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Piano makers Piano makers cover story © Zeng © Zeng © Zeng © t

Á MA s Bujnovs Z ky vo PogoReLIcH enteRs tHe launch event in Budapest, several dozen foyer of a luxurious Paris hotel with an A fons Ltd 2015 A fons Ltd 2015 A fons Ltd 2015 journalists were ushered into the smart easy feline grace. He is unexpectedly chamber music hall of the Budapest Music Iheavily built, still striking even if the Centre for the grand unveiling. The room luxuriant dark locks familiar from dozens fell silent as Bogányi proudly walked onto of LP covers in the 1980s are now ‘poivre the stage and shuffled into position on the et sel’ and cut in the style favoured by matching piano stool. When he started to Rachmaninov. His dress is ultra-casual: play, there was a ripple of concurring nods, loose-fitting grey cord trousers and a perhaps a slight sense of relief – it sounded greyish fleece top zipped up to his chin. pretty good. It’s a big, pure sound, with A fountain tinkles as we head into the each individual note reverberating for a hotel’s garden and towards a table at the noticeably long time. far end of the paved courtyard. cushions British jazz pianist John Tulville was are brought. Pogorelich’s agent hovers among a handful of pianists who got the while his publicist takes me aside and chance to try the piano at the launch event. reminds me that the maestro likes to be Tulville was impressed by the sound, but asked questions but doesn’t like the fluff said the most striking thing about the in between. I have, as requested, already eventually assembled a team of volunteers instrument was how it felt to play. ‘The provided a list of questions in advance. including senior piano technician attila action feels completely different,’ he said. sadly, I have forgotten to bring it with me. Bolega, industrial designer Péter Üveges ‘It’s really sensitive, so if you play very ‘We have new modern materials, so why not I have a present for him – a copy of and technician József nagy. By 2012, quietly it responds well and also keeps Alkan’s nocturne, op 22 (we’re in Paris, Back to the team had made sufficient progress to the tone, and when you play loudly it investigate whether they work for the piano?’ after all). He examines it at arm’s length. secure a grant from the eu’s economic doesn’t become harsh – you don’t hear the ‘Hmm. When was this written?’ ‘some Development Operational Programme, hammer sounds as much as you would on, time in the 1840s,’ I say. He puts it aside and part of a development plan for Hungary. say, a Steinway. that’s that. If he has any views on Alkan or With this support, they then applied for ‘It’s like pressing into water, somehow put a figure on it yet, he hints that anyone it for success or any business reason – I his music, they are not up for discussion, the future HuF60m (£143,000) of bank funding to who wants a Bogányi of their own is likely have done it out of the necessity to create – on any other piano, you almost feel so I fall back on my half-remembered complete the prototype. the hammers when you play, you can to have to be pretty well heeled: ‘It will be something new,’ he says. ‘In the past prepared questions. We are here to talk almost visualise them. But the Bogányi is expensive. It is impossible for it to be cheap. century, there has been no relevant change about the pianist’s eagerly awaited London Isually, tHe mOst strIkIng obviously very cleverly designed to make We had to fulfil all the requirements of a to the piano. That’s partly a good thing, Hungarian pianist gergely Bogányi has built recital, the first he has given in the capital thing about the Bogányi is its two you more aware of the actual tone. It’s traditional piano and also add new elements, but I felt there was space in the modern for some 15 years. It is, I suggest, like a an instrument that he hopes will change the curved legs. as a result of these got the precision and projection of any so it should be more expensive.’ world, with all the new materials we have, comeback. He frowns. ‘In what sense?’ twoV sweeping structures, the body of the other modern piano, but there’s less noise, Bogányi doesn’t know how much of for some development. My team and I were ‘You haven’t played in London for a great face of piano manufacturing. Femke Colborne instrument looks almost as though it is basically. If you want evenness, that’s an his own money he’s put into the project looking for something new. According to many years.’ ‘I have played in London, but suspended in mid air, floating above the even piano.’ – either that, or he’s unwilling to admit it our philosophy, tradition and innovation not a recital. I played in London as recently reports from Budapest stage. the purpose of this design, according That evenness is likely to appeal to jazz – but he has no regrets. ‘I have not done can go together.’ as three or four years ago as a soloist with to Bogányi, is to allow the sound to project players in particular – and indeed, Bogányi  the Philharmonic orchestra. so that’s not straight out to the audience, instead of invited renowned jazz pianist Gerald © t entirely accurate information. I would ungarIan PIanIst gergely piano – all I wanted to do was something being channelled through a third leg into Clayton to perform at the launch event to Á MA s Bujnovs Z ky avoid such terms as “comeback”. I cannot Bogányi has unveiled his new new, using new materials to create whole the floor. demonstrate the instrument’s capabilities come back because I never left.’ ‘Well, let’s ‘super piano’ – an instrument that new dimensions.’ the other major difference between in that genre. But Bogányi insists he call it a return, then, after 15 years.’ o ‘ r Hhe hopes will represent the next phase in He was also inspired by the idea of this and a traditional piano is the carbon doesn’t have a target market in mind and just an appearance,’ he counters firmly. ‘An piano building. the piano, which has been creating a new sound. ‘What we hear composite soundboard. It has been he hopes the instrument will appeal to artist appears.’ in development for a decade, was created in inside our minds is often more colourful designed not only to project the sound but players in all genres. ‘People ask me who collaboration with leading technicians and and beautiful than what comes out of the also to withstand changes in temperature my target is, but I’m not a businessman London caLLing He cRoAtIAn PIAnIst HAs uses a pioneering carbon fibre soundboard. instrument, because our imagination is and humidity, maintaining a quality and and there is no target group,’ he says. ‘I chosen a big programme for his at the launch of the piano in Budapest endless,’ he said. ‘With a modern piano, consistency of sound in all conditions. don’t want to exclude anyone. It is not upcoming recital: the first half earlier this year, Bogányi, 41, revealed you get the attack of the wooden sound. I the piano also comes with a new agraffe our aim to produce something only twill feature Liszt’s ‘Dante’ sonata and the his motivation for the project. ‘It was was interested in finding a way to diminish system based on designs pioneered by the for certain people. We are open and In February, Ivo Pogorelich will give his schumann Fantasy; and in the second half, not an intellectual decision but a long that noise, to allow the tone to live for Hungarian piano maker lajos Beregszászy, welcoming everybody.’ first solo recital at London’s Royal Festival he will perform stravinsky’s Petrushka and and painful inner desire and a need to a longer time. We have new modern while the action was produced and At the moment there are only two both books of the Paganini variations create something new,’ he said. ‘that materials, so why not investigate whether delivered by louis renner in germany. Bogányis in existence: the prototype and the Hall since 1999. But, as Jeremy Nicholas by Brahms. For 30 minutes, Pogorelich is the spirituality of musicians, seeking they work for the piano?’ instrument that was unveiled in Budapest. discourses on his programme, with few something new and unknown, a path not Bogányi enlisted the help of some ut WHat aBOut tHe all- But Bogányi is considering commissions and

