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Lunchtime Concert Brought to Light Elizabeth Layton Violin Michael Ierace Piano Friday 31 July, 1:10Pm

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Lunchtime Concert Brought to Light Elizabeth Layton Violin Michael Ierace Piano Friday 31 July, 1:10Pm Michael Ierace has been described as a ‘talent to watch’ and his playing as ‘revelatory’. Born and raised in Adelaide, he completed his university education through to Honours level studying with Stefan Ammer and Lucinda Collins. Michael has had much success in local and national Australian competitions including winning The David Galliver Award, The Geoffrey Parsons Award, The MBS Young Performers Award and was a major prize winner in the Australian National Piano Award. In 2009, he made his professional debut with the Adelaide Symphony Orchestra in the presence of the Premier of South Australia and the Polish Ambassador. In 2007, he received the prestigious Elder Overseas Scholarship from the Adelaide University. This enabled him to move to London and study at the Royal College of Music (RCM) with Professor Andrew Ball. He was selected as an RCM Rising Star and was awarded the Hopkinson Silver medal in the RCM’s Chappell Competition. From 2010-12, he was on staff as a Junior Fellow in Piano Accompaniment. In the Royal Over-Seas League Annual Music Competition, he won the Keyboard Final and the Accompanist Prize – the only pianist in the competition's distinguished history to have received both awards. In the International Haverhill Sinfonia Soloists Competition, he took second place plus many specialist awards. Michael has performed extensively throughout London and the UK and twice at the Edinburgh Fringe Festival. Much sort after as an associate artist for national and international guests, Michael is currently a staff pianist at the Elder Conservatorium. Lunchtime Concert Brought to Light Elizabeth Layton violin Michael Ierace piano Friday 31 July, 1:10pm PROGRAM Also notable was his relationship with his young cousin, Sergei Rachmaninoff. When the Rachmaninoff family fell into hardship, he took the young musician under Sonata No. 1 in B minor, BWV 1014 J.S. Bach his wing, opening his home and offering to fund his studies at the Moscow I. Adagio arr. Alexander Siloti Conservatory. After Siloti had left his teaching post at the Conservatory and II. Allegro returned to concert touring, his numerous performances of Rachmaninoff’s Prelude III. Andante in C sharp minor did a lot to promote Rachmaninoff’s music in Europe and IV. Allegro America. Sonata No. 2 in A major, BWV 1015 J.S Bach Over his career, Siloti produced a large canon of 205 piano arrangements and transcriptions, following in the Romantic tradition of Liszt and Busoni. However, I. Andante arr. Alexander Siloti many of his works were never published and some were almost certainly lost when II. Allegro the Siloti’s house was ransacked in the 1917 revolution. His daughter Kyriena III. Andante un poco Siloti, tells a story of walking past a local butcher and seeing his manuscripts being IV. Presto used to bundle up parcels of meat. Luckily, Kyriena was able to purchase their entire supply of paper and was successful in saving many of her father’s works. Sonata No. 3 in E major, BWV 1016 J.S Bach I. Adagio arr. Alexander Siloti Siloti’s transcriptions of the sonatas for violin and harpsichord by J.S. Bach, came II. Allegro to the attentions of the performers in 2018. Michael Ierace writes: I came across III. Adagio ma non tanto these scores on a piano forum I visit where Siloti's grandson had posted them, to IV. Allegro be distributed freely. Knowing the quality of Siloti's Bach arrangements for solo keyboard, I felt this would be certainly worth investigating. Siloti’s primary aim in these arrangements seems to be utilizing the full capabilities of the piano and Transcriptions for piano of Johann Sebastian Bach's music were far more instilling a more contemporary performance practice, including in his use of prevalent during the latter nineteenth and early twentieth centuries than they are articulation and dynamics. Some feel that these editorial changes restrict the today, in no small part due to the desire to enjoy works that could otherwise be freedom for the performer inherent in Bach's original. However, in my opinion these heard only rarely. The rise of the recording industry, alongside the popularity of transcriptions allow us a fascinating window into the performance practice of one of the authenticity movement in the performance of early music, meant that such the early 20th Century’s greatest musicians. transcription fell out of favour for a time. However, more recently, an acceptance of these first-rate transcriptions and arrangements as musical works in their own Today’s performance marks the world premiere of these previously unknown right, and their inclusion in concert programs and recordings, has seen transcriptions. The manuscripts are held at the Stanford University library in the composers such as Busoni, Godowsky, and Siloti enjoying a renaissance. newly formed