NO.24 MAR /APR 2014 2014
£5.50 US$10.99 CAN$11.99 www.international-piano.com
NEW ARRIV ARRIVAL AL The CFX comes to Abbey Road
CPE BACH 300 YEARS ON His life and legacy
UNDERSTANDING BARTÓK FESTIVAL FOCUS
MUSIC OF MY LIFE James Rhodes
INSIDE
SHEET MUSIC
+ MP3 DOWNLOAD ‘THE LAST NIGHT’ FROM TONE POEMS VOL 2 BY MICHAEL GLENN WILLIAMS FROM GWHIZ ARTS & SCIENCES
Masterclass by Simone Dinnerstein Eugen d’Albert (1864–1932)
To build the world s best ’
concert concer t grand gran d piano we focussed focussed on the the competition
In a 19-year programme involv ing some of the most talented individuals in the piano world - designers, technicians, craftsmen and artistes, Yamaha Yamaha set about producing the best piano in the world. We deconstructed the concert grand, both ours and those of our competitors, and identified every area in which improvements could be made. The resulting instrument is the magnificent CFX. Selected for the winning performances in both the 2010 Chopin International Piano and Paderewski Competitions, it seems our efforts have not gone unnoticed. Competition is clearly a very good thing.
www.premiumpianos.com
To build the world s best ’
concert concer t grand gran d piano we focussed focussed on the the competition
In a 19-year programme involv ing some of the most talented individuals in the piano world - designers, technicians, craftsmen and artistes, Yamaha Yamaha set about producing the best piano in the world. We deconstructed the concert grand, both ours and those of our competitors, and identified every area in which improvements could be made. The resulting instrument is the magnificent CFX. Selected for the winning performances in both the 2010 Chopin International Piano and Paderewski Competitions, it seems our efforts have not gone unnoticed. Competition is clearly a very good thing.
www.premiumpianos.com
CONTENTS
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388 3 © T U L L Y P O T T E R C O L L E C T I O N
© P L E Y E L
© L I S A M A R I E M A Z Z U C C O
© D A V E B R O W N
422 4
900 9
Contents 18 COVER STORY
66 CONTEMPORARY MUSIC
The Yamaha CFX comes to Abbey Road
John McCabe at 75
17 DIARY OF AN ACCOMPANIST
69 ADOLF VON HENSELT
In which Michael Round plays for the stars
22 CPE BACH TERCENTENARY A potted biography
Marking the great composer’s 300th anniversary FESTIVALS 31 NEWS ROUNDUP
Festivals around the globe 33 AUSTRIA-BOUND
View from Grafenegg 36 STREET LIFE
Unstoppable rise of the Unstoppable public piano 38 PIANO MAKERS
What’s next for Pleyel?
REGULARS 7 LETTERS
63 TAKE FIVE
Bud Powell 65 PROFILE
Leon McCawley
42 MASTERCLASS
Simone Dinnerstein on Bach’s Inventions
72 REPERTOIRE
The Dussek sonatas By Maria Garzón
Your thoughts and comments
45 HELPING HANDS
How to play: Trills
74 COMPETITION REPORT
8 NEWS
47 SYMPOSIUM
The latest news and events from the piano world
Béla Bartók
Xiamen’s China International Piano Competition
13 COMMENT
53 SHEET MUSIC The Last Night from from
Gidon Kremer’s Letters to a Young Young Female Pianist Pianist
Tone Poems Volume 2 By Michael Glenn Williams
15 ONE TO WATCH
59 IN RETROSPECT
Up and coming star pianist Sean Chen
Remembering Eugen d’Albert
77 REVIEWS
The latest CDs, DVDs, books and sheet music, plus recital roundup 90 MUSIC OF MY LIFE
James Rhodes selects the recordings he could not live without March/April 2014 International Piano
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Welcome
T
