN-JONES ⌂ its inception in 2002, one of the world’s most sought-after centres for training exceptional young talent, attracting students from throughout the world. Only six or seven applicants from a batch of about 500 hopefuls are admitted annually to two terms of cost-free study. The honorary president is Naboré’s friend, Martha Argerich. Students that I met during my visit told me that their experience at the Como Academy marks them in so many ways: with its high-level masterclasses, Naboré’s constant availability and support, and the peaceful atmosphere village of Dongo itself, hidden in Lombardy deep in the snow- capped Prealp Mountains, 70km along a sinuous route from Milan. ‘There is an energy here – it’s a place of great creativity,’ says Naboré. Academy founder and director William Grant Naboré Naboré’s nose for recognising talent is legendary. Many – such as Gryesten, François Dumont, Yulianna Avdeeva, Dmitry Masleev and Alessandro Deljevan – study with him, then return after graduation for refreshers. Naboré provides ongoing counsel as their careers take off. The diminutive, smiling creator, president and artistic director of the Academy has acquired the nickname of ‘Yoda of the Piano’, so highly regarded are his qualities as a teacher, mentor and guide. An American expatriate, Naboré seems an unlikely figure to have become such an international guru for young pianists. His black ancestry dates back to the days of slavery in the American South. He emerged as a child prodigy when he was growing up in Roanoke, Virginia, and studied under Anne McClenny at the private women’s school Hollins College, obtaining special access that was normally refused to boys. At age 17 he won a scholarship sponsored Faculty member Dmitri Bashkirov leads a masterclass at Como by the Italian government and began studies with Carlo Zecchi, a former student of Busoni and Arthur Schnabel, and with Renata Borgatti. As ABORÉ CAN BE GENEROUS WITH HIS TIME. THE he progressed in his career he was coached privately by Rudolf recent Tchaikovsky Competition in Moscow caught him Serkin, George Szell and Alicia de Larrocha. An ardent ensemble on the hop after a long flight back from Beijing. Groggy player besides pursuing his solo performance and recording withN jetlag, he took a call from finalist Dmitry Masleev in Moscow career, Naboré has performed with the Amadeus, Talich, Gabrieli and coached him by telephone for six hours through Mozart’s and Brindisi Quartets. Piano Concerto No 20 in D minor. Masleev went on to win It was in 1993 that he was hand-picked by a German businessman first prize with the concerto and an an international career now Theo Lieven, founder of the Vobis computer brand, to organise awaits him. and launch the International Piano Foundation in Cadenabbia, Around 25 Como graduates are now serving as professors in on Lake Como’s western shore. Lieven, himself an accomplished various conservatories around the world, passing on the Como
amateur pianist, financed the start-up that led eventually to Naboré’s ideals to younger generations of pianists. The Academy created its spinoff Academy. first partnership last year, linking up with Oberlin Conservatory, ⌂
September/October 2017 International Piano 43
IPSO17_041-044_F_Como_OM0908.indd 43 10/08/2017 10:53 CONSERVATOIRES
From its earliest incarnation as the International Piano Foundation, ‘If you have exceptional gifts masterclasses have been held at the Academy under the auspices of an A-list of pianists, including Leon Fleischer, Dmitri Bashkirov, Claude as musician, you should not Frank, Graham Johnson, Murray Perahia, Menahem Pressler and Fou Ts’ong. The late Karl-Ulrich Schnabel, Roslyn Tureck, Charles Rosen have to pay to develop them’ and Alicia de Larrocha were also regulars. On my visit to Como, I was able to witness an intense two-hour WILLIAM GRANT NABORÉ masterclass led by Harvard University Ensemble Performance teacher Katherine Chi, an established Canadian pianist now based in Cambridge, Massachussets. Seated at the piano in the Academy’s elegant Schnabel Hall was Arseny Tarasevich Nikolaev, grandson of the great Russian pianist Tatiana Nikolaeva. He gamely followed Chi’s instructions for bringing more heart to Mozart’s Sonata in ⌂ near Cleveland, Ohio, to award an artist diploma to selected B-flat major. The first 20 minutes were devoted to a single opening students after two years of academic and music studies. phrase. ‘A little bit warmer,’ said Chi. ‘Let’s try to find a more singing One key to the Academy’s success is its family atmosphere, tone. You have to open the door here,’ she went on, as they parsed avoiding the regimentation that often plagues free-wheeling music the sonata measure by measure. students. Naboré’s objective is to provide ‘breathing space’ for I asked Nikolaev afterwards how Chi’s teachings would affect his reflection and development of repertoire at this crucial period in playing. ‘I don’t know yet,’ he said diplomatically. ‘But I now see different a pianist’s growth, coupled with his conviction that the training approaches to the piece. Things have become more crystallised.’ of talented young pianists should be free of charge. ‘If you have In today’s crowded environment, lasting success at the piano will exceptional gifts as musician, you should not have to pay to develop ultimately come from this sort of deep, Como-style understanding them,’ he tells me. ‘This is the philosophy I live by. I never paid of the music – rather than from arid technical prowess or personality for lessons either!’ The Academy’s package of tuition, room and cults based on loud clothes or wild hair. board has been estimated at a value of about US$100,000 a year. e Support for the Academy comes from a variety of private sponsors For further details about the International Piano Academy Lake Como and contributors. visit www.comopianoacademy.org and www.comopiano.com
A PERSONAL VIEW The Russian-born rising star Yulianna Avdeeva, Talking about Como, she cannot stress enough who took first prize at the Warsaw Chopin the importance of Naboré as the Academy’s guiding Competition in 2008, spent a year-and-a-half at the spirit. ‘I respect him so much as a personality and a International Piano Academy as a young student. musician. His opinion is very important to me.’ She recalls encountering many different and inspiring personalities: masterclass teachers such as Dmitry www.avdeevapiano.com Bashkirov, Boris Berman, Fou Ts’ong and of course Naboré himself. ‘They all supported me in finding my own way of feeling music – it was so important to work with them.’ Her time in Como allowed Avdeeva to expand and explore her musical horizons: ‘I discovered that there is no right or wrong way to make music. It’s essential to study and to understand the music score,’ she says, ‘but at the same time to find your own personal language.’ Tone is always crucial, she insists. ‘It is like the human voice, which is so individual and is the strongest means of expression. The work on tone never stops. Another very crucial point is the score, the only source left to us by the composer. I try to learn as much as I can about the composer’s life, his historical environment, and to find a link to the paintings and literature of the time in order to create my own – maybe very subjective – vision of the music I play.’ CHRISTINE SCHNEIDER CHRISTINE
44 International Piano September/October 2017
IPSO17_041-044_F_Como_OM0908.indd 44 10/08/2017 10:53 MUSIC
Piano Faculty Marcia Bosits James Giles The Bienen School of Music offers Sylvia Wang · A 152,000-square-foot state-of-the-art facility · Close proximity to downtown Chicago’s overlooking Lake Michigan vibrant cultural landscape · Conservatory-level training combined with the aca- · 2017–18 master classes by Emanuel Ax, demic flexibility of an elite research institution winner of the 2016 Jean Gimbel Lane Prize in Piano Performance · Traditional BM, BA, MM, PhD, and DMA degrees as well as innovative dual-degree, self-designed, and double-major programs www.music.northwestern.edu
IPSO17.indd 45 07/08/2017 17:31:00 CONSERVATOIRES GUIDE
Piano studies JAMES KEATES Which are the best university and conservatoire courses for pianists? IP asked some top institutions in Britain and the US to tell us their highlights in 2017/18...
UK Facilities: Based in a Grade II-listed New in 2017/18: In September 2017 Guildhall School of Music & Drama building in Silk Street, next to London’s the Keyboard Department welcomes LONDON EC2 Barbican Centre. Facilities include a pianist and Guildhall alumna Sa Chen as Overview: Offering a wide array of solo, music hall, lecture-recital room, theatre, Associate Artist. ensemble and accompaniment training, the electronic music studios, recording and Guildhall School’s Keyboard Department sound studios, and over 40 teaching How to apply: Visit the Guildhall is headed by the internationally acclaimed and practice rooms. The new Milton School’s website for full details of course pianist Ronan O’Hora. The School’s Court site houses a state-of-the-art requirements. The Keyboard Open Day for undergraduate BMus programme concert hall, lyric theatre, studio theatre 2018 entry takes place on 14 March 2018. includes one-to-one lessons, as well as the and several major rehearsal rooms. An The 2018/19 deadline for applications is 11 opportunity to work with keyboard staff annexe offers a further 44 teaching October 2017 (13 Dec 2017 for a New York and distinguished visiting artists in a variety and practice rooms, in addition to the audition). Auditions take place in London, of performance classes. The postgraduate Sundial Court Hall of Residence for Hong Kong, Seoul, Taipei and New York. programme Guildhall Artist Masters student housing. www.gsmd.ac.uk in Performance (MMus/MPerf) offers specialisms in Advanced Instrumental Fees: Undergraduate and postgraduate Trinity Laban Conservatoire of Studies, Piano Accompaniment, Chamber course fees, as well as information on Music and Dance Music, Repetiteur Training and Historical scholarships for students in need of LONDON SE10 Performance Studies, and there is also an financial support, can be found at gsmd. Overview: Students at Trinity Laban Artist Diploma and research programmes. ac.uk/funding. acquire not just technical mastery over the music they play, but also the ability Faculty: Senior professors include Ronan Alumni: Alexandra Dariescu (2010), Clare to continually interpret it afresh. Our O’Hora, Pamela Lidiard, Joan Havill, Hammond (2008), Sasha Grynyuk (2007), teachers help students to break out of Graham Johnson and Richard Goode. Sholto Kynoch (2005), Tom Poster (2004), old patterns, and equip them with the Visiting professors include Imogen Cooper Sa Chen (2001), Paul Lewis (1994) and tools to realise their artistic ambitions. and Paul Lewis. Lucy Parham (1989) We offer an abundance of chamber and solo performance opportunities, while Students in rehearsal at London’s Guildhall School numerous competitions – internal and external – encourage students to explore a wide range of styles and repertoire.
Faculty: Head of Piano and Keyboard Instruments: Peter Tuite; Distinguished Artist in Residence: Pascal Rogé; Visiting Artist in Contemporary Piano: Rolf Hind; Professorial staff: Deniz Gelenbe; Gabriele Baldocci; Sergio De Simone; Martino Tirimo
Facilities: A range of period instruments, including several single- and double- harpsichords, fortepianos, a chamber organ and a recently purchased Karen Richter
PAUL COCHRANE PAUL clavichord.
46 International Piano September/October 2017
IPSO17_047-050_F_Conservatoires_OM0908.indd 46 09/08/2017 16:01 CONSERVATOIRES GUIDE
using UCAS Conservatoires for the main offering five performance spaces, 130 practice audition session is 2 October 2017. Late rooms, and close proximity to downtown applications may be considered. Chicago’s vibrant cultural landscape.
JAMES KEATES www.trinitylaban.ac.uk/keyboard Fees: Tuition and fees for undergraduate students are approximately US$70K. US Northwestern University offers financial Bienen School of Music assistance to undergraduate students on the Northwestern University basis of need. The university is among a small EVANSTON, ILLINOIS group of private institutions that continue Overview: Piano study at Northwestern to meet the full need of aid applicants. Each is designed to prepare young artists for year, the Bienen School of Music will also the multifaceted opportunities awaiting award selective merit-based scholarships to Trinity Laban alumnus Naufal Mukumi them in today’s music world. The piano those whose musical auditions demonstrate faculty is comprised of experienced artist- remarkable excellence. teachers whose careers represent a diversity Fees: Visit the Trinity Laban website for full of backgrounds. Their comprehensive Alumni: Ralph Votapek (60) performed details. UK and EU undergraduate students approach to education encourages students in the inaugural Van Cliburn International currently pay £9,250 in tuition fees each to cultivate their own voices and musical Piano Competition in 1962 and won the academic year. All UK and EU students are values. The relatively small size of our gold medal in the elite competition. entitled to take out a student loan to cover programme (typically fewer than than 50 these fees. International undergraduate students in total for all degree programmes) How to apply: Visit www.music. students (ie non-UK/EU) will be charged creates a community that is collegial northwestern.edu for application process at the international fee level, which is but motivated toward achievement. We and entry requirements. currently £20,100 each academic year. offer multiple piano degrees including www.music.northwestern.edu For futher details about postgraduate study Batchelor and Master of Music degrees in visit trinitylaban.ac.uk/fees. Performance, Masters in Education and Boston Conservatory at Berklee All applicants to the conservatoire’s Pedagogy and Doctor of Musical Arts BOSTON, MASSACHUSETTS music programmes will be automatically degrees in Performance and Pedagogy. Overview: Boston Conservatory offers considered for scholarships. multiple degrees in piano performance, Faculty: Marcia Bosits, James Giles, including Bachelor and Master of Music Alumni: Gen Li (2014), 2017 Brant Sylvia Wang degrees, Graduate Performance Diploma,
International Piano Competition winner; Professional Studies Certificate, and Artist 2015 Jaques Samuel Pianos Intercollegiate Facilities: A 152,000-square-foot state-of- Diploma. In addition, the Conservatory ⌂ Piano Competition winner: ‘Trinity Laban the-art facility overlooking Lake Michigan, offers a master of music degree in were very supportive of me in finding my own voice in my piano playing and in my Boston Conservatoire at Berklee performance. My teachers helped me to develop a lot of my own skills and my own unique colour when I play.’
New in 2017/18: In addition to his usual programme of four masterclasses per year, Pascal Rogé will be undertaking 1-2-1 tuition. Two piano festivals will be held in spring 2018: a Debussy Festival (March/April) and an Undergraduate Piano Festival (April). 2017/18 will be
Rolf Hind’s first full year as Visiting MAXIMILIAN WAGENBLASS Artist in Contemporary Piano and the conservatoire’s first Contemporary Piano Festival takes place in June 2018.
How to apply: Visit the Trinity Laban website for full details. Deadline for ⌂ submission of on-time applications
September/October 2017 International Piano 47
IPSO17_047-050_F_Conservatoires_OM0908.indd 47 09/08/2017 16:01 CONSERVATOIRES GUIDE
⌂ collaborative piano. The curriculum Facilities: Five performance spaces, 100- and performance forums, an annual provides students with the personal plus practice rooms, 113 Steinway pianos, concerto competition and chamber attention needed to sharpen their technical and a world-class recording studio. music competition, and guest pianist skills, shape their artistry and build their performances and master classes. confidence as concert pianists. Fees: Tuition, fees, housing, and board for first-year students is approximately $68K. Faculty: Roberta Rust Faculty: Teachers include Max Levinson, All admitted students receive financial aid Jung-Ja Kim, Michael Lewin, Janice Weber, packages which could include need-based Facilities: The Wold Performing Arts Ya-Fei Chuang and Jonathan Bass. funding; 100 per cent of students receive Center, Amarnick-Goldstein Concert merit-based scholarships. Hall and Snyder Sanctuary; de Hoernle Facilities: Six on-campus performance International Building which includes venues and 93 private practice rooms; 700- New in 2017/18: Eastman School of classrooms, practice rooms and studios. plus performances per year. Music has announced the appointments of Alexander Kobrin and Alan Chow as Fees: All accepted students receive a full- Fees: Tuition, fees, housing and board faculty members in the Piano Department. tuition scholarship. Need-based financial details can be found at bostonconservatory. aid is available for eligible students to help berklee.edu/tuition. Boston Conservatory How to apply: Visit the Eastman School with housing costs, in addition to the full- grants more the $13.7m annually in of Music website for the full list of tuition scholarship. scholarships, making it possible for more application requirements. Deadline than 92 per cent of students to receive for new undergraduate applications: 1 Alumni: Performances at ‘Progetto Martha financial aid. The Conservatory offers December. Argerich’ (Lugano, Italy). Acceptance scholarships based on artistic merit. www.esm.rochester.edu/admissions into the Metropolitan Opera Lindemann Young Artist Program. On faculty at NYU- Alumni: Conservatory alumni have won Lynn University Conservatory of Music Steinhardt School, Lebanese American prestigious awards such as the International BOCA RATON, FLORIDA University (Beirut) and Navarro College Franz Liszt Competition, Paloma O’Shea Overview: The Lynn University (Texas, US). International Competition and Honens Conservatory of Music offers a Bachelor of International Piano Competition. Alumni Music, Master of Music, and Professional New in 2017/18: 2017-18 Guest artist perform with renowned ensembles Performance Certificate in piano. The events include: Peter Serkin in recital (2 including Berliner Symphoniker, Hamburg Conservatory’s intimate atmosphere Dec 2017); masterclass with Leon Fleisher Symphony, Johannesburg Philharmonic, assures gifted and artistically motivated (24 Jan 2018); Bachfest! with Michael La Havana Symphony, Miami Symphony, piano students a personalised education Tsalka (3-4 Oct 2017). San Francisco Symphony and St Petersburg rich in solo performance. Musical Philharmonic. growth is enhanced through chamber How to apply: Visit Lynn.edu/music for music study each semester. Performance more information. How to apply: Visit bostonconservatory. activities include weekly studio class Lynn.edu/music berklee.edu for more information on how to apply. Application deadline: Michael Tsalka brings Bachfest! to Lynn University in Florida 15 December. www.bostonconservatory.berklee.edu
Eastman School of Music University of Rochester ROCHESTER, NEW YORK Overview: An Eastman education forges the highest levels of artistry and scholarship with deep musicianship skills and entrepreneurial savvy. Eastman graduates emerge as leaders in their respective fields, create their own professional opportunities, and shape the future of music. MASRI DE MUSSALI
Faculty: Antonova Natalya, Jean Barr (accompanying), Tony Caramia, Alan Chow, Douglas Humphreys, Alexander Kobrin, Vincent Lenti and Nelita True.
48 International Piano September/October 2017
IPSO17_047-050_F_Conservatoires_OM0908.indd 48 09/08/2017 16:01 CONSERVATOIRES GUIDE ATHOLE STILL OPERA Oberlin College and Conservatory Shepherd School of Music OBERLIN, OHIO Rice University Overview: Courses for pianists at Oberlin HOUSTON, TEXAS Conservatory include artist diplomas in Overview: The Shepherd School offers piano and piano technology, plus specialist a four-year Bachelor of Music, a two-year electives in historical performance, Master of Music, a two-year post-master’s pedagogy, accompaniment, and jazz. Artist Diploma and a Doctor of Musical Oberlin’s Double Degree Program allows Arts in Piano Performance. Additionally, exceptional students to earn bachelor’s the Shepherd School offers a two-year degrees from both the conservatory and Master of Music in Piano Chamber Music the college. In addition, Oberlin is home and Accompanying. to the Oberlin-Como Piano Academy, an exclusive partnership with Italy’s Faculty: Piano Performance: Brian International Piano Academy Lake Como. Connelly, Jeanne Kierman Fischer, Jon Kimura Parker, Robert Roux (Chair); Piano Faculty: Senior professors include Angela Chamber Music and Accompanying: Brian Cheng, Alvin Chow, Philip Highfill, James Connelly (Director), Virginia Weckstrom Howsmon, Stanislav Ioudenitch, Matti Countertenor Tai Oney: ‘Stetson really does have my heart’ Raekallio, Robert Shannon, Haewon Song Facilities: The Shepherd School of Music and Peter Takács. is housed in Alice Pratt Brown Hall, a state- of-the-art facility designed by renowned for solo and ensemble performance. Facilities: Nine performance spaces, 150 Spanish architect Ricardo Bofill. The Today, it offers 13 individual degree practice rooms, 240-plus Steinway pianos, and hall boasts four performance venues, 54 options in four areas: Music Education; a world-class recording studio. Oberlin is an teaching studios, 55 practice rooms, seven Music Performance; Composition; and All-Steinway School, a distinction that dates classrooms, an orchestra rehearsal hall, Music Academics (connecting theory, to 1877, when it became the first institution electronic music studio, and production technology, and other academic fields to in the United States to earn the designation. and rehearsal spaces. musical study).
