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Performing (Inter-)Nationality on the Piano

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IMS Conference TOKYO March 21, 2017 FP-5G Performing (Inter-)nationality on the Piano A Crisis of French Pianism in the Age of Competition Natsuko Jimbo (JSPS Research Fellow, The University of Tokyo) [email protected] 1 Martha Argerich 1st prizes at Busoni, Geneva, and Chopin international competitions “The era of the competition” Vladimir Ashkenazy 2nd prize at Chopin, (McCormick 2015) 1st prizes at Tchaikovsky and Queen Elisabeth international competitions Maurizio Pollini 2nd prize at Geneva, 1st prizes at Pozzoli and Chopin international competitions 2 Singing competition depicted on an ancient vase (late 6th century BC) http://ancientolympics.arts.kuleuven.be/picEN/slides/P0126.jpg.html A scene from Die Meistersinger von Nürnberg by Richard Wagner 3 Gustav Alink, International Piano Competitions Book 1: Gathering the Results, [Author]: 1990, p.40. WWII 4 5 Cultural and Historical Influences of International Competitions on “Western” Art Music 6 Today’s Focus Subject: International competitions and "national school" Case study: French piano school in postwar period Long-Thibaud International Competition (Paris, 1943+) 7 Sources and Methods Analysis of published interviews • Interviews of 85 French and French-trained pianists, 1981 ～(Timbrell 1999, Chiao 2007[2015, 2016], Gaussin 2010) Archival research Long-Thibaud Competition • Fondation Long-Thibaud-Crespin • Fonds Marguerite Long, Médiathèque musicale Mahler • Documents originally possessed by Nadia Boulanger (member of jury 1949-66), Bibliothèque Nationale de France Paris Conservatory • Centre des archives, CNSMDP • Paris Conservatory Archive (Séries AJ37, 2006063049), Archives Nationales 8 Purpose To clarify how international competitions have necessitated the internationalization to a national school taste in performance style education system 9 Outline 1. End of jeu perlé ? 2. Parisian Competition in “Russian Peril” 3. Musical Education in Age of International Competitions Conclusion 10 1. End of jeu perlé ? 11 From “Digital” to “Whole Body” • Evolution of piano technique in postwar Paris 12 Evolutions of Instrument and Repertoire 13 “End of jeu perlé” (R. Campos)? • Decline of “old French school” after WWII • Prevalent criticism against “digital” tradition / “jeu perlé ” 14 Russian Influence (Y-P. Chiao 2012)? • Many reference to “Russian pianism” as a factor of technical transformation 15 Russian Influence on (French) Pedagogues? • “(Pierre) Sancan's main technical ideas stemmed, I think, from his later visits to Russia.” (Jean-Philippe Collard, quoted in Timbrell 1999: 227) • “He (=Jacques Février) was definitely influenced by the Russian school.” (Gabriel Tacchino, quoted in Timbrell 1999:150) • (Yves) Nat's approach was similar to that of the Russian school. (Jean-Bernard Pommier, quoted in Timbrell 1999: 130) 16 How and why did French pianists learn the “Russian” pianism in France ? --International competitions ? 17 Russian Influence: From Contestants? • “It was when I heard performances of Soviet pianists who participated in the Long-Thibaud competition that I realized the greatness of playing with whole body. I was astonished to see they draw full sound from the piano, using their whole body, and win awards. I was highly impressed by their performances, which were unspeakably fascinating.” (Jacques Rouvier, quoted in Chiao 2007[2015]:330) 18 2. Parisian Competition in “Russian Peril” 19 Soviet’s First Participation in Long-Thibaud Competition (1953) Fondation Long-Thibaud-Crespin 20 “Russian Girl Crushed Westerners at Thibaud Violin Competition” (1953) Fondation Long-Thibaud-Crespin 21 No First Prize but Two Second Prizes (Piano 1953) Evgenii Malinin (1930-2001) Philippe Entremont (b. 1934) 22 “The Audience Boos the Jury of Piano” Fondation