Piano Promenades
At 6pm in the Wisconsin Lutheran College reception hall outside Schwann Concert Hall, 7 Semi-Finalists gave their last performances of the 2008 PianoArts Festival. It was a relaxed environment and their musical expression was greatly appreciated by a crowd of onlookers and admirers.
2008 PianoArts Final Round
At 8pm, the final round began. Sean Yeh led off, just as he had the day before in the second day of Semi-Finals. His performance of Beethoven's 3rd Concerto in C minor was passionate and virtuosic. As in the first round, accuracy was sacrificed for the sake of the intensity he wanted to communicate, and there were ensemble issues with soloist and orchestra. The second movement had pedal issues as chords were not resolved - perhaps the pedal was held longer for the sake of acoustics in the big hall, but still it sounded muddy. That aside, Sean's playing was emphatic, direct, blazing and daring, and the conclusion was exciting.
Paige Chun Li played nearly flawlessly with the Milwaukee Symphony Orchestra, under the direction of Andrews Sill. She performed Beethoven's 1st Concerto in C major. Her clean technique and control of color and phrasing was magnified on the brilliant-sounding Steinway concert grand with a light-weighted action. Her musical expression was committed and the ensemble was wonderful. It was obvious that the orchestra loved playing with her.
Sejoon Park concluded the concert with a dramatic and moving interpretation of Beethoven's 3rd Piano Concerto. Although there were mistakes early on, it was a case of nerves that any pianist can relate to, and it never tripped him up. However, his rushing caused a problem for the ensemble particularly in the first movement. The second movement began surprisingly slow, but was carefully planned and beautifully cultivated. As in the other rounds, Sejoon's playing radiated musical beauty in the slow moments. The finale was invigorating and complete.
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Prizes and Awards
First Prize: Sejoon Park; $8,000
Second Prize: Paige Chun Li; $5,000
Third Prize: Sean M. Yeh; $3,000
Scholarship to the Mannes College International Keyboard Institute and Festival: Sejoon Park
Audience Communication Award: Paige Chun Li; $500
String and Piano Duo Award: Brian Chang; $500
There were no Wisconsin Contestants this year, so no award was given in this category.
Thursday, June 26, 2008
Tuesday, June 24, 2008
Day 5: Choice Works and American Post-1940
Sean Yeh chose Rachmaninoff’s Sonata No. 2 in B-flat minor, Opus 36 because he likes the “intensity and tranquility” of the Rachmaninoff’s style, his use of chords, of density and melody. He selected the Rachmaninoff's own 1931 revision of the 1913 original which Sean said seems "long and redundant." The Steinway concert grand brought into Charles Allis Art Museum responded well to Sean’s various touches for color, and his performance revealed his passion for this music. It also boasted of a light, even, effortless, and powerful technique.
His second choice, movements II. Allegro vivace e leggiero and IV. Fuga: Allegro con spirito from Sonata Opus 26 by Samuel Barber, is a delightful and intricate piece which he played masterfully. As he described the second movement, it is in a 3-4/4-4 tempo, and “sounds like a person dancing a waltz is stumbling .” He captured the spirit of the playfully light and somewhat scattered music. Rhythmically, it felt unsettled, perhaps only because of the complicated meter. In the last movement, Sean managed the drama well with his technique, although like the Rachmaninoff he could have made more of phrases and rests between the exchanges of ideas. Practice rooms have a much faster sound decay than bigger concert halls, so even if he did practice this way he would need to slightly exaggerate to make it apparent in the hall.
Sejoon performed executed again a beautiful legato touch on Liszt's Hungarian Rhapsody in A minor, no. 13, transcribed by Arcadi Volodos. In the first section, he brought out the melody well amidst light flourishes up and down the keyboard. When the piece really picked up, it became difficult for a few measures to hear any melody, but Sejoon catapulted into the finale with fire and fresh musicality.
As Sejoon said in his speech, "The Poltergeist (Rag Fantasy)" by William Bolcom is "the mother of all poltergeists" that, "instead of slipping in one banana trick, throws down twenty!" In other words, it is full of practical jokes. One major joke is its "frozen appoggiatura" form in which the piece concludes with the 3rd theme rather than the 1st theme. Bolcom also throws in "hand-slaps" to the keyboard in the middle of a bluesy section, which shocks the listener. It was a fun piece to listen to, difficult to play but polished.
Amy compared the sound of Ravel's "Jeux Deau" to Monet's Water Lillies. Her touch was crystalline, and her even, inner lines became the painted brush-strokes she imagined in the sound. She shaped the colors with an accurate and graceful interpretation of this beautiful piece.
From Joan Tower's contemporary set No Longer Very Clear, Amy performed "Vast Antique Cubes," a slow and distant work that "explores wide spaces on the piano." She wholly conveyed the "still, frozen, and fragile" aura she wished to convey. In "Or Like a...an Engine," Amy showed an attentive ear to harmony and a feel for space and time. As she said, the piece is "rapid, spiky, like a toccata... and perpetual... like train wheels."