discovers when he meets the maestro in prompts from me. He speaks slowly and yet opened. It was never my intention to technicians and began experimenting important question: what does says he has received hundreds of enquiries ⌂ thoughtfully in a musical Russian accent, make something better than a traditional with new parts at his home in Vác. He Bthe Bogányi sound like? at the since the launch event. Though he can’t Paris, this is not a comeback concert 34 International Piano March/April 2015 March/April 2015 International Piano 35 January/February 2015 International Piano 19

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symposiumsyMPosI u M symposium EDUCATION

indescribable, and part of the very essence of the piano duo. Well actually of any duo.

JS: What can you learn from four-hand Handle playing that you can’t learn by playing on your own? MARIELLE LABÈQUE: This is like witH the difference between chamber music and solo, really. Piano duet, duo-piano, whatever you call it, this is chamber music. It takes you out of yourself. It gives you Two’s coMPAny companionship, partnership; you explore care and learn together, and from each other, Music, like great cuisine, is a social lubricant as well as and from accommodating and persuading each other, and from discovering together. an art. Jeremy Siepmann meets nine international It offers a whole world of discovery and Dorothy taubman’s methodology relationship that solo practising and pianists who know this better than most performance can never do. And on a more – which teaches how to make music than practical note, it has none of the without fatigue, pain or injury – has Edna Golandsky was one solitude – let’s admit it, the loneliness – of a of Dorothy Taubman’s key JEREMY SIEPMANN: For a very long the crucial point. And it’s this, of course, solo concert artist’s life. collaborators and went on THE PANEL (top to time, the piano duet was the most that really determines the quality of transformed pianists’ lives the world to co-found the Golandsky bottom): Paul Badura- Institute in 2003 Skoda; Yaara Tal and popular musical partnership in the each ensemble. TAL: You learn to give up (or to be able over, writes Audrey Schneider Andreas Groethuysen; industrialised world, but unlike its to give up) your own individual musical Güher Pekinel and Süher Pekinel; Katia grander sibling, the two-piano duo, ROLAND PÖNTINEN: Much of the identity and work together to create a new, Labèque and Marielle it was a domestic medium. Today, it’s original repertoire is wonderful, but mutual-individual musical identity. Labèque; Roland just as much a public one. Gathered orchestral arrangements can still play a KATIA LABÈQUE: Of course we do. GÜHER PEKINEL: Yes! And it works very Pöntinen and Love or the Past eleven years, advanced age, many younger pianists utilises almost invisible hand and arm well. First we learn a piece separately, and Derwinger below, as it were, are some of its most big role in our discovery of music. Playing BADURA-SKODA: And you really learn That’s inevitable, sometimes. But we musicians, teachers and students have been sidelined in their 20s and 30s, motions to facilitate movements of the each of us always learns both parts, and we distinguished, experienced (and public) orchestral works in four-hand arrangements to play in time (often counting the beats don’t work at this only by ourselves. from all over the world have gathered purportedly because of ‘overpractising’. fingers across the keyboard, eliminating often exchange parts in performance. But exponents: the Labèque sisters, the can reveal huge scores in ‘black and white’, aloud), and to listen very acutely not only We have help from other musicians we Fannually at Princeton University in new taubman (1917-2013) and her colleagues overuse or forced misuse of fingers alone for many years now, we’ve regularly used a Pekinel twins, Tal and Groethuysen so to speak; it’s a wonderful way of viewing to yourself but to the ensemble, to get a completely trust. And we must resolve these Jersey, Us, for a seven-day symposium on quickly realised that many of these for power, speed and covering distance. tape recorder when we first come together (Yaara and Andreas), Roland Pöntinen complexity in a raw state. And of course ‘global’ view of the work. You also learn problems while all the time remaining true the taubman approach. the methodology problems were due to misuse, not overuse. taubman’s combined understanding of after studying a piece independently. We and Love Derwinger, and Paul Badura- there’s the chamber music aspect of to refine your touch (delicatissimo for to ourselves. appeals to a broad range of pianists – from human physiology and the mechanical record first one person’s version, then the Skoda, whose partnership with Jörg constantly following and reacting to each much of the secondo, more intense for the seasoned professionals and dedicated onsIDerInG the sUBtletIes possibilities of the piano yielded a system other’s, and then we listen back together Demus in the 1950s and 1960s is still other’s impulses, breathing together, etc – leading parts). SÜHER PEKINEL: A lot of people teachers to gifted amateurs – all of whom and complexities involved in of totally economical motion. and discuss which one, or which parts, well remembered some 50 years later. and this from very close quarters! think that because we’re twins, we sort of come together to share the fascinating playing any instrument, it is easy come closest to realising the intentions When we met, I asked if there was any GROETHUYSEN: As the secondo player think and feel in unison, that we pedagogy and artistry of Dorothy taubman’s toC understand why many physical problems he taUBMan aPProaCh has of the composer. Only through this way of describing the particular rewards LOVE DERWINGER: And of course in our duo, I sometimes feel more like a operate by telepathy. In fact, we’re very unique technique. have previously defied detection: most undergone scientific validation constant analysis can we find the structural of this uniquely intimate medium. in our childhood and youth it was also a conductor than a pianist, seeing my role as individual. We disagree on lots of things, although awareness of musicians’ movements are minuscule and some aren’t studies and emerged as ‘the only consensus we need. We do the same for perfectly legitimate way to sit very close both servant and leader at the same time – and we often have to fight to get our injuries increased during the last two even visible. Most traditional training movementt retraining approach with