HE PIANO OCCUPIES A complex soundworld, filled with intriguing nooks and crannies, and cavernous spaces. Fall into this rabbit hole and countless journeys are possible via a network of paths formed over hundreds of years. Certain areas of this wonderland can take a lifetime to explore; others simply offer titbits of excitement. For pianists, much of this journey is undertaken alone. So it was a treat to recently witness some pianistic collaboration par excellence. Sisters Katia and Marielle Labèque performed Martinů’s Concerto for two pianos and orchestra with the BBC Symphony Orchestra at the Barbican in London earlier this year. Twopiano concerti are rarely programmed, in part due to the logistics involved, but also, one suspects, because the idiom is not considered mainstream, and therefore is not a guaranteed crowd pleaser. (Perhaps surprising, given that there is a significant number of works in the portfolio, by notable composers, see: Poulenc, Stravinsky, Mendelssohn.) The Labèques approached Martinů’s distinctive rarity with energy and verve; bookending the eerie slow movement with frenetic allegros. The blocks of colour tend to cloud individual voicing, but it was thrilling to hear this thick piano texture against the whirr of the orchestra. In Manchester, pianists grappled with a different sort of musical teamwork, as 16 students gathered to perform Ticcatoccatina for 32 hands composed by Tom Harrold. The cosy performance – sponsored by International Piano – was an attempt to break the Guinness World Record for the largest number of pianists playing the same instrument simultaneously, and was held in aid of the Royal Northern College of Music’s campaign to transform its 40-year-old concert hall into a sparkling new venue. Happily, under the watchful eyes of IP’s Murray McLachlan, the group successfully beat the current record set by 15 musicians in France back in 2004. E None of the pianists involved ever imagined playing with 15 others – at one keyboard. N I V But when faced with a repertoire that is as deep as it is broad, that’s the sort of thing that E D Y can happen. Happy exploring. T T A CLAIRE JACKSON T M EDITOR O R F E C A L K C E N , E L G N A N P I L L I H P © O T O H P
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LETTERS
LETTERS Write to International Piano, 20 Rugby Street, London, WC1N 3QZ, email international.
[email protected] or tweet @IP_mag. Star letters will receive a ree CD rom Hyperion’s best-selling Romantic Piano Concerto series © M A R C O B O R G G R E V E
NAME SHAME
Dear IP, That thought-provoking article by Jeremy Nicholas about pianists’ names (The name game, issue 23, January/February 2014) explains something that has long puzzled me – whatever became o Frank Liszt and Fred Chopin? Obviously sunk by their names, which is why we never see them at the Wigmore. Come to think o it, Frank Cooper, Fred Chiu and Fred Marvin don’t turn up there terribly ofen, either. Years ago, I advised the promising young German Klang Klang that he’d never get anywhere with such a silly name. Correctly, as time proved, because he sank without trace. So have many others with trite or unacceptable names. No one today even remembers Al Beniz, Andy Hamelin, Pete Donohoe or Stevie Hough, or whom bright utures were once predicted. But even exotic names need to be properly thought through. Holly CzernySteanska was a non-starter, until saved rom obscurity by her teacher’s inspired suggestion o changing her name to Holly Berry. Mannie Ax ormed a trio with Yo-Yo Ma and Young Uck Kim – but that collapsed because the cellist said the violinist’s name took up too much space on their Kim/Ma/Ax concert posters. Nicholas has slightly missed the point about -owski and -itzky names, I ear. We never nowadays hear about Isaac [Itzky] Bitzky. Indeed, Isaac/Itzhak is a bit o a no-hoper name or a pianist, as are Jascha, Nathan, Niccolo and Yehudi. Thankully, nomenclatural prejudice is a thing o the past. Pianists have climbed to ame with perectly ordinary names like Al Brendel, Cliff Curzon, Ozzy Peterson and Van Driver, so the keyboard uture is bright. Douglass MacDonald STICKING POINT