Choo Choo gave a wonderful performance of the little-known Kabalevsky Rondo in A minor, Opus 59, which apparently Van Cliburn played when he won the Tchaichovsky Competition. She had a confident, direct touch and led the listener in the direction it seems the composer would have desired.
Barber's Excursions for the Piano are "altered versions of American folk, jazz, pop, and classical genres." The four movements essentially include a "boogie-woogie, blues, campfire song, and a hoe-down." Choo-Choo played III. Allegretto first, a rolling, smooth, affectionate piece reminiscent of the campfire songs. It is full of interesting ideas which change up the monotony a campfire song might develop. Last, she performed IV. Allegro molto, a blue-grass style dance with flair. For the musician and listener, they are intellectually stimulating as well as enjoyable to listen to. It will be a pleasure to hear her play the entire set some day.
Yoshiko's pieces were both from later in the composers' lives, at a point when they were in deep depression, as she informed the audience. The pieces show them "striving to conquer." Again, Yoshiko gave a very well-informed speech. Ravel's Le Tombeau de Couperin is a suite in honor of not only the composer Couperin, but a homage to whole French group of "Clavecinists" from the 17th century, where the "tombeau" was a common musical genre of composition. She performed movements I. Prelude, V. Menuet, and VI. Toccata. In the slower movements, her sound was velvet with sublime subtleties, and her light, breathy touch formed the colors. The busy, lively toccata was an adrenaline rush, and even when some notes did not project, they were not missed.
Barber's Ballade, Opus 46 is certainly "restless" as Yoshiko pointed out, and it was composed shortly after his partner had left him. She played delicately, sensitive to sonorities but also disaplyed strength in the tense middle section.
Brian also performed Rachmaninoff's Sonata No. 2 in B-flat minor, Opus 36. But contrary to Sean, he felt the original 1913 signature feels more "full and complete." Brian has great dynamic control and finger clarity. In his performance, the sheer volume shook my chest, and yet it was not a harsh sound. Some difficult sections became too labored, however, where a lighter color might have been employed.
George Rochberg's Carnival Music was composed in 1971 and represents an American vernacular blues style. Rochberg had been a modernist-style composer until about 1964 when his son died. As Brian informed us, the beginning "floats around keys" and then in the middle has a section developmentally Brahmsian, then returns to the American style and fast key changes. It was an enjoyable bluesy ragtime that diverged into a repetitive and openly clashing material before its return.
"I don't normally play pieces that are showy and flashy, but for a competition this big, I figured, 'What the heck,' " was Hunter Jennings' final statement before performing Liszt's Polonaise No. 2. Too bad, because he captured the pompous, melodramatic, showy character needed for this type of piece. He displayed fine finger-work and a well-planned overall form with a climactic finale.
Hunter enlightened us about a little-known composer, Barrill Phillips, whose "wit and humor" in his later music was overshadowed by his early 1930's music, reviewed as "amateurish." At the Piano Promenades on Tuesday, he introduced the piece with a smile as "something you have probably never heard before and, after I play it, will probably never hear again." In his speech he referred, cleverly, to the form of this contemporary piece as a "parody on theme and variations." This is because the theme is manipulated each time upon return until, by the end, it is almost completely gone, "which is why I call it a 'parody' on theme and variations." Hunter has an aptness for this contemporary music and had a clear way of communicating the significance of certain moments. He also revealed several different touches and colors within a successful interpretation.
Alexander loves Chopin's Polonaise in A-flat major, Opus 53, ("Heroic"), because of the many emotions in it, such as "bravery, desire... hope, and passion." As he shared, it was written in Paris although it represents Polish patriotism. The difficult opening 4ths were strong, and he showed good taste in dynamic control and contrast. Especially notable were the light, impetuous left-hand octaves throughout the long middle section.
"As pianists," said Alexander, "it's all too easy to hit two notes with the thumb." But it is difficult to hit two notes with the index finger, and that is just what George Crumb calls for his Processional piece. Crumb writes six-note chords, two of the notes being played by the second finger curled under and playing with the knuckle. Afterward, while chatting backstage, it came out that Alexander forgot to mention that Crumb has an entire manual for prepared piano and playing inside the piano for this piece. During the speech itself, Alexander described the piece as "cosmic" and "out of our grasp... like the states of nature... not of emotion." The most contemporary of all the pieces in the competition, Alexander did a nice job of creating mystery with washes of tones and "sympathetic tones."
Yi An performed Liszt's Transcendental Etude IX. Ricordanza in A-flat major (Remebrance) because it is "incredibly musical, lyrical, and has firework-sparkling passages." She reminded us that Liszt practiced up to 12 hours each day, honing his technique with scales, arpeggios, and finger techniques - "things we all hate." He composed the piece at age 15, in 1826, and revised it in 1837. The "Remembrance" etude is a good choice for her modest approach - it is not as showy as other etudes, but it is just as technically demanding. It was not quite passionate; it was reflective, like a memory, like the title.