al and a ndrea S Groethu YS en © Michael l ei ; Güher the basic concept of interpretation. After PAUL BADURA-SKODA: Musically, the to a girl! comparable with an opera conductor who individual points through. But these are decades of the 20th century, the roots was based on observation of the visible, any non-anecdotal evidence of efficacy all, when you’re in the act of playing, piano duo can create a richer sound, with on the one hand is the musical director and friendly fights – and they’re always resolved. of the problem are as old as the art of with disregard for what was operating with regard to repetitive stress injuries’ the potential for ‘symphonic’ textures. PÖNTINEN: It certainly was! on the other has to serve the singers. That The interesting point is, though, that these you can’t hear and note every detail, erto n icoletti l a B èque and Marielle © uMB erto ; k atia

Y performing. In the late 17th century, underneath. taubman’s approach, on the (W Pereira et al, proceedings of the 13th every touch of the pedal, every shade of Beyond the purely musical, the ‘give and forces you to give very clear musical signals fights often arise precisely because of our physician Bernardino ramazzini was other hand, was in line with nobel Prize- triennial Congress of the International colouration and so on. Only a recording take’ with your partner is, of course, a YAARA TAL: That goes both ways! I’m the – which of course should be understood determination to be different! Sometimes, the first to describe ‘cumulative micro- winning hungarian physiologist albert ergonomics association, vol 4, pp384-

te Millot; Yaara t Yaara te Millot; can give you complete objectivity and wonderful experience. sort of person who likes very much to be by the audience not as signals but simply of course, there are very natural solutions. trauma’ as the main cause of ‘occupational szent-Györgyi’s assertion: ‘Discovery 386, 1997). allow 100 per cent concentration. So we together with someone. I really appreciate as music! When we differ about a sonata, for instance, disease’. We know that some of the most consists of seeing what everybody has seen edna Golandsky is the person with record all our concerts too, and ANDREAS GROETHUYSEN: The sound this intimacy. This kind of emotional or any other piece that involves repeats, revered pianists of the past suffered and thinking what nobody has thought.’ whom Dorothy taubman worked most after each concert we listen back, to hear is certainly part of the joy, but it’s also part disposition makes it very easy for me to JS: Before we discuss technicalities, like we’ll do it one way in the first playing of pain, sporadically or constantly: Clara In essence, taubman’s approach closely. taubman wrote: ‘I consider her exactly what we’ve done – and just as of the problem. The balance of sound is play together with someone whom I like or ensemble and pedalling, how do you the exposition and then the other way in schumann, Paderewski, scriabin, explains how the fingers, hand and arm the leading authority on the taubman important, what we haven’t done! But this the first and main task of all four-hand love. It’s not a matter of mere reward here arrive together at an interpretation? the repeat. schnabel, rachmaninov and Glenn Gould should function in order to make music approach to instrumental playing.’ objectivity doesn’t rule out spontaneity. piano players. Besides, when the players but of sheer joy! Here you are, two very distinct all cited discomfort throughout their without fatigue, pain or injury. this together, they established the taubman The most wonderful thing of all is when are striving for the ideal of really sounding musicians. Do you sometimes have quite JS: You have, I think, a somewhat careers. and although the likes of arrau, prevents problems from occurring in Institute in 1976, where pianists could

like one person, rhythmical homogeneity KATIA LABÈQUE: Absolutely! The different ideas about how a phrase, even unusual way of preparing. You have a we discover new ideas, new approaches