Long-Thibaud-Crespin 23 French Musicians Who Support Soviet Winner (Piano 1953) “A French musician furiously insulting the candidates of his own country and acclaiming the Soviet pianist with a burlesque ostentation; a young blond woman, already famous, asking the hall to testify the sentiments that Mr. Malinine inspired to her; the crowd following the winner to his car and slamming his French rival!” [U]n musicien français dénigrant furieusement les candidats de son pays et acclamant avec une ostentation burlesque le pianiste soviétique ; une jeune femme blonde, déjà célèbre, prenant le hall à témoin des sentiments que lui inspirait M. Malinine ; la foule portant le triomphateur jusqu’à sa voiture et conspuant son rival français ! Clarendon[Bernard Gavoty], « Pas de Grand Prix de piano au Concours Long-Thibaud...mais des émeutes ! » n.d. (Fonds Marguerite Long, Médiathèque Musicale Mahler) 24 “Russian Peril” « péril russe » Jacqueline Thuilleux, « Finale du concours Long-Thibaud, »25 June 1973 (Fonds Marguerite Long, Médiathèque Musicale Mahler) 25 Russian and French Shares of All Piano Laureates Long-Thibaud Competition (1943-2015) 40 35 30 USSR (Russia) 25 % 20 15 10 5 France 0 1943-51 1953-59 19611961-69-69 1971-79 1981-89 1992-98 2002-2009 2012-2015 26 Soviet Dominance Long-Thibaud Competition (1961-69) * Piano Division Prize/year 1961 1963 1965 1967 1969 1 USSR USSR (Not awarded) USA USSR 2 France USSR USSR USSR USSR 3 Argentine Bulgaria USSR USSR USSR Bulgaria 4 France Turkey USA France Japan 5 USSR USSR Czechoslovakia USSR France 6 USSR Italy Philippines Poland France Ecuador 7 Czechoslovakia Bulgaria Germany USA Czechoslovakia 8 Hungary France USSR Cuba 9 Japan 10 USA Why Were They So Strong ? 28 “Russians Prepare their Pianists Like Astronauts” (Samuel, 1963) Claude Samuel, “Les russes préparent leurs pianistes comme des cosmonautes ,“ 29 Paris-Presse-L’Intransigeant , n.d. (Fonds Marguerite Long, Médiathèque Musicale Mahler) …and Like Olympic Games (Samuel, 1963) “[Soviet] authorities (…) prepare a music competition in the same way as the Olympic Games, by pitilessly eliminating those who are not likely to collect a small medal, by lovingly indulging their solidest hopes.” « [Les] autoritéss (…) préparent un concours musical de la même manière que des Jeux Olympiques, en éliminant sans pitié ceux qui ne pourraient récolter une petite médaille, en choyant amoureusement leurs plus solides espoirs. » Claude Samuel, “Les russes préparent leurs pianistes comme des cosmonautes ,“ Paris-Presse-L’Intransigeant , n.d. (Fonds Marguerite Long, Médiathèque Musicale Mahler) 30 Soviet Defeats France Long-Thibaud Competition 1963 VIOLIN PIANO 1. Irina Bochkova USSR 1. Victor Eresko USSR 2. Nina Belina USSR 2. Oxana Yablonskaya USSR 3. Vladimir Landsman USSR 3. Anton Dikov Bulgaria 4. Roman Nodel USSR 4. Verda Erman Turkey 5. Liliane Caillon France 5. Valeri Kastelski USSR 6. Jean-Jacques France 6. Bruno Rigutto Italy Kantorow 7. Krassimir Gatev Bulgaria 8. Maryse Charpentier France 9. Yuko Fujimura Japan 10. Mayne Miller USA 31 3. Paris Conservatory in Age of International Competitions 32 French Candidates Reached “International Level” ? (1971) “The first observation at the end of a piano competition which was, in reality, a Franco-Russian match: thanks to the institution of the “3rd cycle” at the Conservatory, the whole French candidates rose on the international level which we have reached only exceptionally and individually up to now .” « Une première constatation à l'issue d'un concours de piano qui fut, en réalité, un match franco-russe: grâce à l'institution du "troisième cycle" au Conservatoire, l'ensemble des candidats français s'est hissé au plan international auquel nous n'accédions jusqu'à présent qu'à titre exceptionnel et individuel. » Clarendon [=Bernard Gavoty], “Deux grands prix Marguerite Long: le soviétique Feltzmann et le Français