Fees: Tuition and fees for first-year students Fees: Undergraduate cost of attendance is Faculty: 47 artist-scholars with a 6:1 $70K. Aid packages are available to talented $63k. Graduate cost of attendance is $49k. student-faculty ratio applicants who require financial support— Rice meets 100 per cent of a student’s around 90 per cent of students receive financial need based on financial aid Facilities: 1 concert hall, 2 large state-of- merit-based scholarships. eligibility. The Shepherd School also offers the-art rehearsal halls, 32 newly refurbished a generous and responsive programme practice rooms, 26 teaching studios, 1 Alumni: Jeremy Denk (1990), Thomas of merit awards, scholarships, graduate music technology lab, 65 pianos, 6 organs, Rosenkranz (1999), Spencer Myer (2000) stipends and assistantships. 4 harpsichords
New in 2017/18: This year has seen the How to apply: Visit the Shepherd School Fees: Tuition and fees for 2016-17: $43k. inauguration of the new William and Helen of Music website for full details of course Generous financial aid available in the form Birenbaum Innovation and Performance requirements. Application deadline: 1 of talent and merit scholarships as well Space in the Hotel at Oberlin. The Birenbaum December 2017. as need-based aid; 98 per cent of Stetson will serve as a space for Oberlin College and www.music.rice.edu university students receive financial aid. Conservatory of Music students to meet and work by day, turning into an intimate concert Stetson University School of Music Alumni: Tai Oney (2006): ‘Stetson really club by night, hosting student recitals, guest DELAND, FLORIDA does have my heart. I got a chance to get artists and special events. With its distinctive Overview: Stetson University School to know who I am as well as those around contemporary design, the Birenbaum’s of Music is a vibrant community me. Even years later, I talk about Stetson as stylish amenities include a 100-capacity of approximately 200 exclusively being the best and the greatest experience performance venue and a bar, open to the undergraduate musicians and 47-strong of my life. It was the sense of community. public most nights from 7-11pm. artist-scholar faculty on the historic That’s something that is unique.’ DeLand campus in sunny central MASRI DE MUSSALI How to apply: Visit the Oberlin website Florida. Established in 1936, the School How to apply: Visit stetson.edu/music for full details of course requirements. This of Music was Florida’s first collegiate to learn about the audition process, listen year’s deadline for new undergraduate music school. Students enjoy the to musical performances and arrange a applications is 4 December 2017. advantage of close collaboration with campus visit. www.oberlin.edu faculty and remarkable opportunities www.stetson.edu/music
September/October 2017 International Piano 49
IPSO17_047-050_F_Conservatoires_OM0908.indd 49 09/08/2017 16:01 NEW TO MANCHESTER
REGISTRATION NOW OPEN!
Following five successful years in London, Music & Drama Education Expo comes to Manchester on 4 October 2017 for a one-day celebration of CPD!
Held at Hilton Deansgate in Manchester’s iconic Beetham Tower, the conference will offer over 20 seminars, workshops and debates, the chance to meet and browse the services of over 40 key exhibitors, and the opportunity to network with 500 of your peers in music and drama education.
BOOK YOUR FREE TICKET AT www.mdexpo.co.uk
CONFERENCE SPONSORS SUPPORTERS ORGANISED BY
ALL PHOTOS © RHINEGOLD MEDIA & EVENTS
EXPONORTH17_Registration_210x276.inddIPSO17.indd 50 1 07/08/201718/04/2017 17:31:03 14:06 KEY NOTES KEY NOTES Historical perspectives on piano technique BY MURRAY MCLACHLAN REPEATED NOTES EPEATED NOTES FIRST APPEAR What is important in Example 1 (below) try and experiment with repeated notes as a significant consideration in is a sense of ‘rebound’: make sure that after using every combination of fingering: 4-3- keyboard technique in the music you play the first note in each beat your 2-1 is not enough. Try 5-4-3-2, 5-4-3-2-1, Rof Domenico Scarlatti. Perhaps there’s next finger allows the key to rebound and smaller combinations such as 3-2-1, 2-1 something evocative of the Spanish guitar rather than depress. There is the world and 4-3-2. about the frequent tremolando effects in of difference between ‘bouncing off’ this composer’s sonatas. Performers should and ‘digging in’ to the keys. Aim for the Example 2 (overleaf) comes from the first strive for a humming bird-like agility and former in repeated notes. In each beat of movement of Beethoven’s Appassionata delicacy when executing rapidly repeating Czerny’s study, you should feel as though Sonata Op 57. In the classical repertoire, notes such as those found in Scarlatti’s the second, third and fourth semiquavers I find it convincing and appropriate famous Toccata Sonata in D minor K141. are played by default with the third, second to use a single finger at a time for long Just how particular is the repeated-note and first fingers. There should be no effort stretches of repeated notes. Why is this technique to the music of individual whatsoever: the keys should do all the work the case? Whereas traditional teaching composers? Is there a significant difference for you. Keep your wrists, elbows, neck and would suggest that you alternate left hand between executing repeated notes in shoulders relaxed and still. There should fingering for the repeated Cs here along the Scarlatti, Beethoven, Liszt and Debussy be a sense of concentration about this lines of 4-3-2-1-4-3-2-1, in practice many of (I am thinking especially of the latter’s technique. Only the fingers are involved us find that the use of one finger alone for ‘repeated notes’ study – No 9 in book two in movements, and everything else should all the repeats gives much more control as of his Études)? remain at ease. well as more unity and evenness of touch. The short answer is ‘no’ – at least in I strongly recommend that you practise I prefer to realise this passage in Beethoven terms of achieving a reliable, workable studies like the one above with stops every with the second finger alone (and do the and consistent repeated-note technique. beat. Don’t ever attempt to ‘bed’ the keys. same in many other passages with totally Whatever the style of music, pianists tend On the contrary, every effort should be different musical contexts), because the to get into a state about repeated notes if made to tickle the surface of the keys. use of several fingers in alternation simply they feel flustered, or if they don’t like the Work on the very edge of the keys – never gives too many accents. Stillness and a instrument they are playing. The general attempt to play repeated notes from the sense of consistency is vital at this point in principles for good repeated notes remain middle of the key. Think leggiero; keep the sonata. the same for all periods. As good a place as loose; avoid stiffness and tension. Along However, one-finger repetitions need
any to start, therefore, is the studies of Carl with work on Czerny, you can go back to to be issued with a health warning: do Czerny, such as No 22 in G major Op 299. an even more basic standpoint and simply not attempt such a thing unless you have ⌂
Example 1 | Czerny Study No 22 in G major
September/October 2017 International Piano 51
IPSO17_051-053_R_KeyNotes_0908OM.indd 51 09/08/2017 14:46 KEY NOTES
⌂ relaxed wrists. Is it easier to maintain It would be unthinkable to play all getting in the way. This seems especially relaxation when you play repeated notes the repeated C-sharps with the third important for repeated notes, where with several fingers rather than with one? or fourth finger alone here. By rapidly the very effort of trying to execute them Possibly… Then again, it could be argued flicking in a ‘roulade’ of notes, drawing can lead to their downfall. As is so often that it is worth developing stiffness-free anticlockwise circles with your right hand the case with playing the piano, less one-note repetitions in order to extend as it alternates rapidly with fingers 4-3- is usually more. Apply single-minded your technical facility and therefore your 2-1-4-3-2-1 in succession, the music can dedication to practising repeated notes; scope as a pianist. rise off the page. By using the sustaining but when it comes to the performance, Try practising repetitions with each pedal and lifting the fingers high off the concentrate on the melodic line and keep of the 10 fingers in turn and see how keys as each note rebounds from the next, the decorative embellishments (which is effective and co-ordinated each one is. there should be a feeling of ‘throwing your what repetitions essentially are) away from Think of yourself as a percussionist, slowly voice’, of projecting sonorities out of the your mind’s focus. but surely build up from a slow and even piano and allowing them to spring away economical touch, making sure not to from yourself as you play. This technique ‘over hit’ each note. Keep lightness and appears most infamously in Ravel’s HEN WE COME TO effortlessness as the top priorities. Bear ‘Alborada del Grazioso’ from Miroirs, a percussive post-1900 repertoire, in mind that Martha Argerich and John notorious blackspot for many pianists and we invariably encounter Ogdon managed to execute the repeated one where pianos (rather than pianists) repeatedW notes that can be realised by rapid notes in ‘Scarbo’ from Ravel’s Gaspard de tend to be blamed. alternation between the two hands. The la nuit with single fingers at a time. What can shorten the odds of getting most famous example of this comes from repeated notes right during a performance the long solo towards the end of Gershwin’s is if you focus on everything except the Rhapsody in Blue, though there are plenty NE-FINGER REPETITIONS CAN repeated notes. This is the same as any of other examples, including the opening lead to a loss in energy – especially other major challenge on the piano: if of Prokofiev’s Toccata Op 11. In preparing when there is a need for sparkle, there is something exceptionally difficult for this sort of challenge and the hollow Oeffervescence and brilliance, as is the case going on in one hand while the other is tonal aesthetic that it requires, we could do in Example 3 (bars 25-29, Primo Part only playing something comparatively easy, much worse than look to our colleagues in from the ‘Friska’ in Richard Kleinmiche’s then focus with all your might on the easy the percussion department for guidance. two-piano version of Liszt’s Hungarian hand; the ‘difficult’ hand will then cope Drummers all know about ‘Mummy-Daddy’ Rhapsody No 2). on its own and succeed, without your ego exercises, made by alternating strokes with
Example 2 | Beethoven Appassionata Sonata bars 134-7
52 International Piano September/October 2017
IPSO17_051-053_R_KeyNotes_0908OM.indd 52 09/08/2017 14:46 KEY NOTES
Example 3 | Liszt Hungarian Rhapsody No 2 arr. Kleinmiche
sticks held in each hand. On the piano, we Try repeated notes in the left hand, too: transcription of the FG Scott song ‘Wee can emulate this by building up an even and this may be a rarer thing in the repertoire, Willy Gray’). stiffness-free approach to repeated notes, but the ability to cope with repeated notes In conclusion, repeated notes may be a through alternate use of each thumb in in both hands gives you a greater sense of ‘speciality’ technique, but their mastery rapid succession. Try similar exercises using control and facility in terms of general will instil a sense of confidence in any each index finger in turn, then each of the prowess and co-ordination. You can find pianist. They require control, concentration, other fingers in pairs. Remember that it is passages that require reliable and rapid economy of movement, a sense of lightness helpful to ‘let go’ quickly in order to give the left-hand repetitions in Ferruccio Busoni and skilful aural awareness. By taking time next finger the sensation of rebounding off (Elegy No 4 ‘Turandots Frauengmach’) to explore repeated notes in each hand with the key. This should feel less effortful and as well as Ronald Stevenson (the end of every permutation of fingering possible, more playful than if you were to execute the the ‘Sonata Allegro’ in his Passacaglia on pianists will become more confident, simply repeated notes exclusively in one hand. DSC as well as in the final section of his by becoming more co-ordinated. e
In Concert Selected works from the Diploma of the London College of Music Piano Syllabus
“Put simply, ‘In Concert’ is an extraordinary achievement... It is certainly some of the very best scholarly music editing I have yet seen in any exam New piano board publication” syllabus available PIANODAO.COM winter 2017
lcmmusicshop.uwl.ac.uk
September/October 2017 International Piano 53
IPSO17_051-053_R_KeyNotes_0908OM.indd 53 09/08/2017 14:46 The classical piano repertoire at your fingertips!
Try out the new features at pianostreet.com
Join the 87,868 members strong piano community and get instant access to scores and recordings of 3000+ piano pieces as well as the the web's most comprehensive toolkit for anyone playing the piano.
www.pianostreet.com
IPSO17.indd 54 07/08/2017 17:31:05 international SHEET MUSIC
Turtle Dove Polka by Franz Behr About the music
ianists everywhere will immediately recognise the main So far, Behr’s original has not received a commercial theme of Behr’s Turtle Dove Polka from Rachmaninov’s recording, but the few performances on YouTube entirely ignore celebrated Polka de W.R., a virtuoso transcription composed the ‘scherzpolka’ or ‘badine’ subtitles, meaning ‘playful’ or Pin 1911 and dedicated (understandably, given the nature of the ‘humorous’. Performing it in strict tempo throughout makes for work’s elaborate figurations) to his friend Leopold Godowsky. a very dull few minutes. Any of Rachmaninov’s three recordings Until very recently, the Polka de W.R. was universally accepted of the Polka de W.R. reveal, in the words of as an original work by Rachmaninov, a memory of one of his biographer Max Harrison, ‘bewitching the many salon works that his father Vasily enjoyed playing demonstrations of the real meaning of for pleasure, and which had lodged itself in the mind of the rubato, dependent on the instant response of composer. Hence the title, ‘W.R.’ being the initials of his hand to imagination’. It is worth listening father’s name in their German transliteration. to these as demonstrations of how flexible It seems unlikely that a dance movement can be in the hands Rachmaninov would have of a master pianist. A slight tenuto on deliberately claimed the first and fifth semiquavers in the authorship of this piece brillante section of the Behr, for instance, and simply did not know a marginally slower tempo to reflect the that the polka his father was so fond of grazioso marking for the central B-flat pages playing was not by him, as he assumed, but was (not used by Rachmaninov) and, perhaps, an in fact by a prolific and now-forgotten German composer accelerando through the final brillante semiquavers named Franz Behr (1837-98). Today, the composer of the Polka to end with a flourish. de W.R. is now always hyphenated (‘Behr-Rachmaninov’) to One might not get anywhere near indicate that it is an arrangement. Rachmaninov’s way with a polka but one can aspire Behr’s opus numbers total nearly 600, many of them written to a style of playing that (Harrison again) ‘ministers to pleasures under pseudonyms, among them Georges Bachmann, William that the musician who lives too much in his head instead of in Cooper, Charles Morley, Hans von Aachen, Edwin Smith his ears and hands can easily miss’. and Francesco d’Orso. His Opus 303 is entitled Lachtäubchen, Scherzpolka in F major (Rachmaninov’s version is in A-flat) or, as Browse and download more compositions by Franz Behr at it is known in France, La rieuse, polka badine. www.imslp.org/wiki/Category:Behr,_Franz
IPSO17_055_R_SMusicIntro_OM0908.indd 55 09/08/2017 11:18 IPSO17_056-060_R_SheetMusic.indd 56 09/08/2017 12:04 IPSO17_056-060_R_SheetMusic.indd 57 09/08/2017 12:04 IPSO17_056-060_R_SheetMusic.indd 58 09/08/2017 12:04 IPSO17_056-060_R_SheetMusic.indd 59 09/08/2017 12:04 IPSO17_056-060_R_SheetMusic.indd 60 09/08/2017 12:04 Piano fun New Colorful Collections
Musical Shooting Stars Flowering Sounds Friedrich Grossnick Luis Zett More Catchy Tunes Busy Lizzy & Lazy Daisy DV 32153 19 Easy to EB 8890 16 Curious Flower Intermediate Pieces Pieces for Piano
For Young Pianists Ulrich Mahlert (Ed.) Breitkopf & Härtel Piano Album [email protected] EB 8914 A Collection of Easiest to Easier Piano Music
IPSO17.indd 61 07/08/2017 17:31:06 COMPETITION FOCUS
I’ve been following these contests since Van Cliburn won the gold medal in Moscow in 1958 and have attended many of them HORSES over the last 30 years. If I had been betting on the exact prizes and placing of pianists during the course of these competitions, there were occasions when I might have made some money. During the FOR COURSES 11th Tchaikovsky Competition in 1998, for example, I predicted – before the beginning of the first round – that Denis Matsuev Stephen Wigler reports from the would win first prize. (I had inside information: during a visit to Moscow a few months earlier, I had heard Matsuev play in Sergei FOUNDATION RALPH LAUER/CLIBURN 15th Van Cliburn International Dorensky’s class at the Tchaikovsky Conservatory.) In the most recent Tchaikovsky Competition (2015), which I Piano Competition, where the did not attend but which I followed closely on Medici.tv, I had personal tastes of jury members no clue about who would win first prize, but I correctly predicted the six eventual finalists. In the 2015 Chopin Competition, which played a significant and I attended in Warsaw, I correctly selected the top five prizewinners, though I disagreed with the jury’s disposition of these prizes. And in sometimes inexplicable role as Cleveland (2016) and this past May in Montreal, I guessed correctly who would win first prize. Those were the occasions when I was competitors progressed towards lucky. There have also been those when I would have lost my shirt. One of them was the most recent Cliburn Competition, in the finishing line which my favourite among the six finalists, Hong Kong’s Rachel Cheung, failed to win a prize, and two of my other favourites – Canada’s Tony Yike Yang and South Korea’s Dasol Kim – failed to EW SENSIBLE PEOPLE WOULD DISAGREE WITH BÉLA get beyond the semifinals. Bartók’s famously sarcastic remark that ‘competitions are I don’t know why this is the case, but I have always had worse for horses, not for artists’. Nevertheless, I defy anyone who luck guessing the winners in Fort Worth than in either of the two Fcares about the art of piano playing to attend a piano competition equally prestigious contests in Warsaw and Moscow. (It’s also the and then to resist the urge to root for a favourite to reach the finals case that Fort Worth’s top prizewinners usually don’t fare as well in and win a medal. their careers as those in Warsaw and Moscow.)