⌂ rubinstein, horowitz, horszowski, earl the first place and provides retraining come together for one to two weeks to Paul Badura-Skoda © Jean Ba P ti S Badura-Skoda Paul Pekinel and Süher © c ihan a l P ira – new atmospheres, even – while we’re ⌂ and flexibility remains for quite a while joy of playing with someone you love is sometimes how a whole piece goes? technological assistant. Wild and Jorge Bolet all played well into pathways for those already injured. It pursue intensive study. the institute was

50 International Piano January/February 2015 January/February 2015 International Piano 51 March/April 2015 International Piano 49

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one to W atch Winning formula sean chen turned down a career in computer Leif Ove Andsnes Nicholas Angelich programming to study music – a gamble that is Yulianna Avdeeva beginning to pay off, finds Femke Colborne Boris Berezovsky Nelson Freire Nikolaï Lugansky Mikhaïl Pletnev hen most PeoPle decIde to Pursue a expressing yourself through music is very difficult and is not Anne Queffélec career in music, it’s because they know they are good something you can solve with a formula.’ at it. But for sean chen, it was the opposite: when the chen was born in Florida and started playing the piano at the Grigory Sokolov W25-year-old californian graduated from high school, he was offered age of four when his family moved to the los angeles area. early Daniil Trifonov places to study at harvard, the massachusetts Institute of technology competition successes included an nFaa artsweek award, a prize ... (mIt) and the Juilliard school. he’d always excelled at maths and at the california International Young artist competition and the was considering a career in computer programming, but he chose los angeles music center’s spotlight award. neither of his parents the musical path – because he thought it would be more difficult. has a musical background but his grandfather taught traditional www.festival-piano.com ‘I’m a very analytical person and maths comes very naturally to chinese instruments and his father played the guitar as a student. Bookings: +33 (0)4 42 50 51 15 me, but of course music is about interpretation as well as analysis,’ he and his twin brothers, now 21, all played the piano and the he says. ‘I knew I wasn’t so good at that, so I saw it as a challenge. violin growing up, though the twins chose not to pursue music and

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international ‘About the Music’ page SHEET MUSIC » Mention on front cover Beethoven Sonata No 15 Op 28, Andante From Alfred Publishing About the music