Dear IP, I very rarely buy magazines due to cost but on the odd occasion when there is
something in particular that I would like to read or keep then I do purchase one. It was with disappointment that I purchased a copy principally with the desire to read about Alice Herz Sommer and Tobias Matthay (issue 23, January/February 2014). It is most unortunate that you had to stick the most unromantic pianist o today (Lang Lang) alongside these greats o the piano and history. I you so required a contemporary pianist within this edition, a more suitable accompaniment could have been sought. I would have suggested someone with more reserve, such as Ashkenazy or Perahia – they would have been more suitable saddled up against pianists o note. I am hal inclined to stick the unortunate pages in question together with bonding tape. Charles Spitz
Many thanks for your email, and for purchasing a copy of International Piano (IP) magazine. It is always a pleasure to hear from new readers. I hope that you enjoyed the articles on Matthay and Alice Herz Sommer. I am sorry to hear that you disapprove of the inclusion of Lang Lang. We feature a broad range of pianists in IP: historical greats, modern masters, jazz instrumentalists and some populist figures. In past issues we have debated the merits of Lang Lang’s particular brand of pianism, but
SPONSORED BY HYPERION RECORDS it is impossible to deny the positive influence he has had on the piano world. Millions of students in China have started piano lessons due to the so-called ‘Lang Lang’ effect, and his Royal Albert Hall recitals sell out within hours. Few other pianists can achieve this. Perhaps, in certain areas, his artistry lacks depth. But Lang Lang is an important part of modern pianism and, as such, he must be represented in IP. We do regularly feature the likes of Pollini, Perahia and Ashkenazy – and many more besides. I do hope that you will continue to read the magazine. Ed. PIANO LOGISTICS
Dear IP, I thoroughly enjoyed reading Femke Colborne’s piece on Piano Logistics (January/February 2014, issue 23). The interview with the owner, Julian Rout, reminded me o the time I arranged or Piano Logistics to move my piano a couple o years ago. Rout is quoted in the article saying, ‘some o the trickiest removals are those in central London’, but I disagree, and would remind Mr Rout o my piano delivery, which his company oversaw or me, onto my canal boat! To say it was an awkward and complex move would be an understatement. But, thanks to the extremely competent team at Piano Logistics, my upright piano was expertly transported down the towpath and lifed up, and onto my boat. Nothing seemed too much trouble or them. Three cheers or Piano Logistics. H May
Some readers will have noticed that there was some text duplication on pages 26 and 27 in the last edition o IP. We apologise or the error. You can download the correct version o the article rom our website. The digital editions have also been updated. Our thanks go to the contributors who alerted us to this oversight.
March/April 2014 International Piano
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N E WS & E V E N T S
news events ROYAL NORTHERN COLLEGE OF MUSIC PIANISTS SET NEW WORLD RECORD
S
TUDENTS FROM THE ROYAL Northern College of Music (RNCM) in Manchester have broken the Guinness World Record for the largest number of pianists playing the same instrument simultaneously. Sixteen pianists joined forces to perform Ticcatoccatina, a five-minute work for 32 hands by RNCM postgraduate composition student Tom Harrold, in the college’s Carole Nash Recital Room on 23 January. The group successfully beat the previous world record set by 15 musicians in Vallouise, France on 13 June 2004.