For "The Serpent's Kiss" by William Bolcom, from The Garden of Eden, Four Rags for the Piano, Yi An played a sample of the music: "As you can see, someone is up to no good." The theme is has a diabolical tinge to it, though still in an entertaining mood. The piece includes fun stomps, clicks with the mouth, and rhythmic knocking on the fall board. This was her most driving and passionate performance yet.
Paige, the last performer of the day, brought Chopin's Scherzo in C-sharp minor, Opus 39, no. 3. Despite her doubts as to whether she could interpret Chopin, she gave an accomplished performance. The chordal section in particular was beautiful and felt developed rather than repetitive in the repeat of that theme.
Like Yi An, Paige gave a thrilling performance of Bolcom's "The Serpent's Kiss." She also depicted the themes vividly in her speech: first theme, the king snake; second, the queen snake; third, the young miss snake with curious love; and fourth, a party with all the snakes. At the end, Paige humorously and clearly depicted the snake chilling up in the tree as she whistled with the notes that interrupted the heated party just before a pointed and exuberant finish.
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Following the day of performances, the judges met privately to select three finalists for the 2008 PianoArts National Bienniel Piano Competition and Music Festival. They chose:
Paige Chun Li; Sejoon Park; Sean Yeh
His second choice, movements II. Allegro vivace e leggiero and IV. Fuga: Allegro con spirito from Sonata Opus 26 by Samuel Barber, is a delightful and intricate piece which he played masterfully. As he described the second movement, it is in a 3-4/4-4 tempo, and “sounds like a person dancing a waltz is stumbling .” He captured the spirit of the playfully light and somewhat scattered music. Rhythmically, it felt unsettled, perhaps only because of the complicated meter. In the last movement, Sean managed the drama well with his technique, although like the Rachmaninoff he could have made more of phrases and rests between the exchanges of ideas. Practice rooms have a much faster sound decay than bigger concert halls, so even if he did practice this way he would need to slightly exaggerate to make it apparent in the hall.
Sejoon performed executed again a beautiful legato touch on Liszt's Hungarian Rhapsody in A minor, no. 13, transcribed by Arcadi Volodos. In the first section, he brought out the melody well amidst light flourishes up and down the keyboard. When the piece really picked up, it became difficult for a few measures to hear any melody, but Sejoon catapulted into the finale with fire and fresh musicality.
As Sejoon said in his speech, "The Poltergeist (Rag Fantasy)" by William Bolcom is "the mother of all poltergeists" that, "instead of slipping in one banana trick, throws down twenty!" In other words, it is full of practical jokes. One major joke is its "frozen appoggiatura" form in which the piece concludes with the 3rd theme rather than the 1st theme. Bolcom also throws in "hand-slaps" to the keyboard in the middle of a bluesy section, which shocks the listener. It was a fun piece to listen to, difficult to play but polished.
Amy compared the sound of Ravel's "Jeux Deau" to Monet's Water Lillies. Her touch was crystalline, and her even, inner lines became the painted brush-strokes she imagined in the sound. She shaped the colors with an accurate and graceful interpretation of this beautiful piece.
From Joan Tower's contemporary set No Longer Very Clear, Amy performed "Vast Antique Cubes," a slow and distant work that "explores wide spaces on the piano." She wholly conveyed the "still, frozen, and fragile" aura she wished to convey. In "Or Like a...an Engine," Amy showed an attentive ear to harmony and a feel for space and time. As she said, the piece is "rapid, spiky, like a toccata... and perpetual... like train wheels."
Choo Choo gave a wonderful performance of the little-known Kabalevsky Rondo in A minor, Opus 59, which apparently Van Cliburn played when he won the Tchaichovsky Competition. She had a confident, direct touch and led the listener in the direction it seems the composer would have desired.
Barber's Excursions for the Piano are "altered versions of American folk, jazz, pop, and classical genres." The four movements essentially include a "boogie-woogie, blues, campfire song, and a hoe-down." Choo-Choo played III. Allegretto first, a rolling, smooth, affectionate piece reminiscent of the campfire songs. It is full of interesting ideas which change up the monotony a campfire song might develop. Last, she performed IV. Allegro molto, a blue-grass style dance with flair. For the musician and listener, they are intellectually stimulating as well as enjoyable to listen to. It will be a pleasure to hear her play the entire set some day.
Yoshiko's pieces were both from later in the composers' lives, at a point when they were in deep depression, as she informed the audience. The pieces show them "striving to conquer." Again, Yoshiko gave a very well-informed speech. Ravel's Le Tombeau de Couperin is a suite in honor of not only the composer Couperin, but a homage to whole French group of "Clavecinists" from the 17th century, where the "tombeau" was a common musical genre of composition. She performed movements I. Prelude, V. Menuet, and VI. Toccata. In the slower movements, her sound was velvet with sublime subtleties, and her light, breathy touch formed the colors. The busy, lively toccata was an adrenaline rush, and even when some notes did not project, they were not missed.
Barber's Ballade, Opus 46 is certainly "restless" as Yoshiko pointed out, and it was composed shortly after his partner had left him. She played delicately, sensitive to sonorities but also disaplyed strength in the tense middle section.