Yekwon Sunwoo performs Rachmaninov’s Piano Concerto No 3 with the Fort Worth Symphony Orchestra under Leonard Slatkin RALPH LAUER/CLIBURN FOUNDATION
62 International Piano September/October 2017
IPSO17_062-064_F_Competitions_0908OM.indd 62 10/08/2017 15:57 COMPETITION FOCUS
1962) and Vladimir Sofronitsky (1901- 1961). Both were considered heirs to Scriabin’s legacy. Feinberg performed his music with restraint and accuracy; Sofronitsky performed the same music with extravagance and passion that tested the limits of what is possible on the piano. One of the jurors adores RALPH LAUER/CLIBURN FOUNDATION RALPH LAUER/CLIBURN Feinberg’s Scriabin recordings and detests those of Sofronitsky. The other juror, while admiring Feinberg’s Bach interpretations, finds his Scriabin tepid in comparison to that of Sofronitsky. It’s difficult to see how either of these men – who like each other personally – could ever agree about anything! Meanwhile, the circumstances in which a listener hears a performance can deeply affect one’s responses. The pianist whose playing in the competition ought to have impressed me most was the 18-year-old Tony Yang. I had heard him for the first time Expressive depth: Rachel Cheung in Beethoven’s Concerto No 4 in Warsaw, when the then 16-year- old pianist won fifth prize, becoming the youngest laureate in the Chopin EFORE GETTING TO THE DETAILS OF WHO DID AND Competition’s 88-year history. His performance of Chopin’s Sonata did not win a medal in Fort Worth, a disclosure is in order. in B-flat minor was the most exciting of the several I heard during Along with the Chopin and the Tchaikovsky, the Cliburn that competition. In the Cliburn he impressed me just as much. attractsB more extraordinarily gifted young pianists than any His quarterfinal round performance of Liszt’s Sonata in B minor other competition. Moreover, it’s a superbly run competition – a was phenomenal; and his semifinal round recital was, for the most cornucopia of delights for any piano aficionado; and its juries are part, just as impressive. His Chopin B-flat minor sonata in Fort almost invariably comprised of some of the world’s finest pianists Worth was even better than the one I had heard in Poland, and he and pedagogues. It’s also necessary to point out that, whatever my performed two Scarlatti sonatas in A major (K212) and D minor own predilections, the three top prizes in the 15th Cliburn went to (K9) with a breathtaking freedom, virtuosity and mastery of detail superbly equipped and musically sensitive performers. equal to William Kapell on record. The only disappointment was his The 28-year-old South Korean gold medallist, Yekwon Sunwoo, performance of Musorgsky’s Pictures at an Exhibition which, while played a Rachmaninov Third Concerto in the final round that brilliantly executed, did not show an understanding of Russian justifiably brought the house down; the 21-year-old silver medallist, music and its connection to the intonation of Russian speech. His Kenneth Broberg of Minneapolis, gave an affectingly lyrical and semifinal performance of Mozart’s Concerto in D minor was also a persuasively individual performance of Rachmaninov’s Rhapsody on little disappointing (though very few 18-year-old pianists perform a Theme of Paganini; and San Francisco’s 19-year-old bronze medallist, Mozart convincingly). As far as I was concerned, however, his Daniel Hsu, who gave the a superb account (with the Brentano relative weaknesses in Mozart and Musorgsky mattered not a whit Quartet) of Franck’s Piano Quintet, performed the second and final compared to the magnificent results he achieved in Liszt, Scarlatti movements of Tchaikovsky’s Piano Concerto No 1 splendidly. and Chopin. The fact is that Bartók’s remark about competitions is absolutely It was immediately after Yang’s mostly dazzling recital that true. Musical contests are rather different from athletic ones: I heard the semifinal recital of the eventual first-prize winner,
RALPH LAUER/CLIBURN FOUNDATION once the technical skills of playing the right notes at the right Yekwon Sunwoo. After the inebriating brilliance of Yang’s Scarlatti time have been mastered, judgments about artistry are often a and Chopin, Sunwoo’s performance of Beethoven’s Sonata in E matter of taste – and tastes, even among the most enlightened major Op 109 seemed rather ho-hum. It was followed by one of listeners, can vary enormously. I’m personally acquainted with my favorite Prokofiev works, the Sonata No 6, which the Korean two of the jurors who served on the jury of this year’s Cliburn. performed in a manner that was rhythmically accurate and Both of them are celebrated Scriabin interpreters, but their ideas demonstrated an impressive command of the notes, but that failed
about how his music should be performed could not be more to convey the darkness and flamboyance of the piece. different. The two most famous interpreters of Scriabin’s music in Those were exactly the qualities, on the following day, that I ⌂ the early 20th century were the Russians Samuil Feinberg (1890- heard in Rachel Cheung’s performance. Despite two tiny memory
September/October 2017 International Piano 63
IPSO17_062-064_F_Competitions_0908OM.indd 63 10/08/2017 15:57 COMPETITION FOCUS
⌂ lapses, hers was an outstanding interpretation CAROLYN CRUZ/CLIBURN FOUNDATION – an opinion that I later discovered was shared by my Sofronitsky-admiring friend on the jury, himself a superb performer of this sonata. When we discussed Cheung’s performance after the competition had ended, he told me that those two tiny slips, which he likened to insignificant flaws in an otherwise magnificent diamond, had bothered a few of the jurors. One of those jurors, I suspect, was the Feinberg admirer. Cheung’s performance of Schumann’s Kreisleriana, which preceded the Prokofiev, was wonderful – as was her performance of Mozart’s Concerto in D minor. I felt sure that she was going to win a prize, perhaps even the gold medal.
HE FINAL ROUND CONSISTED OF a chamber music performance with the Brentano String Quartet, featuring Ta choice of four great piano quintets – those by Schumann, Brahms, Dvořák and Franck – and a concerto performance of any work scored for full orchestra and piano. While she won the $2,500 audience award, it was Cheung’s performances in the final round that probably resulted in her failure to win a medal. Her performance of the Brahms Quintet, while warmly expressive, was less than ideally powerful. And she probably Cheung with the Brentano String Quartet at Fort Worth’s Bass Performance Hall made a mistake by choosing to perform Beethoven’s Concerto No 4 in G major. Many listeners would agree that the Beethoven was the finest concerto was good enough to eclipse Yuri Favorin’s relatively lifeless performed in the finals – greater in substance and expressive Prokofiev Second, Georgy Tchsidze’s merely adequate Prokofiev depth than the flashier pieces (Prokofiev’s Concertos Nos 2 and Third, Cheung’s only partially successful Beethoven Fourth, and 3, Rachmaninov’s Rhapsody on a Theme by Paganini and Concerto the fine but not overwhelming, performances by Broberg of the No 3, and Tchaikovsky’s Concerto No 1) chosen by the other five Rachmaninov Rhapsody and Hsu’s Tchaikovsky First. finalists. The problem with playing Beethoven’s G major concerto The great mystery of the 15th Cliburn, however, was the failure in a competition is that it is so inward in its meditative lyricism of Dasol Kim, a 28-year-old South Korean, who studies in Hanover that a listener cannot help but compare it to memorably great with Arie Vardi, to make the finals. His semifinal recital was, I performances given by the likes of Schnabel, Backhaus, Solomon, think, the finest of the competition: an eloquent Mendelssohn Gilels, Serkin, Fleisher, Cliburn, Moravec, Radu Lupu, Richard Fantasie in F-sharp minor; Nikolai Kapustin’s Intermezzo in D-flat, Goode, Murray Perahia and others. This makes it a risky choice, performed with nonchalant aplomb and grace; and a performance albeit one with which Nikita Mndoyants succeeded brilliantly of Schubert’s great B-flat major sonata, played with beauty and last year in the Cleveland Competition. For Mndoyants it was profound eloquence that reminded me of Clifford Curzon’s way a risk worth taking, not only because he was confident in his with this piece. His performance of Mozart’s D minor concerto was ability to play it beautifully, but also because he was playing it as wonderful as Cheung’s. How a pianist with such a command of with the Cleveland Orchestra, arguably the finest Haydn-Mozart- delicacy and nuance would have fared in Tchaikovsky’s Concerto Beethoven orchestra in North America. With the Fort Worth No 1 is a question that could not be answered because he was Symphony Orchestra – though it is a fine ensemble – Cheung was inexplicably denied a place in the Cliburn’s final round. simply unable to reach such a level. e It was in the finals that Sunwoo, Broberg and Hsu really The complete 15th Van Cliburn International Piano Competition is shone. Sunwoo’s performance of the Dvořák Quintet was easily available to view online for free at http://cliburn2017.medici.tv/en/replays the best chamber music performance of the six heard. And his Rachmaninov Third, while not a genuinely great performance, www.cliburn.org
64 International Piano September/October 2017
IPSO17_062-064_F_Competitions_0908OM.indd 64 10/08/2017 15:57 DIPC Rhinegold advert June 2017_Layout 1 16/06/2017 13:05 Page 1
Ireland’s Premier Music Competition
18 - 29 May 2018 Deadline for Applications: before 1st November 2017 Age Limit: 18 - 30 years
Dublin International Piano Competition c/o AXA Insurance Building, Dublin Road, Bray, Co. Wicklow, Ireland, A98 DT89.
Tel: (+353) 1 - 272 1523 Email: [email protected] Web: www.dipc.ie Bertrand Chamayou Thursday 5 October 2017 Saint-Saëns, Ravel, Liszt Alice Sara Ott Tuesday 17 October 2017 Grieg, Liszt Leif Ove Andsnes Tuesday 31 October 2017 TRIO Sibelius, Widmann, Schubert, Beethoven, Chopin Víkingur Ólafsson SoRA Wednesday 15 November 2017 Bach, Chopin, Brahms Pauline Chenais piano Mitsuko Uchida Magdalena- Geka Tuesday 28 November & violin Friday 1 December 2017 Schubert Angèle Legasa cello Paul Lewis Tuesday 23 January 2018 Thursday Haydn, Beethoven, Brahms Piano trios by 16 November 2017 Martin Helmchen Haydn, Kagel 7.30pm Wednesday 7 February 2018 Schumann, Beethoven and Chausson Supported by The Gordon Foundation Boris Giltburg The Tertis Foundation Registered charity 1014284 Wednesday 28 February 2018 Liszt, Rachmaninov
London SW1P 3HA southbankcentre.co.uk Tickets: £10 - 20 (Free tickets for students) 020 7960 4200 020 7222 1061 (£2 booking fee) www.sjss.org.uk
IPSO17.indd 65 09/08/2017 10:44:25 Rhinegold live RECITAL SPONSOR
INSURANCE MADE TO MEASURE
Free rush hour concerts in the heart of London © ROBERT TORRES © ROBERT
Sam Haywood Tuesday 5 September 2017 | 6.15pm drinks reception | 7pm recital Conway Hall, London
Pianist Sam Haywood has performed to critical acclaim in the world’s major concert halls. The Washington Post hailed his ‘dazzling, evocative playing’ and ‘lyrical sensitivity’ and The New York Times his ‘passionate fl air and sparkling clarity’. This recital launches his forthcoming Stanford Preludes release for Hyperion Records. Owen Mortimer, editor of International Piano magazine, will conduct an informal Q&A with Sam Haywood after the performance.
RESERVE YOUR FREE TICKETS AT RHINEGOLDLIVE.CO.UK
RGLIVE_0917_FPIPSO17.indd 66 ad.indd 1 09/08/201708/08/2017 10:44:36 12:31 REVIEWS | CONCERTS
me perverse not to be kind, for behind Chopin’s First Ballade was accompanied by UK Helfgott’s weird mannerisms – which at an excited ‘woo-hoo’ at climactic moments, LONDON times took him over completely – his but that was no more intrusive than Glen Barbican David Helfgott 29 May playing had real poetry. It was even argued Gould’s humming, and the momentum Royal Festival Hall Richard Goode 31 May that if critics dared to praise the and character of the piece was una ected. Wigmore Hall Nobuyuki Tsujii 1 April; performance, ‘people might forget what He rose to the virtuoso challenge of three Christian Ihle Hadland 4 June good pianism was’. That was absurd, but big Liszt pieces, pausing only to bestow BBC Proms Igor Levit 14 July; Behzod Abduraimov 17 July; Beatrice Rana 24 July actually I do think it’s sad that such a furore kisses and handshakes on adoring members should be inconceivable today: people no of the audience, most of whom, it’s safe to One of my favourite Bach CDs is Richard longer care about excellence to the same assume, were devotees of the fi lm. Goode’s 2002 Nonesuch recording of the fanatical degree. The fi nale was a two-piano arrangement Partitas: it has lapidary grace, and immense Any fears that Helfgott’s return might be (with Rhodri Clarke) of Rachmaninov’s
sturdiness in its warp and we . However, to a freak-show were dispelled from the start, Piano Concerto No 3, exhilarating and hear him play the sixth live, 15 years on, because he’s now harnessed his demons, smart as a whip. And a er three encores ⌂– was to encounter something no less and plays like a proper concert pianist. starting with a high-octane delivery of beautiful but completely di erent in texture. It’s not just that his tempi were Life force: David Helfgott faster – it’s more the impression he gave that the whole work was airborne. Grace was still the key – sorrowing for the Sarabande, nimble for the Gigue – but this time he was performing on a tightrope, rather than being comfortably ensconced in an armchair. The opening fl ourishes of the Toccata had a delicacy which beautifully set o the business-like start of the harmonic exploration which takes this movement to majestic heights; the arpeggiations in the Allemande and the ornamentations of the Corrente were tossed o with a lightness which did not prevent every note being made to count. The explosion of ornamentation at the climax of the Sarabande was exquisitely controlled, the Gavotte and Gigue were a joyful liberation. Meanwhile, David Helfgott was making a comeback at the Barbican, though with nothing like the fanfare which accompanied his foray to London in 1996. For those who have forgotten, or are too young to remember, this was the Australian pianist catapulted to fame by the feature- fi lm Shine, in which Geo rey Rush memorably incarnated the tangled story of Helfgott’s life. He was a child-prodigy whose career was cut short by schizophrenia; a er a decade o the rails, he was saved by the love of a good woman, and was taught not only how to live with his disorder, but also how – with astute management – to turn it to fi nancial advantage. His Royal Festival Hall concert – designed to launch the fi lm – became a negative cause célèbre. In a sneering chorus of disapproval, the London critics competed to see who could pour most scorn on his Chopin and Liszt. As one of the two critics who wrote sympathetically about him I was vilifi ed, but it seemed to
September/October 2017 International Piano 67
IPSO17_067-070_R_LiveReviews_OM0908.indd 67 10/08/2017 11:58 REVIEWS | CONCERTS
⌂ Khachaturian’s Sabre Dance – the evening monochrome touch, but in the last few about in the press, but his touch is magic, dissolved into a love-in between performer years his artistry has developed impressively, and every recital he gives has an individual and audience. Well, why not? This man, as his recent Wigmore recital demonstrated. stamp. This time he began with a who has just turned 70, has come through A er a vivid and forceful Italian Concerto he performance of Mozart’s Sonata in A minor horrendous trials with his sunny nature went on to deliver a delicately calibrated K310 which had more force and fury than I intact, and with his talent brightly Mozart sonata and two sonatas by had ever heard in it, yet the e ects were burnished. He’s a life force, and people Beethoven – the Moonlight and the beautifully controlled. Then came Brahms’ draw strength from him. Appassionata – which revealed real Op 116 Fantasien, with each given an There’s a similar surge of interest in the authority; his shaping of the fi nale of the interesting reading: darkly brooding, Japanese pianist Nobuyuki Tsuji, though former was masterly, and the latter was stormy, dreamily poetic, or spooky as each for a di erent reason: he has been blind simply superb. His encores – Chopin’s most piece demanded. And his bold account of since birth. Celebrated as a child prodigy, eloquently singing Etude, and Liszt’s La Webern’s Variations Op 27 both put a he crowned a series of competition wins Campanella – brought the house down. bloom on the notes and in the scherzo-like with the Cliburn gold medal in 2009 when Of late, Christian Ihle Hadland has middle movement exemplifi ed exactly the he was just 21, and he had a magnetic stage become one of my favourite pianists: this composer’s demand that although a presence. His problem at that time lay in a 34-year-old Norwegian is seldom talked redistribution of the notes would make the
Beatrice Rana makes her BBC Proms debut with Schumann’s Piano Concerto CHRIS CHRISTODOULOU
68 International Piano September/October 2017
IPSO17_067-070_R_LiveReviews_OM0908.indd 68 10/08/2017 11:58 REVIEWS | CONCERTS
piece child’s play, the awkward leaps and drama in itself, her Intermezzo was playful and, in the fi nal Gigue, life-a rming. hand-crossings were essential to the and confi ding, and she gave the fi nale a Beethoven’s epic-length Sonata No 4 in production of the correct phrasing. He was lovely sense of liberation. The Schumann- E-fl at – more than 30 minutes in duration, back to fury with Schubert’s D958 sonata, Liszt ‘Widmung’ was her encore, gathering only the Hammerklavier is longer – whose fi nal movement emerged in a way I force for its warmly emotional close. unfolded just as compellingly. This had, once again, not heard before: the MICHAEL CHURCH performance, combined with those I heard shading and the sudden bursts of hard Lewis give a few years ago of Beethoven’s brilliance were uniquely e ective. fi nal sonata triptych, tempts me to say that The fi rst week of the Proms yielded USA this 45-year-old pianist – along with his outstanding concerto performances by three exact contemporary, Leif Ove Andsnes – is of the brightest stars in the pianistic BOSTON among the best Beethoven players of his fi rmament. Igor Levit played Beethoven’s Pickman Hall Igor Levit 7 February generation. Certainly, there was a Third Concerto with rare grace and Jordan Hall Paul Lewis 25 March; Solomon-like pianistic rightness about Marc-André Hamelin 5 May; Eric Lu 13 May intimacy, and in a fl awless symbiosis Shalin Liu Performance Center Luca everything he did: a brisk, but passionate, between soloist and orchestra. Many pianists Buratto 29 April fi rst movement; a noble second movement try to fi ght the RAH acoustic and still don’t largo, in which the silences were as project; Levit barely raised his voice above At just 29 years of age, Igor Levit is one of eloquent as sound; warmth and tenderness an undertone for much of the Largo, yet the most celebrated pianists of his in the quasi-minuet; and warm- every note was perfectly projected. His generation and his debut in Boston’s heartedness, without a hint of passage-work in the opening Allegro had a Celebrity Series was sold out long in sentimentality, in the fi nal rondo. A er the pearlised precision, and his commentary advance. It was not only the demand for interval came three Chopin Waltzes – all over the orchestral musings in the tickets that made the beautiful, birch- played with expressive and exquisite detail. development section was exquisite. His panelled, 300-seat hall an inappropriate place Finally, there was the great Sonata No 2 in encore – Liszt’s arrangement of the ‘Ode to to hear him. Levit’s enormous dynamic A-fl at by Carl Maria von Weber, a Joy’ from the Ninth Symphony – was range and his demanding programme (three neglected masterpiece once championed delivered in a long sonorous murmur. And of Shostakovich’s 24 Preludes and Fugues, by the likes of Cortot, Schnabel, Arrau and how better to open the Proms this year than Frederic Rzewski’s North American Ballad No Gilels – pianists in whose company I with the European Union’s anthem? But of 5 and Beethoven’s Diabelli Variations) believe Lewis belongs. course Levit was preaching to the converted. sounded occasionally clangorous in so I had heard good things about Luca Next up was the young Uzbek Behzod intimate a space. Buratto, the 24-year-old Italian who was Abduraimov, playing a work which usually Nevertheless, this recital served to fi rst-prize winner in 2015 of Canada’s fi ts him like a glove – Rachmaninov’s Piano demonstrate the art of a remarkable pianist. prestigious Honens Competition. His Concerto No 2. But the tempo of the fi rst There was tight contrapuntal control that performance in the Rockport Music Series movement was too slow: he gave the built impressively to the coda in of a remarkably varied programme opening fl ourishes a lovely resonance, but Shostakovich’s Prelude and Fugue in (Beethoven’s Pastoral Sonata, Bartók’s Out of the fi rst theme felt sluggish. Although his C-sharp minor; an ability to highlight Doors suite, Thomas Adès’ Darkness Visible articulation was immaculate, he did not at beautiful melody in the subsequent E minor and Schumann’s Davidsbündlertanze) fi rst project enough to cut through the work; and impressive virtuosity – surpassed expectations. His playing is orchestra; it was only towards the end of particularly in the frantic conclusion – in the graceful, analytical, adventurous and the Moderato that he really asserted his di cult G-sharp minor Prelude and Fugue. exciting. Beethoven’s Pastoral Sonata was presence. The Adagio, however, was Levit’s a ection for the music of Rzewski fi lled with rambunctious humour, Bartók’s exquisite, with the piano’s limpid – his recording of the composer’s Out of Doors showcased a sizzling fi gurations o set by solo fl ute, and with the celebrated The People United Will Never Be technique, as well as a gi for colouration movement opening like a fl ower. He came Defeated is among the best – was apparent – something that also worked to produce into his own in the fi nal Allegro, with a in the fi h of his North American Ballads: 24 uncanny e ects in the Adès piece. He bravura display. In his encore, a rarely- Variations on a Texas Chain Gang Song, ‘It performed Schumann’s Davidsbündlertänze performed Tchaikovsky Nocturne, we got a Makes A Long-time Man Feel Bad’. with the risk-taking, skating-on-the-brink- reminder of his spell as a recitalist. Meanwhile, Beethoven’s Diabelli Variations of-sanity impulsiveness that is essential to Beatrice Rana’s Goldberg Variations was taken at a courageously brisk pace that any interpretation of Schumann. Two recently entranced the musical world: honoured the composer’s tempo markings encores, the Moonlight Sonata’s opening Schumann’s Piano Concerto in A minor with nary a mishap. If there were a few movement and Liszt’s transcription of allowed her to show what she’s made of as a moments in the Beethoven that seemed Schumann’s ‘Widmung’, demonstrated concerto performer. Like many pianists overlong (Levit played every repeat), the Buratto’s ability to create a singing line and making their fi rst foray into the Albert performance concluded in a suitably quiet sustain eloquence at the so est levels. Hall, she took a while to get the measure of and lyrical manner. Marc-André Hamelin gave the fi nal its acoustic, with a hurried opening An even more satisfying piano recital in piano recital in Boston’s Celebrity Series. fl ourish, and passage-work which skirted Boston’s Celebrity Series was that of Paul His brilliantly performed programme inaudibility. But by the development Lewis. I do not remember a better combined familiar Austro-Germanic music
section of the fi rst movement she’d got the performance of Bach’s B-fl at Partita – by Haydn Beethoven and Schumann with building sorted, and was playing with clean unhurried, majestic without a hint of less frequently performed Russian music⌂ by expressiveness; her cadenza was a miniature pomposity, aria-like in its expressiveness Scriabin, but also by Samuil Feinberg,
September/October 2017 International Piano 69
IPSO17_067-070_R_LiveReviews_OM0908.indd 69 10/08/2017 11:58 REVIEWS | CONCERTS MONIQUE DE ST CROIX
Graceful, analytical, adventurous and exciting: Luca Buratto
⌂ whose name and music was probably shattering, in the fi nal movement. A er the minor middle section, he also made one unfamiliar to most of the audience. interval came Scriabin’s Sonata No 7 (White realise how Chopin looks forward to The music of Haydn makes frequent Mass) with its exotic trills and fi gurations Musorgsky. appearances on Hamelin’s programmes and delivered with care and precision, and The suspicion that this anticipation of his performance of the two-movement Schumann’s Fantasy in C, in which Musorgsky suggested a talent for Russian Sonata in C major Hob XVI: 48 featured a Hamelin steered its passage from passion to music was confi rmed a er the interval by varied and delicate touch, drama fi nely tenderness with a sure hand. Lu’s performance of Prokofi ev’s Sonata No balanced with wit. The fi nale culminated in Eric Lu, the now 19-year-old fourth-prize 7. This was a terrifi c reading, especially a comprehensive exploration of the laureate of the 2015 International Frederyk interesting in the fi nale’s astonishing composer’s contrapuntal ingenuity. Chopin Competition in Warsaw, gave the toccata-like fi nale. Unlike most young Feinberg (1890-62), although not season’s fi nal recital in Boston’s Chinese virtuosos with remarkable equipment, Lu well-known outside of Russia, was one of Performing Arts Foundation concert series. realised that the movement’s excitement is the great fi gures of Soviet music during his Lu is still a student at the Curtis Institute in not generated by sheer velocity, but by lifetime, principally as a pianist and a Philadelphia (where he studies with Robert maintaining rhythmic accuracy and teacher, but also as a composer. Hamelin McDonald and Jonathan Biss), but he is stability. Lu’s discipline permitted him to performed the fi rst two of Feinberg’s 12 already a serious, mature and interesting make the music sound unbelievably fast sonatas, written in 1915 and resembling the musician. His performance of Chopin’s 24 without being uncontrollably fast. harmonically rich, modernistic Préludes Op 28, which occupied the fi rst The Prokofi ev was preceded by Romanticism of Scriabin’s late works. half of his programme, was superb. He performances of two sad pieces, Mozart’s Hamelin gave a beautiful account of this moved with confi dent mastery through the Rondo in A minor K511 and Schubert’s complex music, showering the audience immense variety of moods, from simple Impromptu in C minor D899. Lu’s with brilliantly coloured bursts of sound. unforced lyricism (A major and E-fl at performances of the Mozart will probably Then, immediately before the interval, major) to pessimism (A minor and F attain a higher level of subtlety and came Beethoven’s Sonata in F minor Op 57 minor). In the remarkable D-fl at major refi nement as he grows older, but it’s hard (Appassionata). It was in many ways a ‘Raindrop’ Prelude, where the melody and to imagine a more touching and tenderly remarkable performance – alternately accompaniment are woven around a ruminating interpretation of the Schubert: stormy and compassionate in the opening tirelessly repeated A-fl at, he made a listener I look forward to hearing Lu perform this movement, noble and dignifi ed in the aware of the way it foreshadows Ravel’s ‘Le composer’s sonatas in the future. subsequent Andante, and forceful, even Gibet’, written 75 years later. In the C-sharp STEPHEN WIGLER e
70 International Piano September/October 2017
IPSO17_067-070_R_LiveReviews_OM0908.indd 70 10/08/2017 11:58 Faculty of Performing Arts University of Stavanger, Norway www.uis.no/music We offer a stimulating international student The Faculty of Performing Arts welcomesenvironment. you as an applicant to our Master and Postgraduate studies! All of the Master and Our campus is situated in the beautifulPDM subjectsBjergsted are Park,taught surrounded by other music institutions,in English. like the Stavanger Symphony Orchestra and one of the best acoustic concert halls in Europe. Our piano professors are Daniel Röhm (G) and Erling R. Eriksen (N).