The world record attempt was held in aid of Your RNCM, the £3m campaign to transform the college’s 40-year-old Concert Hall into a state-of-the-art venue. The event was sponsored by International Piano and witnessed by contributor Murray McLachlan. The pianists involved were Daria Bitsiuk, David Bainbridge, Yun Chen, Greta-Nike Gasser, David Gibson, Lee Jae Phang, Pui Lau, Silvia Lucas Rodriguez, Lok Pang, Ben Parker, Simon Passmore, Daniel Portal, Graham Proctor, Ho Kwong, Matthew Shervey and Chun So. © R N C M
WANTED: 19TH-CENTURY BROADWOOD PIANO FOR ELIZABETH GASKELL’S HOUSE
Renovation: Elizabeth Gaskell's house
R
Record breakers: the RNCM pianists
STAY IN TOUCH We’re giving you more ways to stay in touch with International Piano magazine. Sign up to our monthly e-newsletter and you will receive news and details of reviews, of fers and competitions ahead of the crowd. HOW TO SIGN UP: Online: www.international-piano.com | Email:
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International Piano March/April
2014
ENOVATORS OF ELIZABETH Gaskell’s Manchester home are seeking a donation of a mid-19thcentury Broadwood demi grand piano and have called on International Piano readers to help. The Victorian writer’s property has been authentically refurbished and will reopen to the public in October. Gaskell lived with her husband at 84 Plymouth Grove for 15 years until her death in 1865, entertaining many of her literary contemporaries including Charles Dickens. Part of the £2.5m restoration has involved research into how the house would have looked when the family resided there. Curators are seeking a Broadwood demi grand piano because this was the model that Charles Hallé used to teach Gaskell’s daughters at the house. The instrument will take pride of place in the drawing room and will be used for musical and educational events. The donor will be fully credited alongside other sponsors of the house. If you are able to help, please contact John Williams, project manager forElizabeth’s Gaskell’s House, at
[email protected].
NEWS & EVENTS
ERNÖ DOHNÁNYI SOCIETY FORMED
IN BRIEF CLIBURN TRIBUTE
A
‘A lot o it is approachable or SOCIETY DEDICATED TO THE amateur players, though some is music o Ernö Dohnányi (1877 very difficult,’ he says. ‘There is also 1960) has been ormed, with some antastic chamber music and two pianist Martin Roscoe named as honorary piano concertos. president. The group, which is currently internet-based, plans to adopt a ormal ‘Dohnányi was a hugely important constitution and organise regular meetings figure in the first hal o the 20th century in due course. in Europe as a pianist, conductor and composer, and as head o the Franz Liszt Roscoe, who has been championing Academy he taught many amous pianists Dohnányi or many years, believes such as Annie Fischer. A colossal figure.’ his repertoire has much to offer: Those interested in becoming members ‘He deserves to be better known,’ he says. are invited to contact Tom Teague at ‘Only a handul o his pieces are ever played.
[email protected]. For example, the Variations on a Nursery Song used to be a popular © T U piece in the 1950s but it is L L Y perormed very rarely now. P O ‘Therepertoireis beautiully T T E R crafed, with a lot o variety, C O and although it comes rom L L E C the grand Romantic tradition T I O o Liszt and Brahms, it also has N an individuality that speaks to audiences.’ Roscoe is in the process o recording Dohnányi’s complete solo piano music or Hyperion. He will start recording a third disc in April and will complete the Ernö Dohnányi final one in May next year.
PIANO TEACHER PLEADS GUILTY TO FAKING EXAM RESULTS
A
PIANO TEACHER HAS pleaded guilty to raud afer lying about entering pupils into official music exams and instead keeping the ees or hersel. Claire Thompson’s lawyer pleaded guilty on her behal to 14 offences o raud by alse representation and two urther counts o using a alse instrument at Lisburn Magistrates Court, Northern Ireland, according to the Belfast Telegraph. Thompson, 25, appears to have represented hersel as an examiner or ‘registered teacher’ affiliated to the London College o Music, entering six pupils into
exams which were not, in act, related to that institution. The two counts o using a alse instrument are related to Thompson’s providing a ake Grade 4 certificate to the amily o one pupil as proo o her having achieved the qualification; and to her providing a alse mark sheet or another pupil, again as proo o their perormance in a Grade 4 examination. Thompson, who holds a degree in music rom Queen’s University in Belast, used three different churches or the children to sit the ‘exams’.