Brian also performed Rachmaninoff's Sonata No. 2 in B-flat minor, Opus 36. But contrary to Sean, he felt the original 1913 signature feels more "full and complete." Brian has great dynamic control and finger clarity. In his performance, the sheer volume shook my chest, and yet it was not a harsh sound. Some difficult sections became too labored, however, where a lighter color might have been employed.
George Rochberg's Carnival Music was composed in 1971 and represents an American vernacular blues style. Rochberg had been a modernist-style composer until about 1964 when his son died. As Brian informed us, the beginning "floats around keys" and then in the middle has a section developmentally Brahmsian, then returns to the American style and fast key changes. It was an enjoyable bluesy ragtime that diverged into a repetitive and openly clashing material before its return.
"I don't normally play pieces that are showy and flashy, but for a competition this big, I figured, 'What the heck,' " was Hunter Jennings' final statement before performing Liszt's Polonaise No. 2. Too bad, because he captured the pompous, melodramatic, showy character needed for this type of piece. He displayed fine finger-work and a well-planned overall form with a climactic finale.
Hunter enlightened us about a little-known composer, Barrill Phillips, whose "wit and humor" in his later music was overshadowed by his early 1930's music, reviewed as "amateurish." At the Piano Promenades on Tuesday, he introduced the piece with a smile as "something you have probably never heard before and, after I play it, will probably never hear again." In his speech he referred, cleverly, to the form of this contemporary piece as a "parody on theme and variations." This is because the theme is manipulated each time upon return until, by the end, it is almost completely gone, "which is why I call it a 'parody' on theme and variations." Hunter has an aptness for this contemporary music and had a clear way of communicating the significance of certain moments. He also revealed several different touches and colors within a successful interpretation.
Alexander loves Chopin's Polonaise in A-flat major, Opus 53, ("Heroic"), because of the many emotions in it, such as "bravery, desire... hope, and passion." As he shared, it was written in Paris although it represents Polish patriotism. The difficult opening 4ths were strong, and he showed good taste in dynamic control and contrast. Especially notable were the light, impetuous left-hand octaves throughout the long middle section.
"As pianists," said Alexander, "it's all too easy to hit two notes with the thumb." But it is difficult to hit two notes with the index finger, and that is just what George Crumb calls for his Processional piece. Crumb writes six-note chords, two of the notes being played by the second finger curled under and playing with the knuckle. Afterward, while chatting backstage, it came out that Alexander forgot to mention that Crumb has an entire manual for prepared piano and playing inside the piano for this piece. During the speech itself, Alexander described the piece as "cosmic" and "out of our grasp... like the states of nature... not of emotion." The most contemporary of all the pieces in the competition, Alexander did a nice job of creating mystery with washes of tones and "sympathetic tones."
Yi An performed Liszt's Transcendental Etude IX. Ricordanza in A-flat major (Remebrance) because it is "incredibly musical, lyrical, and has firework-sparkling passages." She reminded us that Liszt practiced up to 12 hours each day, honing his technique with scales, arpeggios, and finger techniques - "things we all hate." He composed the piece at age 15, in 1826, and revised it in 1837. The "Remembrance" etude is a good choice for her modest approach - it is not as showy as other etudes, but it is just as technically demanding. It was not quite passionate; it was reflective, like a memory, like the title.
For "The Serpent's Kiss" by William Bolcom, from The Garden of Eden, Four Rags for the Piano, Yi An played a sample of the music: "As you can see, someone is up to no good." The theme is has a diabolical tinge to it, though still in an entertaining mood. The piece includes fun stomps, clicks with the mouth, and rhythmic knocking on the fall board. This was her most driving and passionate performance yet.
Paige, the last performer of the day, brought Chopin's Scherzo in C-sharp minor, Opus 39, no. 3. Despite her doubts as to whether she could interpret Chopin, she gave an accomplished performance. The chordal section in particular was beautiful and felt developed rather than repetitive in the repeat of that theme.
Like Yi An, Paige gave a thrilling performance of Bolcom's "The Serpent's Kiss." She also depicted the themes vividly in her speech: first theme, the king snake; second, the queen snake; third, the young miss snake with curious love; and fourth, a party with all the snakes. At the end, Paige humorously and clearly depicted the snake chilling up in the tree as she whistled with the notes that interrupted the heated party just before a pointed and exuberant finish.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Following the day of performances, the judges met privately to select three finalists for the 2008 PianoArts National Bienniel Piano Competition and Music Festival. They chose:
Paige Chun Li; Sejoon Park; Sean Yeh
Monday, June 23, 2008
Day 4: Chopin; Duos; Speeches & Concertos
On a day that lasted a grueling 9 hours, the moment arrived which contestants had been waiting a long time for. It was an enjoyable day, getting to know each individual's style, their take on the concertos, and also to learn from their insightful comments.