Application deadline: January 1st 2018
Photo: Morten Berentsen
IPSO17.indd 71 09/08/2017 10:45:05 VOLUME 2
The effervescent and communicative energy of Bavouzet and Takács-Nagy is encapsulated again in this second volume. These exhilarating interpretations of Mozart’s piano concertos KV 449 and KV 459 and two Divertimenti, faultlessly supported by the Manchester Camerata, follow highly praised concerts as well as much lauded first volume. CHAN 10958
IPSO17.indd 72 07/08/2017 17:31:17 REVIEWS | CDs & DVDs
Bach Six French Suites BWV 812-17 Bach’s Goldberg Variations and its Beethoven Piano Concertos – No 1 in C major Vladimir Ashkenazy (pf) predecessors, including works by Byrd, Sweelinck Op 15; No 2 in B-fl at major Op 19 DECCA 483 2150, 83 mins and Bull Kit Armstrong (pf) Yevgeny Sudbin (pf), Tapiola Sinfonietta/ ll Recorded live at the Concertgebouw, Amsterdam, Osmo Vänskä C Major 741608 (DVD) / 741704 (Blu-ray), 126 mins BIS-2078 SACD, 63 mins lllll lllll
Coming directly into competition with Mentored by Alfred Brendel, polymath Sudbin and Vänskä’s traversal through Murray Perahia’s recent two-CD DG British-Korean Kit Armstrong gives an Beethoven’s piano concertos has been a recording of the French Suites, Vladimir intriguing programme that includes musical backward journey: they started in 2011 in Ashkenazy o ers all six Suites on one background to Bach’s masterpiece. If only C Minnesota with Nos 4 and 5 (BIS-1758), super-long disc. This is the one advantage of Major’s booklet notes were more expansive. and added No 3 coupled with Mozart’s this account. Armstrong has a luminous tone and the 24th in 2013 (BIS-1978). Their endeavour Ashkenazy begins as he means to go on: ability to project lines with the utmost clarity. reaches port in Espoo, Finland, with the there is little sense of magic to the There appears to be a deep resonance, too, fi rst two. Allemande of the Suite No 1; similarly, his between Armstrong and the o erings by Byrd, This is BIS’s third such cycle: others rather harsh way with the Courante Sweelinck and Bull. When Byrd’s Hugh come from Elisabeth Westerholz back in coupled with his characteristically brittle Ashton’s Ground, as in the Bach, returns to its the late 1980s; and more recently from the tone does the music no favours. The theme at its close, our experience of that highly regarded Ronald Brautigam on Sarabande fares much better, interior and theme is transformed. The Sweelinck pieces, fortepiano. There is even a chamber considered; but while Ashkenazy obviously both sets of variations, combine linear version coupling of Nos 1 and 2 featuring aims to accord the Gigue dignity, it merely cleanliness with an implied religiosity Fumiko Shiraga (BIS-1177) and an archival sounds fractured. While the Allemande of bordering on severity (a severity that returns disc of Glenn Gould playing No 2 in the Suite in C minor bodes well, the in the Ouverture midway through the Stockholm in 1958 (BIS-323). So this is ensuing Courante is awkward. Sarabandes Goldbergs). Armstrong has the ability to familiar terrain for the black label. in general fare best, that of No 3 o ering a reduce his sound to the merest whisper while How does this newcomer fare? It is near fi ne sense of intimacy. But the general rule retaining projection; intellect is completely in ideal, in my view. There’s a beautiful is that where Perahia enthrals and fi nds the service of the music. Small wonder Brendel balance between orchestral grandeur and a constant magic, Ashkenazy plods. took him as a rare pupil (the fi lm Set the Piano chamber-like intimacy throughout both The fi rst three Suites were recorded in Stool on Fire tracks their relationship). concertos that informs the playing of both 2016; the fi nal three a year later, both in The fl uency of Bull’s 30 Walsingham Sudbin and the excellent Tapiola Potton Hall. While there are fewer Variations is as remarkable as Armstrong’s Sinfonietta. The e ect is of a front-row incidences of technical defi ciencies in the grasp of this music’s stately nature. All of perspective without overwhelming the latter, there remains a nagging feeling of which provides the perfect setting for the listener, so that all the details of Sudbin’s misalignment between composer and Goldbergs. The Aria unfolds absolutely mercurial playing and the superb interpreter. The best performance comes naturally, while the immediately following accompaniment marshalled by Vänskä are with the Allemande of Suite No 5, pellucid music reveals Armstrong’s rock-solid captured with utmost clarity. and assured, while the Allemande of the rhythm. Armstrong’s mastery of tone, his The Concerto No 1 here has the fi nal Suite reassures us that Ashkenazy can ability to project the most tender expression requisite muscular, big-boned impact, as it on occasion bring rapidity, accuracy and and his long-range vision contribute to a takes the late-Mozart concerto format and style together. stunning performance. Armstrong’s stretches it to bursting point. The fi nale in Ashkenazy’s playing might conceivably technique is impeccable, entirely devoted to particular has invigorating, impulsive (generously?) be viewed as Bach’s magnifi cent edifi ce. energy. As with Louis Schwizgebel’s deconstructionist: a stripping away of artist Armstrong’s style in this music stands at account on Aparte (AP098), Sudbin’s way intervention to reveal the ‘pure’ Bach. But the opposite pole to the Ashkenazy reviewed with the more Mozartian No 2 (written the result is uninvolving and at times, given above: the discomfort of the latter replaced fi rst but revised and published second) is that fi nger frailty, awkward. Gone is the by the radiance and omniscience of the wholly winning with more convincing compelling resonance of Perahia, or the former. Both DVD and Blu-ray capture tempi than many of his eminent rivals in assurance of Hewitt (Hyperion). Sadly, Armstrong’s Steinway in superb sound; this repertoire. A splendid conclusion to Ashkenazy o ers Bach of little appeal. camera work is generally non-interventionist. the cycle. COLIN CLARKE CC GUY RICKARDS
September/October 2017 International Piano 73
IPSO17_073_R_CDRevs_OM0908.indd 73 09/08/2017 12:19 REVIEWS | CDs
Beethoven Piano Concertos – No 1 in C major Walter Gieseking: The complete 1950s solo legendary shimmering and interior world). Op 15; No 2 in B-fl at major Op 19 studio recordings Works by Brahms, Schubert For him, Richter’s famous (infamous?) Lars Vogt (pf and conductor), Royal Northern and Schumann Walter Gieseking (pf) slow tempi in Schubert or Roslyn Tureck’s Sinfonia APR 7402, 4CDs, 279 mins high-priestess approach to Bach would Ondine OD 1292, 73 mins llll surely seem pretentious. Obeying Ravel’s lll plea that is ‘it is su cient to play my music rather than interpret it’, he le self-conscious underlining and idiosyncrasy The German pianist Lars Vogt, born in This four-CD album of recordings dating to others. 1970, is an admirably even-tempered, from the 1950s of Brahms, Schubert and His pedalling was a unique middle-of-the-road interpreter. He was Schumann colours and questions the phenomenon, at once subtle and spare (‘I’m matched too young a quarter-century ago unqualifi ed praise, indeed worship, which sure he pedalled a hundred times in one with Simon Rattle, then in a smark-alecky surrounded Gieseking like a halo bar of a Scarlatti sonata,’ exclaimed my early phase of his conducting career, in less-than- throughout his career. Celebrated by many teacher Ronald Smith) leading to a gripping recordings of Beethoven’s (though not by the French) as the greatest wondrous chiaroscuro, opalescence and Concertos Nos 1 and 2 (EMI 72462) as well of all Debussy pianists, his playing was said tone-painting. as concertos by Grieg and Schumann (EMI ‘to breathe perfume’. His performances of What piquancy in Schumann’s Prophet 7547462). It is good to have the more other composers, therefore, invite a Bird, with an unerring sense of its odd mature artist’s viewpoint on Beethoven di erent challenge and fascination. whimsy. His way with Brahms’ Op 118/6 here, despite the decisive competition. Not Even if Gieseking was a nonpareil he was Intermezzo, that desolating masterpiece in having a fl ashy young Rattle around as not above criticism. He claimed that he miniature with its foretaste of Debussy’s ill-suited accompanist may help, but the never practised much and that technical impressionism, is a wonder of half-lights right solution may not be in conducting exercises were an irrelevance because and insinuation, while Schubert’s Moment from the keyboard: the Royal Northern performance was essentially a mental rather Musicaux fi nds him at his Sinfonia creeps along timidly at times at its than physical process. This approach is most concentrated, capturing with music director’s behest. Vogt has settled into borne out in readings of a bewildering a sublime simplicity and without any an earnest, sober Teutonic school of variety, ranging from the superlative to the extraneous pleading, the very essence of pianism, sounding akin to Christian ill-considered and sketchy. At his least Schubert’s poetry. Zacharias, if rather less poetic or distinguished he could sound impulsive, Chopin and German pianists have o en individualistic. fl urried, testy, and su ciently small-scaled proved an uneasy combination: Backhaus Always highly able at the keyboard, to suggest music viewed through the wrong could ‘pin back a Mazurka by the ears and Vogt sounds rather anonymous in these end of a telescope. He could make you long belabour it unmercifully’; Kemp ’s Chopin works. Playing some movements slower or for greater expansiveness, warmth and, could leave the strangest impression. Yet faster than usual does not su ce in terms of notably in Brahms, a greater sense of Gieseking, who early in his life learnt the message. The fi nale of the Concerto underlying rhetoric. He is very much on complete works of Chopin only (with few No 1, marked Rondo: Allegro Scherzando, autopilot in Schubert’s A-fl at Impromptu exceptions) to dismiss them later, is is excessively rushed, leaving scant time Op 90/6, making it di cult to imagine a a ectionate and confi ding in the Berceuse’s for any required playfulness; and the more perfunctory view of its cascading ‘rain of silvery fi re’, becalmed rather than preceding Largo it is bloated into near-stasis. magic. The more extrovert the music hectic or fl ushed in much of the Barcarolle. Despite Ondine’s fi ne sound engineering, (Brahms Op 79 Rhapsodies and the In conclusion, you may blow hot and the performance lacks an element of concluding Rhapsody from Op 119) the cold at Gieseking’s playing; yet all students risk-taking that might have vivifi ed the more sketchy the detail, the greater the at music colleges, indi erent to past glory proceedings, making it temperamentally instability. and aware of little beyond Lang Lang’s akin to the old lager lout Ludwig himself. Yet mercifully elsewhere there is one lurid, high-profi le celebrity, should take The recordings were made in 2016-17 at glory a er another. Generally, you become stock and listen. Gieseking’s artistry, Sage Gateshead, apparently not during a aware of Gieseking’s contempt for grand- whether at its fi nest or least convincing concert performance. Vogt might be one standing (always excepting his startling late repays constant consideration. He performer who would benefi t from an appearance in the Russian Romantics series remains an artist with a permanent rather audience’s presence at recording sessions, to when his no-holds-barred rampage through than temporary place in the pantheon of add an otherwise missing spark. Rachmaninov’s Concertos Nos 2 and 3 great pianists. BENJAMIN IVRY suggested a latent violence beneath that BRYCE MORRISON
74 International Piano September/October 2017
IPSO17_074_R_CDRevs_0908OM.indd 74 09/08/2017 12:20 SHIKIMORI PLAYS TCHAIKOVSKY
“She brings to these small pieces the same level of musicianship and attention to detail that you might expect in a Beethoven sonata.” – American Record Guide “…refi nement and musicianship that are a joy to hear.” – Musical Opinion “Gems worth discovering.” – Classic FM
ALSO AVAILABLE: CR60022 8.573543 © Andres Landino © Andres
Available now! naxosdirect.co.uk
IPSO17.indd 75 07/08/2017 17:31:18 NEW! RHINEGOLD BRITISH MUSIC & DRAMA EDUCATION YEARBOOK 2017-18 The ESSENTIAL guide to music and drama education
AVAILABLE IN PRINT & DIGITAL INDePeNDeNt SecONDary, PreParatOry aND JuNIOr SchOOLS UK Conservatoires
HIGHER EDUCATION CHOICES SO YOU WANT TO GO TO DRAMA SCHOOL? Independent Secondary, Preparatory and UK Conservatoires FORMATS © PUMPKIN INTERACTIVE Junior Schools United Kingdom Birmingham Conservatoire programme, at least two thirds of academy provides ‘pre-professional, Buchanan, Dir of Professional Independent Schools Part of Birmingham City University, the credit of each year is focused on u/g and p/g music training of the Studies; Michelle Phillips, Head of Higher education Paradise Place, Birmingham, B3 3HG principal study. highest standards; to engage in Undergraduate Programmes; Fabrice LONDON e [email protected] fees: £2,493 (reception); £2,765 (jr); Awards: Music scholarship t 0121 331 5901 f 0121 331 5906 concert, operatic and research Fitch, Head of the Graduate School. w www.ashbournecollege.co.uk £3,456 (sr). Age range: 3–18. awarded at 11. 16 music e [email protected] Leeds College of Music activities related to the educ of the Courses: BMus Hons perf/comp Alleyn’s School Contact Ms Shaheena Teeluck, head scholarships may be awarded plus w www.conservatoire.bcu.ac.uk Leeds College of Music, 3 Quarry institution; to create and perform (4); BMus Hons Popular Music Townley Road, Dulwich, London of admissions Blackheath High School awards which pay for inst tuition Contact David Saint, acting Hill, Leeds, LS2 7PD new music; and to preserve and (4); GRNCM/MusB Hons – ‘Joint SE22 8SU Awards: Music scholarships GDST in the 6th Form. Music Scholars choices principal; Joy Krishna, mktg t 0113 222 3416 f 0113 243 8798 enrich national and international Course’ (4); MMus/MPerf (1 or 2); t 020 8557 1500 f 020 8557 1462 available Music activities: Vanbrugh Park SE3 7AG must pass the entrance exam and For talented music students wishing for a career in music, there is no clear-cut path to take in regards to & communications mgr; Janet e [email protected] music’. Music Facilities: 110 teaching Advanced PGDip (1); PhD perf/ e [email protected] Ashbourne’s annual Revue – a t 020 8853 2929 f 020 8853 3663 audition. Candidates audition Halfyard, dir of undergrad studies; w www.lcm.ac.uk & practice rooms, The Sir Jack Lyons comp/musicology/mus psych higher education, and each route has its own benefits. Assuming thatw www.alleyns.org.uk; a university-level twitter.com/ course is inperformance order, at Christmas of Drama, e [email protected] on two insts with min standard Shirley Thompson, dir of postgrad Contact Philip Meaden, principal; Theatre, Concert room, recital room, (3). Course Details: The principle alleynsmusic Music and Fashion involving most w www.blackheathhighschool. of Grade 4/5 at 11 (Grade 6 at there are three main options: attending a conservatoire, doing a music degree or doing a degree in another studies. Lis Parry, head of classical music & electronic studios, creative tech lab, aims of the undergraduate and Contact G Savage, Headmaster; Ashbourne students. Ashbourne gdst.net 16 ) on main inst. Outstanding Courses: BMus Hons(4); BMus jazz jazz; Charlotte Orba, head of popular library. postgraduate taught programmes subject (arts-related or otherwise) C Dearmer, DoM; L Mawer, Choir, regular trips to the concerts, Contact Lisa Laws, head. candidates on one inst considered. (4 Hons, 5 with PGCE); GradDip jazz mus & mus production. are to develop performance or comp Admissions operas and theatres of London. Awards: Scholarships for music Music facilities: 9 practice rooms (1); PgCert music (1 p/t); MMus/ Courses: BA Hons music – jazz/ Royal College of Music to the standards appropriate to the Alleyn’s is a co-educational Music facilities: Large music are awarded at 11; bursaries are 2 teaching rooms, octagonal recital PgDip music (1 f/t, 2 p/t); AdvPgDip classical/popular music/music Royal College of Music, Prince demands of the music profession, Schools independent day school in South available to top up the value. classroom and practice area with room, school hall with Grotrian production/combined (3); also Consort Road, London SW7 2BS Studying at a conservatoire is increasing all the time. Not to mentionLondon withmusicians over 1000 who pupils have agedsimilar goals. And No of pupils: 650. Termly fees: music (professional perf). Course and to develop the portfolio of skills pno, kb and state of the art computer Steinweg grand pno, 2 iMac Music BA Hons music (accelerated) (2). t 020 7591 4300 f 020 7589 7740 If your child intends to pursue a career as the scope for improving technically 11–18. Musicwhen Scholarships they do graduate, and they are likely £3,005–4,693. Age range: 0–11 Details: The Conservatoire offers necessary to sustain a career in the software, inc recording facilities. No Tech Suites. No of pupils: 900 Foundation certificate in music. PG e [email protected] a performing musician, there is no doubt and musically in an intensely creative Bursariesto are have available the best upon possible entry access to the (co-ed); 11–18 (girls). u/g and p/g courses to about 500 profession. of pupils: On average 200. Termly day. Termly fees: Jr £4,285 and Sr Dip, MA, MMus – performance/ www.rcm.ac.uk that attending one of the UK’s dedicated environment. Previously non-traditionalinto Y7, Y9network and Y12. of Exhibitionsperformers and performing students. Music Facilities: A member w fees: £6900. Age range: 16–19. £5,314. Age range: 4–18. School & Higher Education Further of the Association of European comp. Music Facilities: 350-seat Contact Colin Lawson, dir; Kevin Royal Welsh College of conservatoires is a great first step. Here, genres such as jazz and indigenous musicare also available,organisations offering they free will need toSchool develop type: Co-ed Bromley High School type: Girls instrumental tuition. Typical Award GDST Music Conservatoires. Each student purpose-built concert venue