Rogé,“ Le Figaro , 18 June 1971. (Fonds Marguerite Long, Médiathèque Musicale Mahler) 33 Creation of “ Third Cycle ”(1966) (officially: Cycle d’études du perfectionnement) • Target: “Exceptionally gifted” students (Gavoty [1966]) • Objective: Preparation for international competitions (Descaves 1990) «Organisation du cycle du perfectionnement ,» Archives Nationales (2006063049) 34 Special Curriculum for Competition • Intensive private lessons (professors and assistants, 4 H / week) • Masterclasses by international top artists • Practice of concertos with school orchestra “Especially centered on the preparation for national and international competitions” «Organisation du cycle du perfectionnement ,» Archives Nationales (2006063049) 35 State-funded Special Education for Elites --- Soviet-like Approach to International Competitions? …and Like Olympic Games (Samuel, 1963) “[Soviet] authorities (…) prepare a music competition in the same way as the Olympic Games, by pitilessly eliminating those who are not likely to collect a small medal, by lovingly indulging their solidest hopes.” « [Les] autoritéss (…) préparent un concours musical de la même manière que des Jeux Olympiques, en éliminant sans pitié ceux qui ne pourraient récolter une petite médaille, en choyant amoureusement leurs plus solides espoirs. » Claude Samuel, “Les russes préparent leurs pianistes comme des cosmonautes ,“ Paris-Presse-L’Intransigeant , n.d. (Fonds Marguerite Long, Médiathèque Musicale Mahler) 37 “It is also the Prestige of the Country that is at Stake” «Organisation du cycle du perfectionnement ,» Archives Nationales (2006063049) 38 Well-known Graduates of “ Perfecting Cycle” in 1960-70s Michel Béroff (b. 1950) Pascal Rogé (b. 1951) Pierre-Laurent Aimard (b. 1957) 39 Conclusion • French school’s adaptation to the age of international competitions: ① technical level ② institutional level •
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  • Rachel Barton Pine

    Rachel Barton Pine

    To the memory of Harry Edlund, Capricho Latino unaccompanied violin music's greatest champion. 1 Isaac Albéniz (1860–1909) 8 Luis Jorge González (b. 1936) arr. Rachel Barton Pine Epitalamio Tanguero (a Rachel y Greg)* Producer Judith Sherman Engineer Bill Maylone Asturias (Leyenda)* (6:02) (5:48) Recorded July 13–15 and 17–18, 2009, and January 6, 2011, in the Fay and Daniel 2 Levin Performance Studio, WFMT, Chicago, IL Roque Cordero (1917–2008) 9 José White (1835–1918) Violin “ex-Soldat” Guarneri del Gesu, Cremona, 1742 Rapsodia Panameña* (9:14) Etude No. 6 (a Secundino Arango)* Strings Vision Titanium Solo by Thomastik-Infeld Bow Dominique Peccatte 3 Traditional arr. Jesús Florido (5:11) Style Director Jesús Florido Balada Española (Romance)* (2:10) bu Francisco Tárrega (1852–1909) Narration Recorded December 8, 2010, at DG Entertainment, Los Angeles, CA 4 César Espejo (1892–1988) arr. Ruggiero Ricci Narration Director Marice Tobias Narration Engineer Peter Cutler Recuerdos de la Alhambra (3:47) Narration Editing James Ginsburg Prélude Ibérique (a Henryk Szeryng)* bl Front Cover Photo Andrew Eccles (4:44) Joaquín Rodrigo (1901–1999) Art Direction Booklet: Nancy Bieschke; Inlay Card: Adam Fleishman/www.adamfleishman.com 5 Manuel Quiroga (1892–1961) Capriccio (Offrande à Sarasate) (6:18) Emigrantes Celtas (3:09) bm José Serebrier (b. 1938) Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted Aires de Tango (a Rachel Barton Pine)* to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s 6 Manuel Quiroga (8:18) activities are supported in part by contributions and grants from individuals, foundations, corporations, and Terra!! Á Nosa!! (2:10) government agencies including the Alphawood Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, bn 7 Eugène Ysaÿe (1858–1931) Astor Piazzolla (1921–1992) NIB Foundation, Negaunee Foundation, Sage Foundation, and the Illinois Arts Council, a state agency.