Choo Choo began with an emotionally sincere, technically solid, and melodious performance of Chopin's Nocturne No. 17 in B major, Opus 62, No. 1. The musical lines flowed out of one another, revealing her ability to play expressively and balance many musical lines. In the Mozart sonata for violin and piano in A major, K. 305, the duo was tight and together, though at times the piano sounded bottom heavy, and the violinist had to work hard for its own accompaniment passages to be heard. Finally came Mozart's Concerto No. 23 in A major, K. 488. She had obviously done research on the work about the spirit of the piece, more than the analytical side. Then, she compared it to the journey of a wise old man's reminiscence and illustrated her points well, as well as compared it to a garden. Her performance sounded nice, and she shined in the cadenza, though short, with her light phrases and technical execution.
Yoshiko's performance of Chopin Nocturne No. 5 in F-sharp major, Opus 15, No. 2 showed her full understanding of the form. She opened meekly, then matched the fullness needed in an agitato. Her return of the main theme was stronger and more emotional. By the end, one felt rested. She had a fine balance with the cello in Beethoven's Seven Variations from Mozart's Magic Flute. She passed off thematic material smoothly. In her speech, Yoshiko gave a nice historical background and a fine analysis comparing opera and Mozart's Concerto No. 17 in G major, K. 453. It was a clever, cute speech that expressed her joy for the music. Her playing was nice and light, with good voicing between hands and a good sense of temporal space, though in some difficult passages, notes were occasionally lost. Her cadenza was thoughtful, the phrases tastefully stretched and shaped.
Amy enveloped the spirit of this Chopin Nocturne No. 7 in C-sharp minor, Opus 27, no. 1. Her transitions were particularly well-played from a subdued character to victorious and to dark. In Beethoven's Seven Variations on "Bei Mannern, welche Liebe Fuhlen" from Mozart's Magic Flute, the bass could have been brought down for cello solos. Yet Amy was very expressive and sensitive to her quality of tone and the overall dynamic. Her speech was sincere, personal, and well-planned. One of her great points was that "the rests are as important as the notes" - something that many young pianists are unaware of. She presented the themes clearly and told why they were significant to her. A solid performance of Mozart's Concerto No. 23 in A major, K. 488 was tarnished by a memory slip, but her touch and phrasing were elegant throughout.
Brian performed Chopin Nocturne No. 8 in D-flat major, Opus 27, No. 2. He was good at implementing a wash of sonorities with long pedals, still avoiding blurriness. Brian also led the ear by skillfully highlighting harmony changes. Though the melody was fluid, the octave flourishes seemed labored. The climax seemed anticipated and did not come across as redeeming as the harmony begs. In effect, the special quality of the ending - which he played well - was less pronounced. Brian was fully committed in his Mozart duo's performance of the E minor, K. 304 sonata. It sounded like two soloists, and not a background accompanist. The music was full of direction and dynamics, the soloists feeding off each other. Last, he performed Beethoven's Concerto No. 1 in C major, Opus 15. His speech was brisk and intellectually driven, as he vividly laid out Beethoven's theoretical map: He gave examples how in the first movement piano and orchestra contrast, in the second they accompany, and in the third they get to close and clash. His strong technique produced clear, full runs and his playing was lively and confident. Some spots could have used some softening to add grace to this relatively early Beethoven work.
Paige's Chopin Nocturne No. 17 in B major, Opus 62, No. 1 was strong and bold, soaking up harmonies and evolving till the end. In the duo, playing Beethoven's Twelve Variations on Handel's Judas Maccabeus, the minor variation was a bit loud when the cello solos and seems to aim for a more mysterious mood. On the whole, she interacted with the cellist smoothly with a quick and powerful technique. Still, attention to some phrase endings wavered, and she overpowered the cello in the variation with octaves in the bass. She spoke well for only living in America for one year, and she had an understanding of her audience. She chose the third cadenza in Beethoven's Concerto No. 1 in C major, Opus 15 because she felt it was "stronger, more passionate, and intense." And that is how she performed it. Paige played melodies expressively, and scales changed between light, light and staccato, and strong. Her playing was rhythmically tight, and the energy emanated between the two pianists.
From the first note, Sejoon drew in the listener during Chopin's Nocturne No. 5 in F-sharp major, Opus 15, No. 2. His touch was gentle yet full; legato and beautifully pedaled. It had the mature melancholy spirit of Chopin, late at night. The Mozart sonata for violin and piano in A major, K. 305 was energetic and driving. It was Beethoven-esque; perhaps it could have used more restraint. His word choices to describe Beethoven's Concerto No. 3 in C minor. Opus 37 were vivid and exemplified: the first movement full of "passion and intensity," the second having a soulful "calmness," and the third being "jovial, unique, and humorous." The historical story he shared was enjoyable, and he was very calm and composed - though unenthusiastic. Sejoon had good pacing throughout the first movement, deftly picking up the tempo over time to propel into the cadenza. In the main body, not all of his runs sparkled with polish and sound quality sometimes suffered in dramatic sections. In the cadenza, however, his playing was precise and colorful.