Porter, deputy dir. Music & Drama a relatively small number of students from around the world are now well their career. for student and professional Courses: BMus Hons (4); BSc(Hons) Castle Grounds, Cathays Park, candidates would present two Bishop Challoner School Bromley High School, Blackbrook Buckingham College is supervised by a personal tutor. receive specialised, high-quality training embedded in conservatoire syllabuses. On the other hand, this may be a less performances; extensive library in Physics and Music (4). PG: Cardiff, CF10 3ER instruments; at entry into Y7/Y9, 228 Bromley Rd, Shortlands, Lane, Bromley BR1 2TW School Purpose built building. Facilities inc from people who are often well known in The type of education offered by suitable path for those who have not fully inc jazz archive; recording studios Masters programmes in Perf and t 029 2034 2854; 029 2039 1361; Learning your audition pieces inside out means you can perform in front of the panel with confidence the principal instrument would be Bromley BR2 0BS t 020 8781 7000; 020 8781 7061 Hindes Road, Harrow HA1 1SH the Adrian Boult Hall, Recital Hall, a the industry. Your child’s fellow students conservatoires provides huge advantages decided on what they want to do within the offering high quality analogue and Comp (1–2); Artist Diplomas in Perf; 029 2039 1422 of grade 5–6 standard, and for Y12 t 020 8460 3546 f 020 8466 8885 (mus school) f 020 8781 7002 t 020 8427 1220 f 020 8863 0816 specialist library, 50 practice rooms, digital recording consoles, digital Opera; Comp (1–2) and Chamber e [email protected]; admissions@ are likely to be equally talented or more to students with the right temperament:grade 7–8.music Visit industry, the school or website those who doe [email protected] have e [email protected]; bhs@bro. e [email protected]; 4 recording studios and a lecture edit suites; digital audio workstation Music (1); MSc in Performance rwcmd.ac.uk talented than them, which may push them those with ambition, a strong work ethic,for furtherthe infomation potential onto bemusical exceptional wperformers. www.bishopchallonerschool.com/ gdst.net [email protected] theatre. A variety of scholarships are rooms with Logic, ProTools, Reason Science (1); PhD (3–4). Masters The Royal Welsh College of Music & harder, but also leave them in no doubt of some idea of what they want from theiropportunities. Contact Karen Barry, head. w www.bromleyhigh.gdst.net w www.buckcoll.org available for ugs and pgs. and Ableton Live, plus several Mac programme applicants may Drama, the National Conservatoire the work ahead. career and, not forgetting, exceptional raw Awards: Music scholarships are Contact Angela Drew, Contact Simon Larter, head. Bristol Pre-Conservatoire labs; learning resource centre; large graduate with PGDip, MComp, of Wales, and part of the University Three UK conservatoires have drama talent. Students may have the opportunityAshbourne Independent based on a pupil reaching at least Headmistress; Mrs A M Drew, Termly fees: £3,315–3,845. Studying music at university e bristolpreconservatoire@gmail. collection of musical insts. MPerf or MMus; depending on theSo of South Walesyou Group, competes want to go to Sixth Form College BA, MBA; Mrs C Dickerson, BA departments and one, Trinity Laban, is a to meet and befriend generation- For those students with high gradesgrade 3 who and passing an audition 17 Old Court Place, Kensington, (Anglia), Head of jr school; Ms C Channing School com options taken. Course Details: The alongside an international peer group held by the Head of Music; most London College of Music conservatoire of music and dance, so the defining performers at an early stage Londonof W8might 4PL be considering a career in music Daniel, MA (London), dir of mus, The Bank, Highgate, London w www.bristol-preconservatoire.com college provides educ and training of conservatoires and specialist are worth up to 25% of fees. Termly University of West London, St Mary’s scope for attending arts events, networking their career, gain top-level performing t 020 7937history 3858 orf 020 research, 7937 2207 a BA from a university sr school. N6 5HF An evening school for young to advanced levels for those who arts colleges for the best students and creating cross-genre collaborations experience, and form alliances with other rather than the more specialised BMus classical and jazz musicians, offering Road, Ealing, London W5 5R aspire to be performers, whether globally, enabling students to enter small ensemble training, creative t 020 8231 2220 instrumentalists, singers, orch dramaand influence the world of music, school? workshops, visiting artists and e [email protected] players, conductors or comps. AtDiscover PG theatre some and words related ofprofessions. wisdom Our from the people involved in the application process, both auditionees and
www.uwl.ac.uk/academic-schools/ Trinity Laban’s music faculty is housed at the Old Royal Naval College in Greenwich sessions on developing general w level, practical work is enhancedauditioneers, by ambition who is to canmake offer an ever you more great tips for success and advice on how to avoid some of the common pitfalls … BROMLEY HIGH SCHOOL musicianship. music. scholarly study up to doctoral level. central contribution to the cultural ‘EXCEPTIONAL’ (ISI 2016) Currently offering training in the Contact Sara Raybould, Director life of Cardiff, to Wales, and through following strands: strings and piano, of LCM; David Henson, Head of Royal Conservatoire of our graduates, to the international woodwind, vocal and jazz. Subject – Performance, Composition Scotland So, you’rearts taking industry. the plunge: you’ve very different, and what is the difference training – but what kind of candidate are & Performing Arts. 100 Renfrew Street, Glasgow, G2decided you’d like to train at drama school. is the culture of the organisation. And drama schools in search of? The Liverpool Conservatoire for Drama London College of Music (LCM), part 3DB It’s a hugelyRoyal competitive Welsh College sector to of enter ultimately the only way you can find out Institute of Performing Art’s (LIPA) senior and Dance of the University of West London, t 0141 332 4101 f 0141 332 8901– even theMusic education & Drama and training side of about that institution is to go to the place,’ lecturer in acting Stephen Buckwald says: Tavistock House, Tavistock Square, is the largest specialist music and [email protected]; Castle Grounds, Cathays Park, e things – but there’s no need to worry if says Giles Auckland-Lewis, principal of the ‘We’re not looking for finished products. London WC1H 9JJ performing arts institution in [email protected] Cardiff, CF10 3ER Institute of the Arts Barcelona (IAB). If you were a finished product, you have t 020 7387 5101 the UK. The University includes w www.rcs.ac.uk/ you’re nott 029 a fully 2039 fledged 1361 stage star as of e [email protected]; denis. undergraduate & postgraduate At the Royal Conservatoire of yet: ‘Thee [email protected] process is not based on Paige Round, BA (Hons) acting (musical no need for drama school – go out there [email protected] courses in classical, pop and jazz Scotland we offer a very wide variety“tingle factor”,’w www.rwcmd.ac.uk assures Geoffrey Colman, theatre) graduate from Central, says: ‘As and do it in the industry. We’re looking for w www.cdd.ac.uk/ performance, composition, music of vocational degree programmes.head of actingContact at Admissionsthe Royal Central Department. School an actor, when you go to one place you get diamonds in the rough: people who have technology, musical theatre, theatre Everything you need to find out of SpeechCourses: and Drama. Acting, ‘One Stage of Mgt, the Designprimary that feeling – wherever you are, whichever the potential of being great actors, but with Guildhall School of Music & production, music management and about the programmes is right here.things we’refor Performance; looking for atBA drama Hons; 3school years. is drama school you’re at – that you’re kind a bit of training we’ll be able to fine-tune Drama acting for students, all delivered Remember you can contact us tosomeone Acting, who we Musical can train.’ Theatre, Stage and of supposed to be there.’ And with varying them in a way that they’re going to be able Silk Street, Barbican, London EC2Y Trinity Laban’s music faculty is housed at by expert practitioners of national clarify any information or ask any Event Mgt, Design for Performance; cultures and outlooks, an acting course to be prepared to go into the industry.’ 8DT and international renown. Music questions. MA, 2 yrs. Music (perf or comp); the Old Royal Naval College in Greenwich delivered by one institution will be a very Drama schools are in search of students t 020 7628 2571 f 020 7256 9438 Facilities: Teaching & video suites, To study here, we need you to be BMus Hons, BMus Hons Jazz; 4 e [email protected] halls, digital recording facilities, exceptionally talented, dedicated,Finding yrs; the PGDip, school 1 yr or 2and yrs; MA;course 1 different experience from studying acting with great potential, but they also want w www.gsmd.ac.uk 30 rehearsal & practice rooms, TV hungry – and ready. Many applicantsfor youyr or 2 yrs; MMus, 1 yr or 2 yrs; at another, so it’s important to look at people with the right attitude who will Contact Jennifer Kay, asst registrar studio, labs, 2 radio stations & 18 are unsuccessful on the first or evenIt may beMPhil/PhD, the case that 3 yrs. you’re Arts Mgt,entirely MA; the composition and make up of a course. appreciate the experience. Nick Moseley, (admissions & enrolment). computer labs. second occasion, but they work sodecided upon1 yr or what 2 yrs. area Facilities: of drama World- training ‘When I was choosing a drama school to course leader for acting at Central, says: Courses: BMus (4) (validated by City hard in the meantime that they grow,you’re mostclass interested facilities inc in: 450-seat your heart recital apply for, I was researching really heavily ‘We need to firstly know that that person University). MPerf/MMus/PGDip Royal Academy of Music develop and eventually succeed.might behall, set 160-seaton pursuing theatre, musical acting theatre, and into the course structure and what they is going to work hard; that they really in music perf (specialisms in strs, Marylebone Rd, London, NW1 5HT or followingmovement your dream studios, of and becoming exhibition a set taught there,’ says Frankie Payne, a former want the training and they haven’t just ww, br, perc – advanced inst studs t 020 7873 7373 f 020 7873 7374 Royal Northern College of gallery. Performance Opp: Annual designer – but when applying for a course, foundation student from IAB. ‘I also find come along to pick up a few additional OPEN MORNING or orch studs; kb – advanced inst e [email protected] Music performance calendar encompassing Saturday October 7th 2017 studs or pno accomp; vocal studs, w www.ram.ac.uk 124 Oxford Rd, Manchester, M13you’re alsoover making 300 public an important perf inc orch decision it really appealing to look at the alumni vocal skills in order to support what 9.30 am - 1.00 pm opera studs, hist perf, chmbr music Contact Philip White, registrar & 9RD about theconcerts, kind of recitals, institution dramas, you’ll operas, be from that school, to see if there’s actors/ they can already do. The second thing we Co-educational excellence for boys and girls aged 11-18. studs, jazz studs. MComp/MMus/ head of international affairs; Edward t 0161 907 5200 f 0161 273 7611studying at. ‘Drama schools, on the surface actresses that I aspire to be like, or who need to know is that they are generous APPLY ONLINE musical theatre. PGDip in comp; MLead/MMus/ Kemp-Luck, admissions offr & e [email protected]; kaman. Dedicated Hooper Music School, regular performance [email protected] when you look at what is written about are in work that I’m interested in doing.’ and very good at working in a team PGDip in leadership; MA music international co-ord. [email protected] The Conservatoire opportunities and an extensive range of ensembles and choirs. www.bromleyhigh.gdst.net them, all appear to broadly cover the same You may have a very strong idea of collaboratively, that they’re supportive of therapy; DMus/PhD (all validated Courses: BMus (4). MMus in w www.rncm.ac.uk The Conservatoire, 19–21 Lee Road, Financial assistance is available. Visit our website for details. sort of material – but they are all actually what you’re looking for from drama their other actors.’ Girls 418 Years by City University). Course Details: performance (2); MMus in comp Contact Linda Merrick, Principal; London SE3 9RQ Principal study and performance lie (2); MA in performance (usually Martin Harlow, Vice-Principal 020 8852 0234 Music Scholarships available in the Senior School t 10 RHINEGOLD BRITISH MUSIC & DRAMA EDUCATION YEARBOOK 2017–18 Alleyns.org.uk l @alleynsmusic RHINEGOLDPB BRITISHRHINEGOLD MUSIC BRITISH & DRAMA MUSIC EDUCATION & DRAMA YEARBOOK EDUCATION 2017–18 YEARBOOKat the 11core 2017–18 of the learning experience 2); PGDip (musical theatre); MPhil (Academic); Paul Goodey, Vice- e [email protected] RHINEGOLD BRITISH MUSIC & DRAMA EDUCATION YEARBOOK 2017–18 13 020 8557 1500 l Dulwich, London SE22 8SU Blackbrook Lane, Bickley, Bromley Kent BR1 2TW at the Guildhall School. In the UG (2); PhD (3). Course Details: The Principal (Performance); Kate The Conservatoire is Blackheath’s
30 RHINEGOLD BRITISH MUSIC & DRAMA EDUCATION YEARBOOK 2017–18 120 RHINEGOLD BRITISH MUSIC RHINEGOLD& DRAMA EDUCATION BRITISH MUSIC YEARBOOK & DRAMA 2017–18 EDUCATION YEARBOOK 2017–18 RHINEGOLD BRITISH MUSIC & DRAMA EDUCATION YEARBOOK 2017–18
Written for students and teachers alike, our new directory contains thousands of carefully detailed listings for: Schools | Youth arts | Further & higher education | Resources & courses for teachers | Arts venues | Suppliers & services | Performers in education
DIGITAL EDITION – £19.95 | PRINT EDITION – FROM £34.95
Order now at www.rhinegold.co.uk/bmdey
BMDEY17-18_ad_210x276.inddIPSO17.indd 76 1 07/08/201712/07/2017 17:31:21 14:21 REVIEWS | CDs
Falla Nights in the Gardens of Spain Ravel Piano Falla Nights in the Gardens of Spain; The Sorabji Symphonic Nocturne for Piano Alone Concertos – G major and D major Three-Cornered Hat; La Vida Breve – Introduction Lukas Huisman (pf) Steven Osborne (pf), BBC Scottish Symphony & Dance; Love, the Magician – Ritual Fire Dance Piano Classics PCLD 0119, 2CDs, 140 mins Orchestra/Ludovic Morlot Mari Kodama (pf), Sophie Harmsen (sop); lllll Hyperion CDA68148, 63 mins Orchestre de la Suisse Romande/Kazuki Yamada lllll Pentatone PTC 5186 598, 73 mins llll
There have been some classic interpreters of For all its seemingly e ortless melodic Sorabji’s music is like the man himself: Ravel’s G major concerto: Entremont (also invention, Nights in the Gardens of Spain took fl orid, uncompromising, unconcerned with coupled with Falla’s Nights), Katchen, Haas, a long time – six years – to achieve its fi nal its impact or anything besides its own Argerich; more recently, Zimerman, Wang, form, changing from a set of solo piano specifi c course and the vast timescales Bavouzet and Aimard, to pluck a few nocturnes to the programme-concerto we involved in wringing every last drop out of illustrious names not entirely at random. know today. Subtitled ‘symphonic its material. For all its volcanic eruptions Stephen Osborne’s new account is fully impressions’, it’s a rapt, lushly imagined and torrents of sound, the style is o en worthy of comparison with these forebears. score, to my ears allegorically pastoral, meditative, beguiling the listener with Indeed, I would go so far as to suggest that though Joaquin Turina believed it ‘the most delicate strokes and caressings of this is the fi nest modern recording of both tragic and sorrowful’ of Falla’s works. While the keyboard. concertos – and a rival to any predecessor. there is intensity in each of its three unequal The Symphonic Nocturne for Piano Alone Osborne’s playing of Ravel’s misleadingly movements, I do not hear tragedy here. (1977-8) is Sorabji’s longest single- light and fl u y surface details is matched Rather, seriousness of purpose is the movement composition, playing unbroken by an understanding of its multi-layered dominant characteristic, speaking more of for 140 minutes (one of the few fermata lyricism, interpreted most sensitively in the the passions – and, yes, their occasional allows nicely for the change of disc!) It long solo of the central Adagio assai. But he attendant dramas – awakened at night-time. dwarfs the more familiar, wonderfully is wonderfully and lightly virtuosic in the With a running time of 23-and-a-half iridescent nocturnes Djâmî (1928) and outer movements also, and it is hard to be minutes, this account from Mari Kodama and Gulistan (1940) and is – necessarily – far sure what is more impressive: the virtuosity the Suisse Romande Orchestra under Kazuki more varied in texture and expressive or the e ortlessness with which it is Yamada is on the fl eeter side, and while not as profi le, and somewhat less Oriental in tone. delivered. The darker D major is equally fast as Bavouzet’s account on Chandos, yet has It is larger even than the Symphony No 5 compelling, Osborne’s phrasing of the a languorous quality that belies the pace. for piano (1973), memorably recorded by le -hand lines scintillating in e ect. Comparing it to, say, EMI’s classic account Donna Amato for Altarus (AIR-CD-9064), Osborne – who over the years has given from Gonzalo Soriano and Rafael Frühbeck de or Kevin Bowyer’s awe-inspiring account of us marvellously insightful recordings of Burgos (which takes over 25 minutes), Kodama the Organ Symphony No 1 (1924) on Alkan, Kapustin, Messiaen, Stravinsky, and Yadama do not quite fi nd the innate Continuum (CCD1001-2). Tippett, Crumb and Feldman, to name a Spanishness to the same degree, a curious For all its apparently improvisatory few – is wonderfully supported by the BBC feature of an otherwise thoughtful and nature, there are clear structural milestones Scottish Symphony Orchestra directed by sensitive account given that the remainder of in Symphonic Nocturne’s 113 pages, most Ludovic Morlot (so impressive recently in the (orchestral) programme abounds with it. obviously the sequence of dramatic his Dutilleux series in Seattle), and they The longest work here is the ballet The repeated bass chords that resound combine just as compellingly in Falla’s Three-cornered Hat, given a vivid performance throughout. Huisman, who plays with masterly impressionistic (and scenic) from the Suisse Romande, with Sophie jaw-dropping virtuosity and attention to triptych of ‘symphonic impressions’ that Harmsen an idiomatic soloist. This highly detail, notes in the booklet that Sorabji’s makes up Nights in the Gardens of Spain. entertaining programme fi nishes with two structure may derive from the Golden Like Mari Kodama and Kazuki Yamada (or three, depending how you count them) Section and mathematical proportions, and on their recent Pentatone issue, Osborne extracts from other Falla works, the ‘Interlude this certainly helps Huisman shape the steers a relatively swi course through and Dance’ from the opera La Vida Breve and enormous edifi ce convincingly. Piano Nights. Unlike them, Osborne and Morlot the evergreen ‘Ritual Fire Dance’ from El Classics’ sound is beautifully focused, not catch a much more vivid and nicely drawn Amor Brujo. With fi nely achieved too close, not too distant, the Yamaha CS Iberian feel to the music. This is the one to performances and sound throughout, this is a III concert grand producing a lovely tone have. safely recommendable disc. throughout. GR GR GR