EETHOVEN’S SONATA NO 15 OP 28 EARNED THE Harmonically, the A section is not dissimilar from that old ‘Pastoral’ signature, which was ascribed to it by the London chestnut La Folia, with additional ‘passing chords’ quickening Publisher Broderip & Wilkinson, some three years a er the harmonic impetus. Starting in bar 10, we have a favourite itsB fi rst publication in 1802. This four-movement work reveals Beethovenian device: an accumulation of repeating phrases » Free advert Beethoven’s intimate and refl ective nature: the thunderous fi nale and diminished harmony before the ‘anti-climax’ of bars of its predecessor, Sonata No 14 Op 27 (the ‘Moonlight’), is now 16/17 brings us back to a variation of the opening. The repeats forgotten. Sonata No 15 emerges from a mist, appearing from afar can seem unnecessary at fi rst, but in performance I fi nd they and gradually coming into view. Getting the gentle low D of the deliver a very e¤ ective sense of momentum, so that when the opening bars right is always a challenge – and that is just one note! contrasting tonic major B section arrives at bar 25 it is not The challenges don’t end there of course, although this too startling. This cheerful interlude suggests birdsong and Sonata, despite the fl ourish of the coda, is technically modest by requires delicacy. The staccato, now in the right hand, should Beethoven’s standards. The diš culty is interpretive, especially be necessarily lighter and dolce, contrasting not just with the because this music is, in many ways, unlike Beethoven: it ebbs and bolder accompanying chords, but also with the legato theme fl ows like Schubert, rather than moving forward with relentless and heavier ‘tread’ of the previous section. inevitability. Indeed, the beginning of the fi nale seems to be a The recapitulation (bar 43) appears just that at fi rst, reimagining of the opening, with its pedal point D and lilting but Beethoven gently increases the intensity with some lovely PIANO CLASSICS rhythm. Try playing these two introductions l’istesso tempo decorative work in the right hand beginning at bar 51, then crotchet/quaver – it seems to capture the prevailing mood of the subsequently at bar 73. Despite the ‘legato’ le hand (clearly » Opportunity to provide an MP3 whole quite well. our walker is getting weary), the pace must maintain, allowing the fi ligree work to do its job. I enjoy this twisting turning HE ONLY POINT WHERE THERE IS A DISTINCT passagework – it is both decorative and melodic. Little fragments INGRID FLITER sense of onward progression is in this delightful second jump out at you like birds dancing around the tired man’s head movement, cast ABA in the tonic minor. The Andante before the music rises to a forte at bar 86. ‘walkingT pace’ tempo needs to be fi nely judged: I have o en heard The coda (bar 87) is relatively static, but a sense of tempo this movement played too slowly. I try to think of Beethoven walking ought to be maintained – the pauses will do the rest. Finally, the Plays purposefully through the fi elds around Vienna, jotting down themes movement dri s o¤ to sleep with only the memories of a good CHOPIN and ideas in his notebook, preoccupied and defi nitely not to be walk echoing in the distance. PIANO CONCERTO No 1 disturbed! Equally, the staccato ought not to be too short and should match the tempo: detached, certainly, but never delicate. Andrew Higgins Conducted by Jun Märkl download of the piece Thursday 23 April, 7.30pm, Edinburgh Usher Hall Friday 24 April, 7.30pm, Glasgow City Halls Saturday 25 April, 7.30pm, Aberdeen Music Hall

Chopin Piano Concertos SCOTTISH CHAMBER ORCHESTRA with Ingrid Fliter and the SCO is out now on Linn Records. www.sco.org.uk

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September/October 2015 13/08/2015 25/08/2015 Education November/December 2015 15/10/2015 25/10/2015 Competitions January/February 2016 11/12/2015 28/12/2015 Summer Schools March/April 2016 11/02/2016 23/12/2015 Festivals

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For all production queries, please call us on +44 20 7333 1721 www.international-piano.com or email [email protected] Rhinegold Publishing Rhinegold Media & Events International Piano is published Rhinegold Media & Events Ltd is an by Rhinegold Publishing, a leading associate company of Rhinegold music and performing arts publisher Publishing Ltd, and specialises in live that produces a range of magazines, events and digital media. directories, supplements, guides, Our events include Music Education handbooks and teaching materials. Expo, now the UK’s largest conference and exhibition for music education, and Why work with Rhinegold Rhinegold LIVE, a free concert series Publishing? at London’s Conway Hall which aims to One of the leading UK publishers for bring exceptional classical music to all music and the performing arts in a relaxed and informal environment. A brand that has been built up over the past twenty years What Rhinegold Media & Reach all parts of the music sector: Events can offer you » Industry professionals » Innovative sponsorship & branding » Competitions and venues opportunities » Educators and students » On-site advertising in programmes » Enthusiasts and specialist interest and showguides groups » Exhibition floor space with direct » Suppliers access to your target market » Multiple routes to market

What Rhinegold Publishing can offer you contact us today to find out » Print advertising how Rhinegold can help you » Digital advertising call us on +44 20 7333 1733 » Embedded video & audio links or email » Online advertising » Recruitment [email protected] » Listings » Product and website sponsorship » Advertorials » Bespoke email marketing » Media partnering & promotion » Co-marketing opportunities

Dilip Patel / Double-Barrelled Ltd