Yi An let Chopin's melody and harmonies to speak for themselves in Nocturne No. 18 in E major, Opus 62, No. 2. Her character was consistent as she gave a solid and sensitive performance. In the Beethoven duo, Variations on Mozart's Magic Flute, Yi An's fine ear was apparent as she was always careful to give the cello its due. Instrumentalists would certainly appreciate her modesty in this respect, as would Mozart lovers - this spirit in which this was written. Rhythmically, she allowed great ensemble work, most notably in the fifth variation with the cello's fast and complicated part. After playing a complex sample of the concerto to come, Yi An concluded that "Mozart definitely is not simple." Performing Mozart's Concerto No. 21 in C major, K. 467, Yi An looked up the small, optional cadenzas implemented by a former concert pianist, only she wrote her own, which were pleasant. She used extra pedal in runs which had a softening and subtle shaping effect; this worked because of the clarity in her touch.
Sean, an animated performer, gave Chopin's Nocturne No. 7 in C-sharp minor, Opus 27, No. 1 a consistently brooding drama. He also gave it a loud character, that seemed a bit rambunctious for "night music." He was good, though, at bringing out inner harmonies and melodic lines. His duo performance was his strongest of all. Beethoven's Variations on Mozart's Magic Flute for piano and cello sounded fresh and exciting under his hands. He was very attentive to the cello and to projecting important phrases. His staccatos were not sharp, yet sounded compact. Sean pointed out the appearance and significance of the A-flat, or G-sharp, throughout Beethoven's 3rd Piano Concerto in C minor, Opus 37. He had a clean sound, though when shifting focus between ideas the consistency of his tone sometimes lost his control. But the trills before the octave section were refreshingly not harsh, as often played. Late in the movement, there was some rushing, and then he took the cadenza daringly fast. He was not afraid to miss some notes in order to accomplish the drama of the music.
Chopin Nocturne No. 5 in F-sharp major, Opus 15, No. 2 was contrite and pleasant under the control of Alexander. He was passionate and focused, although some moments sounded over-pedaled, perhaps a problem coming from a dry practice room to a hall with very active acoustics. He set up the return of theme one so it was like the return of an old friend. Someone's intermittent coughing somehow worked itself smoothly into the calming ritardando at the end. For the Mozart duo, A major K. 305, the ensemble seemed to differ in interpretation. Though together, it seemed Alexander had a more reserved intention than the violinist, who last played the piece dramatically with Sejoon. Alexander showed in his speech that he has a broad knowledge of repertoire and he communicated the revolutionary implications of the piece at hand, Beethoven Concerto No. 3 in C minor, Opus 37. His performance showed that he has a variety of touches and a diverse technique, though the beautiful second theme sounded over-pedaled in the cadenza. His playing was intellectually driven, and his sudden entrance into the cadenza pleasantly surprised me, actually making me jump a little. The mood swings in the cadenza seemed to capture Beethoven's temperament.
Hunter's intense performance added to the agitation of Chopin's Nocturne No. 19 in E minor, Opus 72, No. 1 (posthumous). Some parts sounded pounded out, which very well could have been his intention: the major section, in contrast had a very nice change of color. The last performer of the day, Hunter introduced the next piece, Beethoven's Twelve Variations on Handel's Judas Maccabeus, in good humor as the one "which I'm sure you've all heard too many times today." Some sections sounded bottom-heavy on the large concert grand, which detracted from the intimacy of the duo. However, he was in touch with the emotional burdens and changes in the piece and stayed tight with the cellist rhythmically. Hunter's statements before Mozart's Concerto No. 21 in C major, K. 467 I think were soaked with irony, and that confused much of the audience, unsure whether or not to laugh. But, next, his musical illustrations of Mozart as an "A.D.D." composer was clearly humorous, and he proceeded to convey why he enjoys Mozart the most. His performance had an exciting, driving feel and a brilliant sound.
Kudos - and not the kind we ate backstage - to the pianists, violinists, and cellists who learned all the accompanying music for this round of the competition. These included Stefanie Jacob, Wilanna Kalkhof, Jeannie Yu, Timothy Klabunde, Jennifer Startt, Scott Tisdel, and Adrien Zitoun.
Choo Choo began with an emotionally sincere, technically solid, and melodious performance of Chopin's Nocturne No. 17 in B major, Opus 62, No. 1. The musical lines flowed out of one another, revealing her ability to play expressively and balance many musical lines. In the Mozart sonata for violin and piano in A major, K. 305, the duo was tight and together, though at times the piano sounded bottom heavy, and the violinist had to work hard for its own accompaniment passages to be heard. Finally came Mozart's Concerto No. 23 in A major, K. 488. She had obviously done research on the work about the spirit of the piece, more than the analytical side. Then, she compared it to the journey of a wise old man's reminiscence and illustrated her points well, as well as compared it to a garden. Her performance sounded nice, and she shined in the cadenza, though short, with her light phrases and technical execution.
Yoshiko's performance of Chopin Nocturne No. 5 in F-sharp major, Opus 15, No. 2 showed her full understanding of the form. She opened meekly, then matched the fullness needed in an agitato. Her return of the main theme was stronger and more emotional. By the end, one felt rested. She had a fine balance with the cello in Beethoven's Seven Variations from Mozart's Magic Flute. She passed off thematic material smoothly. In her speech, Yoshiko gave a nice historical background and a fine analysis comparing opera and Mozart's Concerto No. 17 in G major, K. 453. It was a clever, cute speech that expressed her joy for the music. Her playing was nice and light, with good voicing between hands and a good sense of temporal space, though in some difficult passages, notes were occasionally lost. Her cadenza was thoughtful, the phrases tastefully stretched and shaped.