September/October 2017 International Piano 77
IPSO17_077_R_CDRevs_0908OM.indd 77 09/08/2017 12:20 REVIEWS | CDs & DVDs
Glass Etudes: Nos 2 3, 5, 6, 9, 13-15, 18, 20; Thelonious Monk: Les Liaisons Dan Tepfer: Eleven Cages Glassworks: Opening (two versions) Dangereuses 1960 Dan Tepfer (pf), Thomas Morgan (bass), Nate Vikingur Ólafsson (pf), Siggi String Quartet Thelonious Monk (pf), Charlie Rouse, Barney Wilen Wood (dr) DG 479 6918, 80 mins (tenor saxophones), Sam Jones (bass); Art Taylor (dr) Sunnyside CD SSC 1442, 48 mins lllll Sam Records/Saga 5 051083 118477, 2CDs, 84 mins llll lllll
Icelandic pianist Vikingur Ólafsson, signed Thelonious Monk was born exactly a Dan Tepfer is a French-born American jazz to the Yellow Label in 2016, provides his century ago. His music has entered popular pianist of broad sympathies and capacities, own eloquent booklet notes for this culture as part of modern jazz – regularly shown in his improvisational Goldberg important release. In them, he heard as muzak in cafes, for instance – yet it Variations (2011), and his ongoing acknowledges his connection to the remains modern. The release of a newly collaboration with saxophonist Lee composer, and indeed throughout there is discovered studio album, the soundtrack to Konitz. In his liner notes, Tepfer says: ‘We the feeling of a certain rightness. Roger Vadim’s Les Liaisons Dangereuses, is an are all encaged ... by the limits of our Take the opening of Glassworks. Previously event. Monk was on great form when he bodies, of our minds, of the political I much enjoyed Nicolas Horvath’s account recorded in a New York studio on 27 July system […] The best we can do is fi nd the of this (GP677), quicker than Ólafsson. Yet it 1959. This was the annus mirabilis of Miles wiggle room.’ Eleven Cages o ers that room is the newcomer who seems to draw us into Davis’s Kind of Blue, Coltrane’s Giant Steps, – partly, as the pianist explains, through its a perfectly ululating wave of ‘Glassness’. The Bill Evans’s Portraits In Jazz, Mingus’s ‘malleability of time’. DG sound (from Rejkjavik’s Harpa Hall) is Mingus Ah Um and Ornette Coleman’s The Tepfer confronts the tyranny of choice more inviting, too: warm yet allowing Shape of Jazz to Come. by restricting it. The album could be a through every detail. The end hangs Monk faced tribulations at this time, contemporary take on Dave Brubeck’s deliciously in the air. Christian Badzura’s with the withdrawal of his New York Time Out and Time Further Out, but there’s ‘reworking’ which closes the album, sheds cabaret card, and mental health issues that also a pronounced love of musical games, a new light, so ening the sound but also resulted in prescription of the major debt to Ligeti and Escher. It’s mostly adding the possibility of new drama. tranquilliser chlorpromazine. It was thus originals, plus two free improvisations, a The sequencing of the Etudes is unlikely he would be able to compose a standard – a succinct, plangent ‘I Loves impeccable. No 2 is an oasis of stillness; it is new score, and in the end, he performed You, Porgy’ – and a contemporary pop hit, also the sole Etude reworked by Badzura for his regular repertoire – adding a fi ne blues Beyoncé’s ‘Single Ladies’, a masterly take piano and quartet, where the bed of string improvisation titled ‘Six In One’, an almost on a banal original. In ‘Roadrunner’, a rock sound adds an undercurrent of tenderness. solo version of the hymn ‘We’ll Understand groove is made intriguing by addition and In contrast, No 6, with its decidedly It Better By And By’, and the only known subtraction of beats. In the haunting monumental aspect, indicates the sheer studio recording of his then-recent ‘Minor Fall’, percussive bass and quiet variety of moods on display. The Lisztian composition ‘Light Blue’. We hear the drums are equal partners, while ‘547’ aspect is honoured as convincingly here as it rehearsal of the latter, and among the fi nal swings e ortlessly. was in Ólafsson’s 2015 Barbican takes, a highlight is Monk’s superbly The solo piano ‘Hindi Hex’ uses a tihai, a performance (wherein the complete Etudes pellucid solo on ‘Well You Needn’t’. traditional polyrhythmic technique from were performed by fi ve pianists, one of them Monk’s biographer Robin Kelley claims North India in which a fragment of Glass himself). No 5 becomes a miniature that ‘Monk transformed what would have melody is repeated three times, displaced tone-poem: Ólafsson’s ability to paint with a been an edgy but relative standard over shi ing major and minor triads. In thousand colours is magnifi cent. The active narrative fi lm into avant-garde cinema’. ‘Little Princess’, a chromatic descending No 13 gives way to the melancholy of No 15 Monk had never recorded music for a fi lm, bass line is repeatedly compressed and (an emotional equivalent, perhaps, to No and he made few concessions to the expanded. 18). The last Etude is the longest and medium. The band features Monk’s regular It took me a while to appreciate this breathes a Brahmsian sense of twilight. tenor-saxophonist Charlie Rouse, his album’s rich rewards: it is cerebral in the While Horvath o ers the complete Glass short-lived rhythm section Sam Jones and best sense – thoughtful and refl ective. Its Etudes spread over two discs, Ólafsson’s Art Taylor, plus young French tenorist compositions are characterful, and packed performances are so perfectly realised this Barney Wilen. The album is available as a with musical ideas, intelligence and becomes the go-to disc for Glass lovers. two-LP box-set as well as CD. insight. CC ANDY HAMILTON AH
78 International Piano September/October 2017
IPSO17_078_R_CDRevs_OM0908.indd 78 09/08/2017 12:28 GINA BACHAUER INTERNATIONAL ARTISTS PIANO COMPETITION 2018
Rose Wagner Performing Arts Center & Abravanel Hall | Salt Lake City, Utah June 10−23, 2018
More than $105,000 in Prizes Open Repertory Final Round with Utah Symphony Concert Engagements
APPLICATION DEADLINE: September 15, 2017 Application and full details at bachauer.com
PRELIMINARY ROUND: New York City Moscow Hamburg Hong Kong
GINA BACHAUER INTERNATIONAL PIANO FOUNDATON 138 W. Broadway Ste. 220, Salt Lake City, Utah tel. +1.801.297.4250 / bachauer.com
IPSO17.indd 79 07/08/2017 17:31:21 REVIEWS | CDS IN BRIEF
Mozart Piano Sonatas in D major K284, C major The disc highlight is the magical Adagio of indicates this music is hardly of ‘moderate’ K309, C minor K457; Fantasia in C minor K475 No 34, almost experimental in its use of difficulty. It does show that Japanese pianist William Youn (pf) register and silence. Bavouzet interpolates Mami Shikimori’s technique is stunning, Oehms Classics OC 1857, 77 mins an effective mini-cadenza into the chirpy however, while the ‘Chanson triste’ and the lll finale of No 36. Throughout, he adds ‘Marche funèbre’ reveal her capacity for Korean-born, Munich-based William Youn effective ornaments in the repeats. Superb profundity. Op 40 was penned just after the presents sensitive, always perfectly textured in all respects. Symphony No 4 and Eugene Onegin, and a performances in this varied programme, CC similar depth of sorrow surfaces here and volume five of his cycle on Oehms. The first there. Some music is decidedly of the salon, movement of the D major sonata (with the while keen-eared listeners will recognise an repeat of the exposition) sets the scene: light, Tchaikovsky Piano Sonata in G major Op 78, affinity with Swan Lake in the ‘Danse russe’. impeccably judged textures, always well- ‘Grande Sonate’; The Seasons Op 37b The Souvenir de Hapsal is marginally mannered. The huge quarter-hour finale to Nikolai Lugansky (pf) better served on disc, and again Shikimori that sonata, a theme with variations, finds Naïve AM 215, 62 mins carves a niche for herself, capturing the Youn at his most ruminative and perhaps llll misterioso of the first piece perfectly, while too introspective in the slow movements Moscow-trained Nikolai Lugansky, a pupil of her sweet tone for the well-known ‘Chant (think Arrau but minus the magic). the great Tatiana Nikolaeva, makes a hugely sans paroles’ captivates. Four charming There is a tameness here, too. While the successful case for Tchaikovsky’s G major miniatures complete this delightful disc of Fantasia is nicely shaped, the C minor piano sonata in this splendid recording. the byways of Tchaikovsky’s piano output. Sonata’s opening movement is lacking in Lugansky offers both strong, muscular tone CC drive, and its Adagio sags. The Sonata K309 and a solid sense of structure. The lovely has a rather studio-bound first movement, slow movement rises in complexity, somewhat missing the spirit Mozart culminating in a Schumannesque clipped Bonnal ‘Idylle’ Menuet triste; Noël desuet; Pour explicitly requires. Oehms’ sound is dotted section, perfectly realised by bercer Nicole; Noël pyrénéen; Complainte de excellent, but Mozart’s sonatas are greater Lugansky. His sparkling staccato for the brief l’enfant rêveur; Monsieur le Sénéchal than this recording implies. Scherzo and his orchestral terracing in the David Maw (pf), Roselyne Martel-Bonnal (sop) CC finale are remarkable. Calliope CAL 1634, 72 mins Although lesser-known, Tchaikovsky’s The lll Seasons (12 ‘characteristic pieces’ depicting Joseph-Ermend Bonnal (1880-1944) is now Haydn Piano Sonatas Nos 11, 34-36, 43 the months) is a gem. Lugansky’s version so obscure, even his correct name is Jean-Efflam Bavouzet (pf) comes up against another recent release, uncertain (the booklet uses three forms Chandos CHAN 10942, 83 mins Alexander Kobrin on Centaur (coupled with interchangeably). A pupil of Bériot, Fauré, lllll Musorgsky’s Pictures at an Exhibition); while Vierne and Widor, the organ dominated Volume 6 of this series has a playing time of Lugansky has lots to offer, Kobrin delivers his career (he succeeded Tournemire at well over 80 minutes. Bavouzet’s zeal for the more convincing account. Lugansky Saint Clothilde) and his composing, this music is everywhere evident, including sometimes dwells too long (‘May’, for although he wrote in a wide variety of in his booklet ‘Performer’s Note’. example) and elsewhere drives too hard other genres, including a smattering for The early Sonata No 11 in B-flat is a (September’s hunt). There are many piano. The six pieces gathered here, written substantial work for the period, its slow moments of beauty and imagination between 1921 and 1934, are charming, movement punching way above its weight. (October’s ‘Autumn Song’), but Kobrin sometimes folksy in idiom; but it is the Bavouzet pinpoints its doom-laden sense offers the more complete experience. songs (from 1895 to 1938), which strike me of tragedy perfectly, setting the Menuet CC as more original. They are beautifully sung finale into high relief. No 43’s first here by the composer’s great-grand- movement includes arresting Adagio daughter, although in one or two places interpolations, while it is impossible to Tchaikovsky Douze Morceaux de difficulté with high, exposed lines, she does sound resist the playful appeal of the finale, an moyenne Op 40; Souvenir de Hapsal Op 2; Two uncomfortable, for instance in Chanson (unlabelled) set of variations. Valse-Scherzos; Capriccio Op 8; Valse-Caprice Op 4 triste. David Maw – an expert on Machaut Bavouzet has a way with Haydn’s simpler Mami Shikimori (pf) and Howells – is a most sympathetic textures, while finding both quartet and Naxos 8.573543, 77 mins accompanist and soloist and this is a orchestral textures in the finale of No 35, llll welcome addition to the catalogue. revealing a Brendel-like wit in the process. The Etude that opens Tchaikovsky’s Op 40 GR
80 International Piano September/October 2017
IPSO17_080-081_R_CDsIBrief_OM0908.indd 80 09/08/2017 13:08 REVIEWS | CDS IN BRIEF
Granados Complete Goyescas; Falla Suite from finds everything here from hoe-down (‘for Peter Garland The Birthday Party Aki El amor brujo – ‘Pantomima’, ‘Cancion del fuego Johnny Mehegan’), life-affirming joy (‘For Takahashi (pf) fatuo’ Nicholas Zumbro (pf) Helen Coates’), jazz (‘For Elizabeth B Ehrman’) New World Records 80788-2, 64 mins Kritonos Records CD1, 72 mins to post-tonal lyricism (‘For Lukas Foss’). lllll lll Bernstein’s final work, Touches, is a work that Peter Garland’s music often addresses ‘memory Granados’ ‘Complete Goyescas’ here comprises seems to ‘touch’ on everything, from and loss’, and he’s a master at slipping in subtle the six pieces of Books 1 and 2, composed in pointillism to jazz. Cooperstock’s account is variations that create moments of heart- 1909-10 and 1911 respectively: not, as the magnificent, as is his justifiably granitic stopping beauty. Aki Takahashi has been booklet (riddled with errors) states, separated approach to Bernstein’s Piano Sonata (the playing Garland’s music for 30 years and by four years in 1912 and 1916 (actually the central movement includes forearm clusters). her intimate understanding of its spiritual publication dates). El pelele (1914), usually There is much to enthral, including the core is evident in the judicious way she played as the seventh Goyesca, bizarrely opens exhilarating arrangement of Copland’s El shapes each note, each phase, each silence. proceedings, followed by Crepúsculo, Book 1, Salón México, given with true virtuosity. Superb. Garland composed two of the disc’s three then – somewhat jarringly – the 1916 CC works specifically for Takahashi: in the title Intermezzo from the opera and finally Book 2 suite she evokes Japan, Erik Satie, tottery to make an inauthentic nine-movement inebriation and autumnal reflection with sequence. This omits the unnumbered Jácara Anthology of American Piano Music Vol 2, deadpan tenderness; in Amulet she plays and Serenata goyesca – had the booklet not Music of the Night – American Nocturnes: Crumb four pianos, although their overlapping repeated the notes for the Falla excerpts in the Eine kleine Mitternachtmusik plus works by Beach, textures are deployed sparingly, to sound, middle of the Goyescas notes, we might Griffes, Gottschalk, Mason, Bloch, Barber, Copland, says Garland, more like ‘one big piano’. The understand why! Ornstein, Hamelin, Chadwick, Foote, Grofé, Lamb, turbulent Blessingway enjoins her to The disc claims the Intermezzo as a first Farwell and Schnelling Cecile Licad (pf) emulate the ‘dirty’ aesthetic of blues’ guitar! recording though Douglas Riva’s Naxos Danacord DACOCD 783/4, 2CDs, 119 mins A lovely, fascinating record. account appeared in 2008. Zumbro’s llll GRAHAM LOCK performances date from 1992, so why they The otherworldly sounds of George Crumb’s have taken 25 years to appear (I cannot trace ‘Nocturnal Theme’ from from Eine kleine any previous incarnation) is unclear. The Mitternachtmusik (whose theme is actually Legrand Piano Concerto; Cello Concerto booklet’s various muddles are annoying; a Thelonius Monk’s Round Midnight) sets us off Michel Legrand (piano), Henri Demarquette shame as Zumbro’s interpretations are rather on this intriguing journey through America’s (cello); Orchestre Philharmonique de Radio good, with more rhythmic verve than Riva’s, take on things nocturnal in the capable hands France/Mikko Franck. without rivalling Alicia de Larrocha’s of Cecille Licad. Amy Beach’s A Hermit Thrush Sony Classical 88985383722, 64 mins peerless accounts. at Eve is simply beautiful, as is Griffes’ ll GR Notturno, their lushness emphasised via An intriguing album from octogenarian proximity to Crumb’s language. There is Michel Legrand, an artist perhaps better charm here (Gottschalk La chute des feuilles) as known in the field of jazz or film music (he is Bernstein Complete Solo Piano Music, plus well as Lisztian fireworks (Daniel Mason’s a multiple Oscar winner). His piano concerto Bridal Suite for piano duet Night Wind), Impressionism (Griffes’ Night was written for the Gilmore International Andrew Cooperstock (pf) Winds) and even comedy (Crumb’s scherzo, Keyboard Festival and was composed for Bridge 9458, 2 CDs, 104 mins ‘Cobweb and Peaseblossom’). Copland’s Legrand himself as soloist. Sony’s recording lllll astonishing tribute to Ives, Night Thoughts, is a for the orchestra is excellent but the piano Andrew Cooperstock is a fine pianist who has wonderful inclusion, beautifully evocative lacks depth. The expressive language is mixed: specialised in contemporary American music. here, as is the curious, habanera-based the helter-skelter first movement gives way to He presents Bernstein’s complete piano music Nocturne by Chadwick. an extended central section that tends with aplomb and dedication, including a Nice to see some Hamelin (his tracery- towards the harmonically indulgent and runs multitracked first complete recording of the drenched Little Nocturne) and Native out of steam; the finale, too, while well charming Bridal Suite. Cooperstock’s strength American music in Farwell’s Dawn. The scored, lacks life. The Cello Concerto is a is his chameleon-like ability to adapt to the piano sound itself could have been better piece: lush, imaginatively scored, it is scenery; and Bernstein’s scenery is especially accorded a little more body: a shame. given a tremendously present performance by varied in the four sets of Anniversaries that take Nevertheless, superb booklet notes crown a Demarquette. Worth hearing, perhaps, but up the first disc here: heartfelt miniatures – most stimulating release. for curiosity value only. gifts from Bernstein, if you will. Cooperstock CC CC