The International Center for Music (ICM) at Missouri’s Park University will present a Van Cliburn Tribute Concert at the Kauffman Center for the Performing Arts in Kansas City on 4 April. The event will feature performances from pianists Behzod Abduraimov and Stanislav Ioudenitch. The programme will include Rachmaninov’s Suite No 1 f or Two Pianos and the premiere of a work written by ICM director Ingrid Stölzel for Ioudenitch in memory of Cliburn, In the Midst for solo piano. FUKUSHIMA CONCERT
Young musicians from schools in Fukushima, Japan, will appear at the Southbank Centre’s Queen Elizabeth Hall with the Orpheus Sinfonia on 2 April. The Fukushima Youth Sinfonietta, formed by the charity Keys of Change, brings together students from one of the areas worst hit by the devastating Japanese earthquake and t sunami of 2011. Pianist Panos Karan, one of the founders of Keys of Change, has been on four visits to the Fukushima area and has worked with students in several schools, helping them develop their musical skills and performing with them in concerts. LANG LANG IN LONDON
The Royal Albert Hall has announced that it will host two Lang Lang recitals in 2015. The news comes af ter the pianist’s second 2013 concert date sold out within 48 hours – a record for a solo recital by a classical musician at the venue. The concerts – pencilled in for 20 and 22 April – will see Lang Lang perform ‘in the round’. Last year, the pianist was appointed a Messenger of Peace for the United Nations by the organisation’s Secretary General Ban Ki Moon.
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March/April 2014 International Piano
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Artistic Director: Jean-Efflam Bavouzet Paul Lewis, piano Christian Ihle Hadland, piano Louis Lortie, piano Lise de la Salle, piano Gyorgy Tzaidze, piano Libor Novacek, piano
Phillip Baden-Powell, Jazz-piano Marianne Beate Kielland, Mezzo-soprano Engegard String Quartet Lofoten Festival Strings
New Piano Festival in the spectacular surroundings of Lofoten in Northern Norway. LOFOTEN PIANO FESTIVAL July 7.–12. 2014 www.lofotenfestival.com
C O M P E T I T I O N S , A W A R D S & S I G N I N G S UK
UK
STEPHEN HOUGH RECEIVES CBE
NEW RPS GOLD MEDALLISTS
British pianist Stephen Hough has been awarded a CBE for services to music. The award – which celebrates achievement in a prominent national role, or a leading role in regional affairs – was announced in January as part of the 2014 New Year Honours list. A total of 1,195 people received an award this year, with women outnumbering men for the first time since the Order of the British Empire was founded in 1917. Other musicians to be honoured included Welsh singer Katherine Jenkins, who also received a CBE. Composer and conductor Peter Maxwell Davies, who is Master of the Queen’s Music, was made a Companion of Honour. Hough guest edited the November/ December 2013 edition of IP.
Composer György Kurtág and pianist András Schiff have received the Gold Medal award from the Royal Philharmonic Society (RPS). The Gold Medal, the RPS’s highest honour, was created to commemorate the centenary of Beethoven’s birth in 1870 and celebrates the close relationship between the society and the composer (the RPS commissioned Beethoven’s Ninth Symphony and championed his work). Kurtág and Schiff join an illustrious list of former RPS Gold Medallists including Simon Rattle, Janet Baker, Daniel Barenboim, Mitsuko Uchida, Thomas Quasthoff, Bernard Haitink, Nikolaus Harnoncourt, Alfred Brendel, Plácido Domingo and Pierre Boulez.
US RAFAL BLECHACZ IS GILMORE ARTIST
Stephen Hough
György Kurtág
US INDIANA UNIVERSITY HONOURS PRESSLER IP January/February
Polish pianist Rafal Blechacz, 28, has been named as the winner of the 2014 Gilmore Artist Award. He will a receive a prize worth a total of $300,000. The Gilmore award is given once every four years to a pianist who is considered to have the potential to sustain a career as a major international concert artist. Previous recipients include Kirill Gerstein, Ingrid Fliter, Piotr Anderszewski and Leif Ove Andsnes. Blechacz will receive $50,000 in cash, and a further $250,000 will be made available to help him progress his career. Blechacz records for Deutsche Grammophon, for whom he has made five recordings. His most recent release, of Chopin Polonaises, went gold on the day of its release in his native Poland. Blechacz’s career has been developing since he won the International Chopin Piano Competition in Warsaw in 2005. He was the first Polish musician in 30 years to win first prize.