Siloti archive and are freely available from their website. Although relatively unknown today, Alexander Siloti was an important figure in European musical life at the turn of the twentieth century. After studying under Nikolai Rubinstein, Sergei Taneyev and Pyotr Tchaikovsky at the Moscow Elizabeth Layton is Senior Lecturer in violin and Head of conservatory, he moved to Vienna where he became one of Franz Liszt’s star Classical Performance at the Elder Conservatorium of Music. pupils. Born in London, she studied at the Yehudi Menuhin School and the Juilliard School, New York. Elizabeth made her UK concerto Over the course of his life, he forged a varied career as a concert pianist, debut with the Philharmonia, performing with many leading UK teacher, conductor and arranger. His relationship with his former harmony orchestras and giving recitals at London’s Wigmore Hall and teacher, Tchaikovsky, remained strong and the great composer entrusted him South Bank Centre. Festival appearances include Gstaad, with the editing and arranging of many of his manuscripts. As a performer, he Valencia, Edinburgh, Bath, Cheltenham and Aspen. Elizabeth made a name for himself as an interpreter of Liszt’s works as well as was Associate Leader of the Academy of St Martin in the Fields championing the works of his Russian contemporaries. and toured worldwide as a member of the Nash Ensemble. His sponsorship of the Siloti Concerts in St. Petersburg supported and From 1997-2010 she was Concertmaster of the BBC Scottish Symphony presented a number of “greats” and their talents to the world; including Pablo Orchestra with whom she also broadcast for the BBC as soloist and director. Casals, George Enescu, Josef Hofmann, Wanda Landowska, Arnold Elizabeth performs throughout Australia and New Zealand in recitals and chamber Schönberg, Claude Debussy, Edward Elgar, and a young, unknown modernist music and as concertmaster with orchestras in Adelaide, Sydney, Melbourne, composer named Igor Stravinsky (whose music was first heard by Diaghilev in Queensland, Tasmania and New Zealand. this series). PROGRAM Also notable was his relationship with his young cousin, Sergei Rachmaninoff. When the Rachmaninoff family fell into hardship, he took the young musician under Sonata No. 1 in B minor, BWV 1014 J.S. Bach his wing, opening his home and offering to fund his studies at the Moscow I. Adagio arr. Alexander Siloti Conservatory. After Siloti had left his teaching post at the Conservatory and II. Allegro returned to concert touring, his numerous performances of Rachmaninoff’s Prelude III. Andante in C sharp minor did a lot to promote Rachmaninoff’s music in Europe and IV. Allegro America. Sonata No. 2 in A major, BWV 1015 J.S Bach Over his career, Siloti produced a large canon of 205 piano arrangements and transcriptions, following in the Romantic tradition of Liszt and Busoni. However, I. Andante arr. Alexander Siloti many of his works were never published and some were almost certainly lost when II. Allegro the Siloti’s house was ransacked in the 1917 revolution. His daughter Kyriena III. Andante un poco Siloti, tells a story of walking past a local butcher and seeing his manuscripts being IV. Presto used to bundle up parcels of meat. Luckily, Kyriena was able to purchase their entire supply of paper and was successful in saving many of her father’s works. Sonata No. 3 in E major, BWV 1016 J.S Bach I. Adagio arr. Alexander Siloti Siloti’s transcriptions of the sonatas for violin and harpsichord by J.S. Bach, came II. Allegro to the attentions of the performers in 2018. Michael Ierace writes: I came across III. Adagio ma non tanto these scores on a piano forum I visit where Siloti's grandson had posted them, to IV. Allegro be distributed freely. Knowing the quality of Siloti's Bach arrangements for solo keyboard, I felt this would be certainly worth investigating. Siloti’s primary aim in these arrangements seems to be utilizing the full capabilities of the piano and Transcriptions for piano of Johann Sebastian Bach's music were far more instilling a more contemporary performance practice, including in his use of prevalent during the latter nineteenth and early twentieth centuries than they are articulation and dynamics. Some feel that these editorial changes restrict the today, in no small part due to the desire to enjoy works that could otherwise be freedom for the performer inherent in Bach's original. However, in my opinion these heard only rarely. The rise of the recording industry, alongside the popularity of transcriptions allow us a fascinating window into the performance practice of one of the authenticity movement in the performance of early music, meant that such the early 20th Century’s greatest musicians. transcription fell out of favour for a time. However, more recently, an acceptance of these first-rate transcriptions and arrangements as musical works in their own Today’s performance marks the world premiere of these previously unknown right, and their inclusion in concert programs and recordings, has seen transcriptions.
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