September/October 2017 International Piano 81
IPSO17_080-081_R_CDsIBrief_OM0908.indd 81 09/08/2017 13:08 REVIEWS | SHEET MUSIC
Durand: Waltzes for the Piano Froberger: Selected works for Keyboard Shor: Childhood Memories Suite Edited by Edward Francis G Henle Verlag for Piano Alfred Masterwork Library ISMN 979-0-2018-1361-5-1 Breitkopf & Härtel EB 8918 ISBN-10: 1-4706-3803-7 ISMN 979-0-004-18584-1
Like Diabelli before him, France’s Marie- This modest but fascinating anthology of Maltese-American, Kiev-born composer Auguste Durand (1830-1909) was destined pieces by the German Baroque composer Alexy Shor has produced a charming and to achieve immortality for his publishing Johann Jacob Froberger (1616-67) was nostalgic collection of works in a business acumen rather than for his produced in commemoration of his 400th retrospective idiom which seems indebted compositional creativity. Indeed, Durand birthday last year. Froberger’s importance to character pieces from the 19th century, remains one of the leading music remains because of his influence in the such as those by Tchaikovsky (The Seasons) publishers in the world. Nevertheless, it development of the Baroque suite. He is Schumann and even Mendelssohn (Songs would be wrong to dismiss Durand the credited with establishing the pattern of Without Words). composer: in fact, most of us will already including Allemandes, Courantes, This particular collection has already know one of his pieces, the Waltz in E-flat Sarabandes and Gigues in the genre, though received a number of performances, and Op 83, which has for long been extremely Froberger’s positioning of the Gigue was not has been recorded on Warner Classics. It popular in all kinds of contexts – from at the end of the suite, where composers of makes for ‘easy listening’, with the ice-skating championships through ‘muzak’ the high Baroque would place it. inevitable fact that memories of older, and background music for films. It is a In fact, Froberger’s style is a fascinating more famous composers are never far piece we all know, but could never name – synthesis of European influences, including away. I was disappointed by the lack of 237 bars of ternary form simplicity with stylistic traits associated with French musical detail throughout the 14 four-bar phrases and lots of simple composers (his works were known to numbers. Dynamics tend to remain fixed harmony. Think Chopin Waltzes in slightly Couperin) but also containing contrapuntal at one level for far too long, and in simplified guise, but with thicker textures clarity and skill as befitting a German ‘Chasing Fireflies’ the presentation looks and you will not be far off what to expect composer. The Toccata included in this slim decidedly Baroque, with no phrasing (indeed the melodic material that is but significant volume (FbWV 103), shows whatsoever. ‘Blooming May’ is presented from the waltz’s 20th bar is an Italian slant in that it is clearly indebted pianistically ungainly, with some remarkably close to the main motif in to Froberger’s mentor Frescobaldi, awkward arpeggios that go beyond the Chopin’s Minute Waltz). alternating contrapuntal sections with octave while notes are held below. These The other five waltzes in the attractively flourishing passagework that seems can be taken in the pedal but sadly there presented and extremely informative Alfred improvisatory, even spartan on the page. is no guidance for footwork until bar 17. Masterwork edition (bravo editor Edward The Canzon FbWv 305 and Fantasia FbWv Some of the harmonic progressions Francis) follow the same formula as Op 83: 206 look equally stark in print, but reveal seem rather eccentric and unconvincing in ‘um-cha-cha’ left-hand waltz rhythms and strong, engaging contrapuntal technique in movements such as ‘First Dance’ and lots of sparkling right-hand figurations. At performance. This is certainly not music ‘Melancholie’; but the pianistic challenges least we have contrasting keys (two waltzes that leaps off the page: in ‘ürtext’ in ‘First Love’ (left-hand thirds’) ‘Coming apiece in E-flat and F majors, with presentation it seems incomplete. However, of Age’ (textured held notes against additional numbers in A-flat and G). This one need only listen to an experienced moving quavers) and ‘Naiveté’ (left-hand may not be the most original or surprising keyboard player tackling the final piece in leaps in waltz rhythm) could well prove music ever penned, but it is charming, this volume, the colourfully contrasted useful for intermediate level players ready effectively laid out for the instrument, Variationen auff die Mayerin FbWv 606, to see to extend their pianistic horizons. All in perfectly harmless, and worthy of the just how much is expected of the performer all, a rather mixed bag which could at the occasional performance. Certainly Op 83 in terms of added ornamentation and very least prove useful sight-reading will make your listeners smile! rhythmic flexibility to bring this music to material for players hovering between Recommended for light relief and life. A fascinating introduction to an Grades 7 and 8. enjoyment. important historical figure. MURRAY MCLACHLAN
82 International Piano September/October 2017
IPSO17_082_R_SMusicRevs_0908OM.indd 82 10/08/2017 12:05 SUBSCRIBE TO INTERNATIONAL PIANO AND SAVE UP TO 30%!*
COVER STORY COVER STORY PICTURE PERFECT AVAILABLE IN Boris Giltburg left Russia when he was five years old, but his connections to Russian culture run deep. He adores playing
Rachmaninov and Shostakovich and has received rave reviews for International Piano NO.45 SEPT/OCT 2017 PRINT & DIGITAL best-selling recordings of their music. Away from the piano, he is no £5.50 less passionate about photography, finding inspiration in the images www.international-piano.com and philosophical musings of Ansel Adams. Owen Mortimer reports FORMATS ORIS GILTBURG BRINGS FOCUS results – in a good way. It’s actually closer of the Second Concerto on Rachmaninov’s and precision to everything he the experience of giving a live concert than own biography: moving from pain and touches. Intense, thoughtful and making a solo recording.’ struggle to dreamy escapism and finally rigorous,B his manner is restless, almost Recording ‘Rach 2’ is something of a triumph. But I’m not sure Rachmaninov nervy. He seems animated by an electric milestone for any pianist, but it’s also a himself conceived such a clear programme. current that runs constantly through his bold step: the bulging catalogue for this It’s true that he didn’t write anything for body. ‘I’m addicted to Shostakovich but work features literally dozens of versions three years and underwent hypnosis with my love for Rachmaninov is on a different going back to Rachmaninov himself, with Dr Nikolai Dahl, but when musical ideas RED OCTOBER level,’ he tells me. ‘One day I would like other renowned interpreters down the began to come to him again it was quite to play his complete piano works. I really years including Ashkenazy, Hough, Kapell, spontaneous. He said he had many more Revolutionary trends cannot get enough of Rachmaninov.’ Moiseiwitch, Richter and Zimerman. ideas than he needed for one concerto.’ INSIDE This autumn sees the release of Giltburg’s Their legacy creates a huge weight of The power of this music, believes second Rachmaninov disc on the Naxos expectation, but Giltburg says he isn’t Giltburg, is in its combination of SHEET MUSIC in Russian music label. His previous album – described by fazed by the competition: ‘When you go instant emotional appeal and intricate IP as ‘richly nuanced’ – featured the Études- on stage you confront each piece of music craftsmanship: ‘Both as an interpreter and TURTLE DOVE POLKA at the turn of tableaux Op 39 and Moments musicaux on its own terms, not so much because of as a listener, Rachmaninov’s music never Op 16. The new recording completes his what others are doing.’ fails to touch me. It goes straight to the BY FRANZ BEHR the 20th century survey of the Études-tableaux, coupling Giltburg is an avid reader and his heart and guts, sometimes even bypassing SEE PAGE 55 Op 33 with the composer’s perennially interpretation of the concerto has also the brain. Yet when you look at the scores, 2017SEPTEMBER/OCTOBER popular Piano Concerto No 2. ‘Instead of been informed by immersing himself in the precision and detail is incredible. He pairing Rachmaninov’s Second and Third Rachmaninov’s letters. ‘By doing this you took utmost care with articulation, so that Concertos, we decided to split them over get a strong feeling for Rachmaninov as even the tiniest change in the music is never RUSSIAN MASTER two CDs and pair them with solo works,’ a person: his very subtle, gentle humour, arbitrary – right down to differentiating explains Giltburg. ‘I also didn’t want to and his unbendable correctness towards between short staccato and long staccato. FINAL Vladimir Ashkenazy at 80 put both cycles of the Études-tableaux on others. On the one hand he expresses a It’s really inspiring to see how deeply he a single disc, but instead decided to pair complete belief in what he was doing, considered such issues.’ RECKONING | Op 39 with the earlier Moments musicaux. while at other times he was uncertain, REVIEWS C D s & DVDs I think this provides a little bit of contrast.’ lacking self-assuredness. For example, just In the Second Concerto, Giltburg is after the premiere of the Second Concerto N 1989 GILTBURG MOVED TO Was the right joined by the Royal Scottish National he complained that he had ruined the first Israel, where he studied with Arie Vardi PLUS Orchestra under Carlos Miguel Prieto. movement because people would think the between 1995 and 2007. Prior to this, winner picked for Compared with making solo recordings, opening theme was only an introduction.’ Ihe received lessons from his mother, who Rapid repeated where a lot of freedom is possible in terms The genesis of the Second Concerto is came from a family of pianists stretching this year’s Cliburn of time for doing re-takes, Giltburg says he also significant for Giltburg, though he is back three generations. Her influence, notes made easy found working with the orchestra much careful not to overstate the importance of deeply rooted in Russian Jewish traditions,
more pressured. ‘In the end I found that Rachmaninov’s recovery from depression. has had an abiding influence on his Competition? Bach Six French Suites BWV 812-17 Bach’s Goldberg Variations and its Beethoven Piano Concertos – No 1 in C major ⌂ Vladimir Ashkenazy (pf) predecessors, including works by Byrd, Sweelinck Op 15; No 2 in B-fl at major Op 19
this pressure could bring about intense ‘It is all too easy to model an interpretation cultural and artistic outlook. ‘I left Russia SASHA GUSOV DECCA 483 2150, 83 mins and Bull Kit Armstrong (pf) Yevgeny Sudbin (pf), Tapiola Sinfonietta/ ll Recorded live at the Concertgebouw, Amsterdam, Osmo Vänskä Learn to play C Major 741608 (DVD) / 741704 (Blu-ray), 126 mins BIS-2078 SACD, 63 mins 18 International Piano September/October 2017 September/October 2017 International Piano 19 lllll lllll Indian ragas Coming directly into competition with Mentored by Alfred Brendel, polymath Sudbin and Vänskä’s traversal through Murray Perahia’s recent two-CD DG British-Korean Kit Armstrong gives an Beethoven’s piano concertos has been a recording of the French Suites, Vladimir intriguing programme that includes musical backward journey: they started in 2011 in on the piano Ashkenazy o ers all six Suites on one background to Bach’s masterpiece. If only C Minnesota with Nos 4 and 5 (BIS-1758), super-long disc. This is the one advantage of Major’s booklet notes were more expansive. and added No 3 coupled with Mozart’s this account. Armstrong has a luminous tone and the 24th in 2013 (BIS-1978). Their endeavour Ashkenazy begins as he means to go on: ability to project lines with the utmost clarity. reaches port in Espoo, Finland, with the 15% OFF there is little sense of magic to the There appears to be a deep resonance, too, fi rst two. Allemande of the Suite No 1; similarly, his between Armstrong and the o erings by Byrd, This is BIS’s third such cycle: others MEMBERSHIP rather harsh way with the Courante Sweelinck and Bull. When Byrd’s Hugh come from Elisabeth Westerholz back in SEE PAGE 20 coupled with his characteristically brittle Ashton’s Ground, as in the Bach, returns to its the late 1980s; and more recently from the tone does the music no favours. The theme at its close, our experience of that highly regarded Ronald Brautigam on Sarabande fares much better, interior and theme is transformed. The Sweelinck pieces, fortepiano. There is even a chamber considered; but while Ashkenazy obviously both sets of variations, combine linear version coupling of Nos 1 and 2 featuring aims to accord the Gigue dignity, it merely cleanliness with an implied religiosity Fumiko Shiraga (BIS-1177) and an archival sounds fractured. While the Allemande of bordering on severity (a severity that returns disc of Glenn Gould playing No 2 in the Suite in C minor bodes well, the in the Ouverture midway through the Stockholm in 1958 (BIS-323). So this is ensuing Courante is awkward. Sarabandes Goldbergs). Armstrong has the ability to familiar terrain for the black label. in general fare best, that of No 3 o ering a reduce his sound to the merest whisper while How does this newcomer fare? It is near fi ne sense of intimacy. But the general rule retaining projection; intellect is completely in ideal, in my view. There’s a beautiful BORIS is that where Perahia enthrals and fi nds the service of the music. Small wonder Brendel balance between orchestral grandeur and a constant magic, Ashkenazy plods. took him as a rare pupil (the fi lm Set the Piano chamber-like intimacy throughout both The fi rst three Suites were recorded in Stool on Fire tracks their relationship). concertos that informs the playing of both 2016; the fi nal three a year later, both in The fl uency of Bull’s 30 Walsingham Sudbin and the excellent Tapiola Potton Hall. While there are fewer Variations is as remarkable as Armstrong’s Sinfonietta. The e ect is of a front-row www.international-piano.com incidences of technical defi ciencies in the grasp of this music’s stately nature. All of perspective without overwhelming the latter, there remains a nagging feeling of which provides the perfect setting for the listener, so that all the details of Sudbin’s GILTBURG misalignment between composer and Goldbergs. The Aria unfolds absolutely mercurial playing and the superb interpreter. The best performance comes naturally, while the immediately following accompaniment marshalled by Vänskä are with the Allemande of Suite No 5, pellucid music reveals Armstrong’s rock-solid captured with utmost clarity. and assured, while the Allemande of the rhythm. Armstrong’s mastery of tone, his The Concerto No 1 here has the Incisive interpreter fi nal Suite reassures us that Ashkenazy can ability to project the most tender expression requisite muscular, big-boned impact, as it on occasion bring rapidity, accuracy and and his long-range vision contribute to a takes the late-Mozart concerto format and style together. stunning performance. Armstrong’s stretches it to bursting point. The fi nale in Ashkenazy’s playing might conceivably technique is impeccable, entirely devoted to particular has invigorating, impulsive (generously?) be viewed as Bach’s magnifi cent edifi ce. energy. As with Louis Schwizgebel’s IPSO17_056-060_R_SheetMusic.indd 56 09/08/2017 12:04 deconstructionist: a stripping away of artist Armstrong’s style in this music stands at account on Aparte (AP098), Sudbin’s way intervention to reveal the ‘pure’ Bach. But the opposite pole to the Ashkenazy reviewed with the more Mozartian No 2 (written the result is uninvolving and at times, given above: the discomfort of the latter replaced fi rst but revised and published second) is that fi nger frailty, awkward. Gone is the by the radiance and omniscience of the wholly winning with more convincing compelling resonance of Perahia, or the former. Both DVD and Blu-ray capture tempi than many of his eminent rivals in assurance of Hewitt (Hyperion). Sadly, Armstrong’s Steinway in superb sound; this repertoire. A splendid conclusion to Ashkenazy o ers Bach of little appeal. camera work is generally non-interventionist. the cycle. COLIN CLARKE CC GUY RICKARDS
September/October 2017 International Piano 73
IPSO17_073_R_CDRevs_OM0908.indd 73 09/08/2017 12:19 Why subscribe? V interviews with top pianists and rising talent PLUS! V in-depth features on composers, festivals, competitions and repertoire SAVE AN EXTRA £5 WHEN YOU SUBSCRIBE BY DIRECT V exclusive masterclasses and tutorials with IP tutor Murray McLachlan DEBIT TO OUR PRINT OR V reviews, news, updates and regular columns BUNDLE PACKAGE V retrospective pieces to enhance your historical knowledge
PLUS: FREE sheet music, often rare or newly released and a FREE yearly piano competitions wallplanner
PRINT: FROM £21.49 DIGITAL: FROM £8.49 BUNDLE: FROM £25.49 6 print issues a year delivered 6 digital issues a year available 6 print issues + 6 digital issues direct to your door on PC, Mac and mobile devices a year Promotion code: IPSUB17P Promotion code: IPSUB17D Promotion code: IPSUB17B
ORDER NOW AT RHINEGOLD.IMBMSUBSCRIPTIONS.COM OR BY CALLING US ON 01293 312233
The subscription prices above are for UK customers only. After the first year Direct Debit subscriptions will move to the standard price of £29 every 6 issues (print), £8.99 every 6 issues (digital), or £34 every 6 issues (bundle). We also welcome orders from overseas customers: please see online for prices. Orders can also be taken on the phone: 01293 312233.