2014 cover artist Menahem Pressler has received a special award from Indiana University, where he is a senior faculty member at the Jacobs School of Music. Michael McRobbie, president of Indiana University, presented the University Medal at a gala concert in December held in honour of Pressler’s 90th birthday. ‘As an internationally celebrated soloist, chamber musician and teacher, professor Pressler is an Indiana University treasure,’ McRobbie said. ‘The university is privileged to honour him with t he University Medal, given in gratitude both for his enormous contributions to the musical arts and for his service to the university over nearly six decades.’ Pressler joined the piano faculty in 1955 and currently holds the title of Distinguished Professor of Music as the Charles Webb Chair. You can read more about Pressler’s extraordinary career in the January/ February 2014 edition of IP.
Menahem Pressler
Rafal Blechacz
March/April 2014 International Piano
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P H O T O S : H O U G H © A N D R E W C R O W L E Y
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A reissue of the iconic 1932 publication of twelve Bach transcriptions prepared for the celebrated pianist, Harriet Cohen £13.50 GRANVILLE BANTOCK ARNOLD BAX LORD BERNERS ARTHUR BLISS FRANK BRIDGE EUGENE GOOSSENS HERBERT HOWELLS JOHN IRELAND CONSTANT LAMBERT RALPH VAUGHAN WILLIAMS WILLIAM WALTON WILLIAM G. WHITTAKER
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NEW BACH TRANSCRIPTIONS Compiled and edited by Michael Aston with an introduction by David Owen Norris Seventeen early twentieth-century arrangements from choral and instrumental works by notable British musical fgures £15.50
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COMMENT
Sound advice Many pianists have attempted to counsel younger players through their writing, but it is a violinist who has produced the latest worthy epistle, writes Benjamin Ivry
L
EGIONS OF KEYBOARD ARTISTS have attempted to transmit their experience in writing. Over the years, dozens o books o memoirs have drawn conclusions and offered advice to younger generations o pianists, whether by Gottschalk, Paderewski, Harold Bauer, Charles Rosen or others. Today, the pianists Susan Tomes, Stephen Hough and Jonathan Biss advise and consent about matters pianistic on blogs, while others publish breviaries o exhortation. Alred Brendel’s books, including the latest, A Pianist’s A-Z (Faber), are curate’s eggs o sage admonitions mixed with quasisurreal gags. The Romanian pianist Andreï Vieru, long resident in France, is the author o the witty In Praise of Vanity (Grasset, 2013), which dares to criticise a pianistic colleague, Andrei Gavrilov, or highhandedness. But ew pianists decry competitors in print or ear o appearing jealous or offending managements. Other instrumentalists, however, have been more bold. In 2012, the Latvian violinist and conductor Gidon Kremer’s Lettres à une jeune pianiste (‘Letters to a Young Female Pianist’) were published in France by L’Arche Editeur. In 2013, a German translation o the Russian-
language originals was published by Braumüller Verlag in Austria. These published letters are based on genuine instructional letters written by Kremer, dating rom 2010 and 2011 and addressed to ‘Dear Aurelia’, a pianist in her early 20s. Press reports have alleged that the real-lie recipient o Kremer’s guidance was the Georgian pianist Khatia Buniatishvili, born in 1987, with whom he has ofen perormed. I they were indeed originally written to Buniatishvili, the epigraph to these letters would seem especially appropriate: a quote rom the Nobel Prize-winning Russian poet Boris Pasternak: ‘It is unseemly to be amous;/Celebrity does not exalt.’ Kremer speaks as an elder musician, much sought afer by ambitious young pianists who beseech him to perorm recitals with them because it will urther their careers. With Aurelia-Khatia, he is on riendlier terms, taking tea and discussing ‘survival strategies’ with her. Kremer suggests ways to help her recital programmes, recommending encores by composers such as Franz Schubert, Arvo Pärt and the Georgian Gia Kancheli (born 1935), whose ‘little notes can say so much’. He urges her to avoid crowdpleasers such as Liszt’s Transcendental Etude No 5 in B flat, Feux follets: ‘Believe me, it pays to play something unexpected!’ Kremer, known or championing new music by Sofia Gubaidulina, Luigi Nono, Astor Piazzolla and Pēteris Vasks, among others, warns against acile keyboard success. He cites Lang Lang as an example o a ‘glittering star’ who ‘knows how to sell his talent best’ but has perhaps also sold ‘his soul’ in the bargain. Such commercialism in music is a ‘disease that attacks us all and poisons us imperceptibly’, which Kremer finds ‘scary’. He compares Lang Lang to ‘his Russian counterpart’ Denis Matsuev, who he believes represents ‘the jackpot o youthul dynamism multiplied by the talent o being able to accomplish wonderul things on the keyboard […] in such a case, who cares about what will be played? The main thing is who is playing!’
Developing his theme in a broadside against egoistic perormers, Kremer goes on to berate Andrei Gavrilov – not or the same behaviour that offended Andreï Vieru, but or once comparing his ‘relationship with Sviatoslav Richter with that o Plato and Socrates, proo that [Gavrilov] takes himsel seriously, even very much so!’ Kremer compares today’s pianists who are ‘constantly rewarded with superlatives’ to such sometimes-struggling and tormented past greats as Maria Yudina, Wanda Landowska and Clara Haskil, none o whom was ‘about success’. While this may be true, Kremer ails to mention that Landowska actively participated in her own personality cult, which thrived during her lietime. Kremer laments that now ‘there is little room or the idiosyncratic’ or ‘distinctive personalities’ in the piano world: ‘The main thing is [that young artists] charm, dazzle, and “seduce”.’ Lest he seem like an all-negating Latvian Savanarola, Kremer remembers to praise Victor Borge or his ‘grandeur and unparalleled wit’, Friedrich Gulda or ‘remaining true to himsel’ and Martha Argerich, who he describes as ‘a person who is able to mesmerise with her energy everyone around her […] On stage she covers everything with a highly communicative energy field […] O course I know that there are very ew such personalities with this temperament, this expressiveness.’ Trusting that Aurelia-Khatia may develop into such a communicator, he stresses the importance o a ‘distinctive voice’ and is encouraged by the example o the pianist Daniil Trionov, an ‘enthusiastic and inspiring artist’ now in his early 20s. Kremer writes in utter earnest, as i the uture o pianism matters a great deal to him on a personal level. Despite being a violinist, Kremer takes mentoring a young pianist with more passionately outspoken seriousness than most tactul pianistauthors have done. Perhaps, rather than listening solely or mainly to other keyboard artists or counsel, it might serve pianists well to heed resh ideas less bound in ivory tradition. e March/April 2014 International Piano
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March 28th to April 6th, 2015 Junior (12 and under) & Intermediate (13-17) Competitions Palm Desert, California USA Solo and Concerto, Concerto Finals with Orchestra Application Deadline / O ct. 15, 2014 • ww w.vwipc.org / 760-773-2575 Steinway & Sons is the competition piano il
Highly esteemed pianists perform in honour of the 60th Busoni Competition
Competition Jubilee Preliminary Selections 20.08. – 29.08.2014
Pianism at its best
Finals 25.08. – 04.09.2015 Deadline for application 31 May 2014
FERRUCCIO BUSONI International Piano Competition Foundation
Piazza Domenicani 25 | 39100 Bolzano (I) | T (+39) 0471 976568 |
[email protected]
il