Amy enveloped the spirit of this Chopin Nocturne No. 7 in C-sharp minor, Opus 27, no. 1. Her transitions were particularly well-played from a subdued character to victorious and to dark. In Beethoven's Seven Variations on "Bei Mannern, welche Liebe Fuhlen" from Mozart's Magic Flute, the bass could have been brought down for cello solos. Yet Amy was very expressive and sensitive to her quality of tone and the overall dynamic. Her speech was sincere, personal, and well-planned. One of her great points was that "the rests are as important as the notes" - something that many young pianists are unaware of. She presented the themes clearly and told why they were significant to her. A solid performance of Mozart's Concerto No. 23 in A major, K. 488 was tarnished by a memory slip, but her touch and phrasing were elegant throughout.
Brian performed Chopin Nocturne No. 8 in D-flat major, Opus 27, No. 2. He was good at implementing a wash of sonorities with long pedals, still avoiding blurriness. Brian also led the ear by skillfully highlighting harmony changes. Though the melody was fluid, the octave flourishes seemed labored. The climax seemed anticipated and did not come across as redeeming as the harmony begs. In effect, the special quality of the ending - which he played well - was less pronounced. Brian was fully committed in his Mozart duo's performance of the E minor, K. 304 sonata. It sounded like two soloists, and not a background accompanist. The music was full of direction and dynamics, the soloists feeding off each other. Last, he performed Beethoven's Concerto No. 1 in C major, Opus 15. His speech was brisk and intellectually driven, as he vividly laid out Beethoven's theoretical map: He gave examples how in the first movement piano and orchestra contrast, in the second they accompany, and in the third they get to close and clash. His strong technique produced clear, full runs and his playing was lively and confident. Some spots could have used some softening to add grace to this relatively early Beethoven work.
Paige's Chopin Nocturne No. 17 in B major, Opus 62, No. 1 was strong and bold, soaking up harmonies and evolving till the end. In the duo, playing Beethoven's Twelve Variations on Handel's Judas Maccabeus, the minor variation was a bit loud when the cello solos and seems to aim for a more mysterious mood. On the whole, she interacted with the cellist smoothly with a quick and powerful technique. Still, attention to some phrase endings wavered, and she overpowered the cello in the variation with octaves in the bass. She spoke well for only living in America for one year, and she had an understanding of her audience. She chose the third cadenza in Beethoven's Concerto No. 1 in C major, Opus 15 because she felt it was "stronger, more passionate, and intense." And that is how she performed it. Paige played melodies expressively, and scales changed between light, light and staccato, and strong. Her playing was rhythmically tight, and the energy emanated between the two pianists.
From the first note, Sejoon drew in the listener during Chopin's Nocturne No. 5 in F-sharp major, Opus 15, No. 2. His touch was gentle yet full; legato and beautifully pedaled. It had the mature melancholy spirit of Chopin, late at night. The Mozart sonata for violin and piano in A major, K. 305 was energetic and driving. It was Beethoven-esque; perhaps it could have used more restraint. His word choices to describe Beethoven's Concerto No. 3 in C minor. Opus 37 were vivid and exemplified: the first movement full of "passion and intensity," the second having a soulful "calmness," and the third being "jovial, unique, and humorous." The historical story he shared was enjoyable, and he was very calm and composed - though unenthusiastic. Sejoon had good pacing throughout the first movement, deftly picking up the tempo over time to propel into the cadenza. In the main body, not all of his runs sparkled with polish and sound quality sometimes suffered in dramatic sections. In the cadenza, however, his playing was precise and colorful.
Yi An let Chopin's melody and harmonies to speak for themselves in Nocturne No. 18 in E major, Opus 62, No. 2. Her character was consistent as she gave a solid and sensitive performance. In the Beethoven duo, Variations on Mozart's Magic Flute, Yi An's fine ear was apparent as she was always careful to give the cello its due. Instrumentalists would certainly appreciate her modesty in this respect, as would Mozart lovers - this spirit in which this was written. Rhythmically, she allowed great ensemble work, most notably in the fifth variation with the cello's fast and complicated part. After playing a complex sample of the concerto to come, Yi An concluded that "Mozart definitely is not simple." Performing Mozart's Concerto No. 21 in C major, K. 467, Yi An looked up the small, optional cadenzas implemented by a former concert pianist, only she wrote her own, which were pleasant. She used extra pedal in runs which had a softening and subtle shaping effect; this worked because of the clarity in her touch.