IPSUBS.indd 83 10/08/2017 11:22 REVIEWS | BOOKS
edition of the Beethoven sonatas, in which stringently suppressed the composer’s the fingering was ‘not intended to propose role as inspirer of nationalist pride in technically convenient solutions, but rather his homeland. Warsaw’s bronze Chopin correctness of musical phrasing’. Despite eye statue by Wacław Szymanowski was the and heart ailments, his late recordings are to first monument destroyed by occupying be treasured, alongside those from his prime. Germans forces in May 1940. They took This concise and well-informed text merits pains to pulverize as many copies as translation into English. possible, to prevent its reconstruction. Whereas clandestine Chopin recitals were a feature of Occupied Warsaw, concentration camps rarely held performances of Chopin, mainly because almost all lacked pianos. In Germany itself and occupied countries, Nazi collaborators among pianists such as Elly Ney (1882- Artur Schnabel: Musician and Pianist In German – Artur Schnabel: Musiker und 1968), Wilhelm Backhaus (1884-1969) and Pianist Wilhelm Kempff (1895-1991) were state- By Werner Grünzweig authorised interpreters of Chopin and Hentrich & Hentrich 76 pages, €8.90 other approved composers. In 1944, the macabre relic of Chopin’s heart, seized The Austrian musicologist Werner from a church by Nazi occupiers during Grünzweig, director of the Berlin Academy the Warsaw Uprising, was preserved as of Arts music archives, studied piano at the hundreds of thousands of city dwellers University of Music and Performing Arts died. These and other compelling details of Cannons Buried beneath Flowers: Graz, Austria. Like most aspiring pianists, Chopin’s Music in a Tragic Era (1933-1945) the political use of piano music are detailed Grünzweig was captivated by the Austrian In German – Unter Blumen eingesenkte in this intriguing study which merits pianist Artur Schnabel (1882-1951), whose Kanonen: Chopins Musik in dunkler Zeit prompt translation into English. (1933–1945) ‘supreme intellectual authority’ in works By Reinhard Piechocki by Beethoven, Schubert and Brahms was Staccato Verlag, unrivalled in his era. 294 pages, €26.00 Although billed as the ‘first German- language biography of Schnabel’, this On 14 November 1939, Reich Minister extended essay of around 12,000 words of Propaganda of Nazi Germany Joseph is a welcome brief overview rather than Goebbels banned performances of music all-encompassing weighing of the facts. by composers from hostile countries, Grünzweig drily notes that by the early except for Chopin and Bizet, two personal 1930s, Schnabel, an erstwhile pianistic deity, favourites. began to receive concert reviews alleging Reinhard Piechocki, a cultural historian that his interpretation of Beethoven sonatas who has produced a CD of performances was marred by ‘judgment poisoned by the by his friend Alice Herz-Sommer (1903- overgrowth of foreigners in Germany’. He 2014), a Prague-born pianist who survived would eventually be forced into exile. Theresienstadt concentration camp, explains Assessing Schnabel’s own compositions, that Goebbels himself was ‘underpowered’ Grünzweig praises the Notturno for alto at the keyboard. After a failed attempt one Beethoven’s 32 Piano Sonatas: A Handbook for Performers and piano (c 1910) in which the ‘piano evening at intimate pianistic seduction of By Stewart Gordon part is extraordinary like a large-scale the Swedish singer Zarah Leander, Goebbels Oxford University Press free improvisation’, but admits that was obliged to explain: ‘What I just played 290 pages, £64.00 (hbk), £18.99 (pbk) contemporaries did not agree. Essentially, was a waltz by Chopin’. Schnabel was ‘boycotted as a composer’, and An early attempt to annex the Polish Stewart Lynell Gordon, a distinguished listening today to his mostly charmless and composer for the Reich was in 1935, when a professor of keyboard studies at the grating works, one can see why. Nevertheless, memorial plaque was unveiled in Dresden University of Southern California, has a the ‘older Schnabel became, the more commemorating Chopin’s visits to that wide-ranging discography to his name and, he regretted not being able to exclusively city, while enthused lookers-on shouted: half a century ago, founded the William dedicate himself to composition’. His real ‘Heil Hitler! Heil Chopin!’ Commanding Kapell International Piano Competition, contributions, in addition to immortal researchers to prove that Chopin was which he directed for 15 years. He has also recordings, include his still-consulted really German and not Polish, the Nazis published an edition of Beethoven’s sonatas
84 International Piano September/October 2017
IPSO17_084-085_R_Books0908OM.indd 84 10/08/2017 15:29 REVIEWS | BOOKS
with Alfred Music, based on his experience that it ‘uses microtones’. There is often a composer who has lived in Pakistan and as a pianist and teacher. misunderstanding here that microtonally loves Hindustani instrumental music; he This friendly, helpful, refreshingly non- distinguished notes occur in succession; writes with the enthusiasm and practical doctrinaire guide to performing Beethoven in fact Indian music uses scales composed expertise of a convinced performer. His is quite far from what appears to be a of degrees rather like the 12 semitones book introduces 24 rāgas through sample hornet’s nest atmosphere in American of the chromatic scale, but most of these unmeasured (ālāp) and metrical (gat) musicology today. It is addressed to pitches can be rendered slightly flatter compositions. The style of writing is thinking pianists who wish to make up or sharper in some circumstances, and chatty and informal, and the exposition of their own minds about what Beethoven types of inflection or ornamentation the basics of Hindustani musical grammar may have wanted in his sonatas. It is a book frequently modify or ‘bend’ notes in is not entirely clear or entirely in line of choices, reasonably argued. In a tone ways characteristic to particular with more standard practice or teaching readers may find familiar from Gordon’s compositional structures. This being in methods: spellings of terms, for instance, previous books from Oxford Press (Etudes the nature of the music, it is natural that and even some definitions, are a little for Piano Teachers, Reflections on the Teacher’s instruments are traditionally favoured wayward. Indeed, the very definition of Art and Mastering the Art of Performance), which allow for flexibility of intonation the uniquely Indian musical entity of the hints are offered that when in doubt about – ones where the player’s fingers can pull rāga is not adequately covered in the book, fine points such as staccato, indications or press a string once plucked or bowed, and the title should make it clearer that from editions and manuscripts may vary. or wind instruments whose holes can we are dealing with actually playing music Examining Beethoven’s sketchbooks can be partly covered, or the breath itself within these mysterious structures. As be helpful, though they are incomplete used to vary the pitch and intensity of the Pitts knows, there is really no such thing and never meant as definitive statements: note. Above all, there is that most vital of as a ‘sitar raag’, but only raag as such, and a ‘Sketches sometimes clarify contradictions instruments, the human voice which, in raag is not a ‘piece’. It is of course possible between the manuscripts and early editions, Indian musical thought and theory, has that the author’s friends and teachers and studying the evolution of the music always been given prime importance. in Pakistan differed in some usages offers insights into the composer’s creative It is easy to understand why keyboard from what is more common practice in process.’ If the prose style is at times stately, instruments, with their necessarily fixed India. Nevertheless, for the avoidance the observations are usually apt, as in this pitches, have been less readily accepted: of misconceptions, I would recommend comment on the Hammerklavier Sonata: ‘It the hand-pumped (and in some parts reading other accurate and accessible is as if Beethoven included pages from his of the subcontinent the foot-pumped) textbooks, such as Neil Sorrell’s Indian sketchbook in the body of the sonata itself harmonium, first introduced into India Music in Performance (Manchester, 1980) and a musical description of the awakening by European missionaries, was for some or The Rāga Guide by Joep Bor (Nimbus of inspiration as the fugue subject dawned.’ time shunned by All India Radio as an Records, 2002). BENJAMIN IVRY instrument to accompany the voice, That said, there is much to praise and is still hardly heard in the classical in this book. Pitts meticulously and music of South India. Yet, once it was imaginatively sets out in staff notation accepted, it became an indispensable numerous effective and convincing part of North India’s ‘Hindustani’ music, musical ideas in his range of Hindustani and is now more commonly heard rāgas. His recommendations for imitating accompanying classical concerts than the the drone of the stringed tambura, and more traditional sārangī, a vertically-held his suggested renderings of ornaments bowed fiddle. and portamento slides around notes, Furthermore, the harmonium now are ingenious, and work remarkably even has its own solo virtuosi whose well, as evidenced in his own sample astonishing performances can be heard performances available through the in recordings as well as concerts and website for this book (pianoraag.com). broadcasts. The point is that players Despite its shortcomings in musical have developed techniques for giving the theory I strongly recommend the book to illusion of flexible intonation through pianists with an eye and an ear to the East, subtle shading and ornamentation of and I look forward to hearing further How to Play Indian Sitar Raags on a notes. It is perhaps partly because of this performances by John Pitts. Piano success of the harmonium that other JONATHAN KATZ By John Pitts Intensely Pleasant Music keyboard instruments have started to 258 pages. £16.50 figure in the Hindustani music scene: How to Play Indian Sitar Raags on a Piano electronic synthesisers, organs, and the is available online from www.pianoraag.com One of the first things newcomers piano itself. commonly hear about Indian music is John Pitts is an award-winning www.johnpitts.co.uk
September/October 2017 International Piano 85
IPSO17_084-085_R_Books0908OM.indd 85 10/08/2017 15:29 REVIEWS | AUDIO All ears
Snuggling down to superb sounds: A snug fi t is vital if 1More’s triple drive IEM you want to get the most out of in-ear pairs are cheaper as your scan can monitors – tiny be reused. The process takes a little over a week, and the buds are sent earphones that through the post. Using the silicon tips takes a little bring the more e ort: you apply a dollop of the provided experience of cream, and twist them into your ear. It takes a listening to high- few goes, but you can quickly feel the quality headphones di erence that a perfect seal makes. The bass into the world of suddenly tightens up and creates a sound your inner ear. which reminds me of standing in front of an Rafael Todes tries orchestra; the imagery becomes rock-solid. In them out all, this is a major upgrade to an already outstanding product. An additional £200 on top eadphones, it seems to me, follow a couple of millimetres – another example of £100 is not cheap, but I cannot think of the horses-for-courses principle: it of technology fi tting a lot into a little. any £300 headphone that can compare at depends what you use them for, The Triple Driver IEM costs around £100 this price. andH if ambient noise and /or bothering other – a remarkable snip for the price (for There is one more headphone above the people with noise leakage is a problem. comparison, the Shure Triple Driver IEM triple driver in the 1More range: a quadruple Here is a novel ‘headphone solution’, costs £332). The headphones come in an driver a air which costs £200. It covers a which up to now I’ve hesitated in elegant case, and have nine choices of tip greater frequency range than the triple recommending in this column. The in-ear made of foam and silicon, helping you to get driver model, so it is to be recommended – monitor (IEM) consists of tiny headphones the very best fi t. It is only when a really tight but the di erential can only be really that fi t inside your ear. My problem with seal is created around the IEM that the triple appreciated with the Snugs tips. them is that if the fi t in the ear canal is not driver really delivers. The headphones have It is of course possible to obtain a perfect tight, the phones will sound tinny, and will slick integration with iPhones and Android fi t with one of the pairs of tips supplied by in some cases be severely lacking bass. It is phones, including a remote control that 1More. I sadly didn’t, but I’d hazard a guess, also very hard to compare what you hear answers incoming calls (the quality of the having discussed this issue with reviewer with others who use the IEMs: they may fi t microphone is excellent). You can change colleagues, that Snugs always seem to you perfectly and someone else very badly, volume and track, as well as using provide a signifi cant upgrade. and your opinions on the same product will voice control. As with most audio products, 1More vary wildly. I was blown away by the sound of this headphones will need a few tens of hours to 1More is a relatively new entrant into the triple driver. There is air and space, like break in. Straight out of the box, they can headphone fold. Based in San Diego it listening through a good pair of speakers. sound a bit bright; but if you leave them produces a dazzling array of IEMs with one, Having played around with the nine pairs of plugged into a CD player on repeat for a two and three drivers – and has recently buds, I found that the foam tips sounded couple of days, they will come on song. released a product with four drivers. These better, giving the best fi t – for my ears at least. With tips custom-made for your ears, you’ll function like drive units on a speaker: by When it comes to a comfortable fi t, a UK- have a really excellent combination that cutting up the frequency spectrum, each based company called Snugs o ers a service punches well above its weight. driver can focus on a specifi c range and do a to scan your ear canal and produce exact e better job. The drivers are tiny – the radius silicon tips that mould precisely to the ear. uk.1more.com of the section that goes in your ear is around It costs £200 for the fi rst pair, but subsequent snugsearphones.co.uk
86 International Piano September/October 2017
IPSO17_086_R_Audiofile_0908OM.indd 86 09/08/2017 11:15 Next issue NOVEMBER/DECEMBER 2017 ELIAS PHOTOGRAPHY
Louis Lortie
IMAGINATIVE FLAIR Search for a job... French-Canadian pianist Louis Lortie excels in repertoire from Mozart to Lutosławski and has chalked up an impressive discography of nearly 50 albums. His performances of Beethoven, Search a wide range of music Chopin and Liszt have been widely and performing arts jobs, from acclaimed, and he is currently recording an extensive Chopin series for Chandos. performing contracts to teaching We meet to discuss his ongoing projects positions, and administration AFTER THE DELUGE roles to conducting vacancies. Benjamin Ivry concludes his two- part series on piano playing in Russia, exploring the cultural repercussions of the 1917 Revolution and its aftermath Keep an eye on our website MUSICAL POLYMATH as well as our Twitter and Pianist, conductor and political activist Facebook feeds for the Daniel Barenboim at 75 most up-to-date list of GOING FOR GOLD job vacancies! IP examines the pros and cons of competitions
ON SALE 20 OCTOBER
IPSO17_087_R_NxtIssue0908OM.indd 87 09/08/2017 11:25 TAKE FIVE
AVE BRUBECK (1920-2012) WAS BORN IN CONCORD, Connecticut. In his early teens he performed with local jazz groups, going on to study music at the College of Dthe Pacific in Stockton, California, including composition lessons with Darius Milhaud. With fellow students, he founded the experimental Jazz Workshop Ensemble, which recorded in 1949 as the Dave Brubeck Octet; the Octet couldn’t get any gigs, so he formed the Dave Brubeck Trio from its rhythm section. Alto saxophonist Paul Desmond joined in 1951, making it the Dave Brubeck Quartet, which became one of the most successful groups in jazz history. It was hugely popular on college campuses in the 50s, resulting in the classic Jazz at Oberlin. Brubeck began experimenting with unusual time signatures such as 5/4, 9/8 and 11/4, and in 1959 recorded the first million-selling jazz instrumental – ‘Take Five’ in 5/4 metre, credited to Paul Desmond, and released as a single in 1961 with Brubeck’s own ‘Blue Rondo à la Turk’ in 9/8. (Desmond had produced two unconnected themes in 5/4 that Brubeck fashioned into a piece, based on a rhythm by their drummer Joe Morello – the piano vamp was Brubeck’s also.) The quartet with Desmond disbanded in 1967 to allow the leader to focus on composing; however, he soon formed a new quartet with baritone saxophonist Gerry Mulligan, that continued till 1972. From the 1970s, Brubeck’s groups featured sons Darius (keyboards), Chris (bass guitar and bass trombone) and Danny (drums) – plus at different times, reeds-players Perry Robinson and Jerry Bergonzi, and Bill Smith from the 1940s Octet. It became a critical cliché that Brubeck’s playing was unswinging. One reference work comments, ‘Critics [...] agree that much of [Desmond’s] best work was done away from Brubeck’s often stiff improvisations and tricky time signatures’. This is the response of DAVE a snobbish jazz audience to a musician who was successful, and it is also the case that Brubeck was trying to subvert traditional ideas of swing. Writer Philip Clark – who interviewed Brubeck extensively, BRUBECK and whose landmark biography will be published by Da Capo in 2019 – explains that ‘Brubeck often did swing – if by “swing” we mean the type of rhythmic motion found in 1930s/’40s jazz – but often made a conscious decision not to. He was deeply fascinated by different sorts of rhythmic motion, and by making them coexist A long-overdue presence in this within the same solo.’ Clark adds, ‘We should take what he said in an interview – “I’m a column is the pianist who composer who happens to play piano” – mostly at face value. Unlike Fats Waller, Teddy Wilson and Art Tatum, Brubeck was primarily inspires its title: Dave Brubeck, a composer, more interested in techniques like stride piano as compositional material’. From the 1960s, Brubeck wrote large-scale best-known for the jazz hit ‘Take compositions, including ballets, a musical, oratorios, cantatas and works for jazz ensemble, several of which were recorded. Five’, has been misunderstood by Clark points out that Brubeck enjoys juxtaposing moods, textures or energies. His solo on ‘I Got Rhythm’, from 40th many in the jazz world on Anniversary Tour of the UK, begins with apparently unswinging clusters and disembodied harmonic sequences, but gradually account of his popular success develops a harmonic context: ‘Brubeck pulls the narrative thread and his unconventional approach ever more taut, until the final choruses launch into swinging stride piano like Willie The Lion Smith or Fats Waller.’ Brubeck’s to swing. Andy Hamilton sets the compositional ideas based around polyrhythms and polytonality didn’t always lead him to a place where ‘swing’ was a clear-cut record straight concept, Clark argues. 88 International Piano September/October 2017
IPSO17_088-089_R_Take5 KC OK 0708.indd 88 09/08/2017 10:27 TAKE FIVE
diagnosed with lung cancer and died the following year. It’s one Brubeck’s compositional ideas of the most delightful and moving duet albums in jazz. Desmond based around polyrhythms and was a second-generation Cool player who claimed to sound like a dry martini, but in fact was always beautifully lyrical. polytonality didn’t always lead Brubeck was often at his best without the support of bass and drums, I believe – more thoughtful, less grandiloquent – and the him to a place where ‘swing’ was tone of Duets is reflective, restrained even. I used to think that the pianist’s improvising involved considerable pre-planning, but the a clear-cut concept way he picks up on Desmond’s closing phrase in ‘These Foolish Things’, spinning an extended thematic improvisation from it, makes pre-preparation unlikely. This is the standout track, but Critics were uncomfortable about Brubeck’s success, and ‘Stardust’ and ‘Alice in Wonderland’ run it close. produced contradictory accounts of it, suggests Clark: ‘Brubeck e doesn’t sound like a jazz musician, they’d say. But jazz musicians aren’t supposed to sound like themselves – and being a white musician from the West Coast, it would have been odd and Take Dave Brubeck inauthentic had he sounded like a black, East Coast musician.’ 1. ‘Take Five’, from Time Out (Columbia) It’s clear that Brubeck was always a modernist, influencing avant-gardists such as Cecil Taylor (through the harmonic density 2. ‘These Foolish Things’, from Dave Brubeck/Paul Desmond, of his keyboard playing) and also, apparently, Anthony Braxton – 1975: The Duets (A & M) though what the latter takes from his alleged influences is often 3. ‘For All We Know’, from At Carnegie Hall (Columbia) imponderable. My own Desert Island Disc among Brubeck’s 4. ‘How High The Moon’, from Jazz At Oberlin (Fantasy) extensive recordings is Duets, his only album of duets with Paul 5. ‘I Got Rhythm’, from The 40th Anniversary Tour of the UK (Telarc) Desmond, and the last they made together; in 1976 Desmond was
15-17 September 2017 CAMBRIDGE PIANO WEEKEND ADVERTISE HERE! In print and online INTERNATIONAL PIANO can Continuing the legacy of give you access to over 30,000 piano enthusiasts. Alfred Cortot Let us help you reach your target audience.
To fi nd out more, please contact the Title Manager on 020 7333 1741 / [email protected]
NELLY BEN-OR London Piano Courses incorporating The Alexander Technique for pianists, teachers & advanced students 3-8 January 2018 Daily sessions at the piano and individual Alexander sessions, both aiming at new ways of learning Promoted by Normandy Piano Courses and preventing disturbing tensions in partnership with Anglia Ruskin University, Cambridge Some scholarships available
Details from: 23 Rofant Road, Northwood, Middlesex, HA6 3BD https://cortotheritage.com Tel: 01923 822268 Email: [email protected] www.pianocourseswithalexandertechnique.com
September/October 2017 International Piano 89
IPSO17_088-089_R_Take5 KC OK 0708.indd 89 09/08/2017 10:27 MUSIC OF MY LIFE BORGGREVE MARCO Music of my life Andreas Haefliger finds himself drawn to performances that communicate the unpretentious, heartfelt honesty of a bygone era of music-making
HAD TO LAUGH AT MYSELF FOR that before the age of 30 he refused to after their five minutes of fame. Why choosing three recordings by Edwin sing anything else but Bach: he had no would you want to be more popular – Fischer; but then I asked myself, why song repertoire because he thought of unless you run a country! Maybe this Idid I choose these five? I realised one it as sinful! He was not a stern man and is the reason why Fischer was a such a common theme draws them together: a loved life, so for him to say that was quite great pianist. The way he plays Schubert’s lack of vanity. All these recordings speak something. I listen now to the two of ‘Ganymed’ is something you can’t teach. very much from the heart and with a them – Richter and my father. Nowadays Complete straightness, correctness and tremendous amount of humanity. it would be done almost twice as fast, but then the tiniest tempo modifications that When I first heard Brahms’s Piano it has that force of nature, it is so strong, add a little colour. It’s the same with ‘Der Concerto No 2, I was about 12 – not so convincing. My father would say to his Musensohn’. These songs are priceless in so long after the Second World War. students ‘If you don’t believe it, don’t sing the way he does them – and of course, This recording was made live during it’. From all his recordings, I’ve chosen the Schwarzkopf isn’t bad either! But it’s being a bombing raid. What touches me is Matthew Passion because I have heard it led from the piano. It’s his presence that the existential force that’s in the piece. so many times from the age of four, and makes it happen. Fischer is the conductor, Nowadays it’s considered almost an easy sang it myself when I was a boy. It made the friend of the piano and of the singer piece – everybody has to play Prokofiev an impression on my mind, and on my all at once. 2 and Rachmaninov 3! Back then, it was butt too because we usually sang it in e still an oddity to be able to play it, and it churches with hard pews! My mother had INTERVIEW BY JEREMY NICHOLAS obviously pushes Fischer to the edge of a clothing store opposite the hotel where his capacity. He also played Furtwängler’s Richter died from a sudden heart attack. It Symphonic Concerto, which is similar in was a real shock. My parents and he were Brahms scope and difficulty, and between the two close friends. Piano Concerto No 2 in B-flat Edwin Fischer, Berlin Philharmonic / Wilhelm of them you can understand there was an Fischer in the Bach concerti is one of the Furtwängler enormous friendship and respect for one very few recorded instances of the piano Testament 1170 another. It’s very difficult to re-create this sound growing after it’s been played. He was Chopin kind of thing in today’s concert life. one of the masters of this, maybe because he Études Opp 10 & 25 Pollini set a whole new standard of spent a lot of time with singers. I like to think Maurizio Pollini Chopin playing. In the Études, dating I can do it as well. In the slow movement DG 4137942 from his early 20s, he showed the world of the F minor concerto, for instance, you Bach that modern piano mastery had begun. hear notes growing after they have been St Matthew Passion This was the age when you could play attacked. It’s a physical impossibility but he Fischer-Dieskau, Maria Stader, Ernst Haefliger et al, these pieces on a Steinway – and play makes it happen. Little juxtapositions with Munich Bach Choir and Orchestra / Karl them beautifully and aesthetically, with the left hand, careful pedalling, approach Richter controlled emotions. This was a novelty. with the arm, his fingers go through the DG Galleria E4271552 We had wonderful Chopin recordings key – it’s real old-school mastery. I think Bach by specialists – Cortot and some of the we have to get away from playing faster and Keyboard Concertos Russian pianists – but this was the first faster and rediscover some of these parlour Edwin Fischer Warner Classics Icons 6294992 time these were done by a modern pianist tricks that may not be as flashy but make with a modern piano technique. It was the music speak. Schubert revelatory to all of us growing up at I like the truth. I like the lack of vanity, 24 Songs Elizabeth Schwarzkopf, Edwin Fischer that time. especially in our age of selfies where vanity Warner Classics 5627542 My father [Ernst Haefliger] told me increases by the second with everyone
90 International Piano September/October 2017
IPSO17_090_R_MOML KC OK 0708.indd 90 09/08/2017 11:17 YEVHEN GULENKO 07/08/2017 17:31:22
www.oberlin.edu/con |
CELEBRATING TRADITION. CREATING THE FUTURE. OF MUSIC OF
Oberlin Conservatory of Music College Street, Oberlin, OH 44074 39 West 440-775-8413 CONSERVATORY CONSERVATORY OBERLIN OBERLIN Oberlin students are mentored They and grow challenged. small ensembles with perform They risk. with comfortable studios recording in peers, and artists guest with large, and by music playing tour, on and stage on halls, concert in and time. our from composers and masters the of tomorrow. the sounds envision They IPSO17.indd 91 Straight Strung Concert Grand
new instruments available 2017
New instruments available. You want to try the instruments and visit the factory ? Make your appointment via [email protected]
Chris Maene Factory - Industriestraat 42 - 8755 Ruiselede - Belgium More info : www.chrismaene.com
Chris Maene Workshop - Industriestraat 42 - B8755 Ruiselede - +32 51 68 64 37 - www.chrismaene.com
IPSO17.indd 92 07/08/2017 17:31:23
International Piano June 2017.indd 1 7/06/17 10:31