Sean, an animated performer, gave Chopin's Nocturne No. 7 in C-sharp minor, Opus 27, No. 1 a consistently brooding drama. He also gave it a loud character, that seemed a bit rambunctious for "night music." He was good, though, at bringing out inner harmonies and melodic lines. His duo performance was his strongest of all. Beethoven's Variations on Mozart's Magic Flute for piano and cello sounded fresh and exciting under his hands. He was very attentive to the cello and to projecting important phrases. His staccatos were not sharp, yet sounded compact. Sean pointed out the appearance and significance of the A-flat, or G-sharp, throughout Beethoven's 3rd Piano Concerto in C minor, Opus 37. He had a clean sound, though when shifting focus between ideas the consistency of his tone sometimes lost his control. But the trills before the octave section were refreshingly not harsh, as often played. Late in the movement, there was some rushing, and then he took the cadenza daringly fast. He was not afraid to miss some notes in order to accomplish the drama of the music.
Chopin Nocturne No. 5 in F-sharp major, Opus 15, No. 2 was contrite and pleasant under the control of Alexander. He was passionate and focused, although some moments sounded over-pedaled, perhaps a problem coming from a dry practice room to a hall with very active acoustics. He set up the return of theme one so it was like the return of an old friend. Someone's intermittent coughing somehow worked itself smoothly into the calming ritardando at the end. For the Mozart duo, A major K. 305, the ensemble seemed to differ in interpretation. Though together, it seemed Alexander had a more reserved intention than the violinist, who last played the piece dramatically with Sejoon. Alexander showed in his speech that he has a broad knowledge of repertoire and he communicated the revolutionary implications of the piece at hand, Beethoven Concerto No. 3 in C minor, Opus 37. His performance showed that he has a variety of touches and a diverse technique, though the beautiful second theme sounded over-pedaled in the cadenza. His playing was intellectually driven, and his sudden entrance into the cadenza pleasantly surprised me, actually making me jump a little. The mood swings in the cadenza seemed to capture Beethoven's temperament.
Hunter's intense performance added to the agitation of Chopin's Nocturne No. 19 in E minor, Opus 72, No. 1 (posthumous). Some parts sounded pounded out, which very well could have been his intention: the major section, in contrast had a very nice change of color. The last performer of the day, Hunter introduced the next piece, Beethoven's Twelve Variations on Handel's Judas Maccabeus, in good humor as the one "which I'm sure you've all heard too many times today." Some sections sounded bottom-heavy on the large concert grand, which detracted from the intimacy of the duo. However, he was in touch with the emotional burdens and changes in the piece and stayed tight with the cellist rhythmically. Hunter's statements before Mozart's Concerto No. 21 in C major, K. 467 I think were soaked with irony, and that confused much of the audience, unsure whether or not to laugh. But, next, his musical illustrations of Mozart as an "A.D.D." composer was clearly humorous, and he proceeded to convey why he enjoys Mozart the most. His performance had an exciting, driving feel and a brilliant sound.
Kudos - and not the kind we ate backstage - to the pianists, violinists, and cellists who learned all the accompanying music for this round of the competition. These included Stefanie Jacob, Wilanna Kalkhof, Jeannie Yu, Timothy Klabunde, Jennifer Startt, Scott Tisdel, and Adrien Zitoun.
Sunday, June 22, 2008
Day 3: Meet the 2008 Judges
VICTOR ROSENBAUM
"During the PianoArts 2008 Competition, Victor Rosenbaum will serve as the Jury Head. Mr. Rosenbaum was previously a judge with PianoArts in 2003.
His distinguished career as a concert pianist was summed as "one of those artists who make up for all the drudgery the habitual concertgoer endures in the hopes of finding the real, right thing," (Boston Globe). His concert tours include performances in Europe, Asia, Israel, and Russia. Among his many recitals in the United States are those in Chicago, Minneapolis and in New York City. An avid chamber musician, Mr. Rosenbaum has performed with artists such as cellist Leonard Rose and violinists Joseph Silverstein, Arnold Steinhardt and Robert Mann, and with the Bretano and Cleveland String Qartets. Among the many festivals in which he has participated are Tanglewood, the Rockport Chamber Music Festival, Kfar Blum and Tel Hai (in Israel), Yellow Barn, Kneisel Hall (Blue Hill), the Heifetz Institute and New York City's International Keyboard Institute and Festival.
A renowned teacher, Mr. Rosenbaum is on the faculty of the Mannes College of Music; the New England Conservatory, where he was chair of the piano department; and the Longy School of Music, where he served as Director and President from 1985 to 2001. He was also a visiting professor a The Julliard School and the Eastman School of Music. Well-known for his master classes, workshops and lectures, Mr. Rosenbaum has presented at prestigious institutions throughout the United States and at London's Royal Academ of Music, Royal College of Music, and Guildhall School; the Menuhin School at Stoke d'Abernon in England; Tokyo's Toho School and the Jerusalem Music Center. Among Mr. Rosenbaum's teachers were Rosina Lhevinne and Leonard Shure.
Classical Disc Digest describred Mr. Rosenbaum's recordings of compositions by Franz Schubert on Bridge Records as "a powerful and poignant record of human experience." he also recorded the last three sonatas by Ludwig van Beethoven, which American Record Guide critic Alan Becker greeted as one of the top ten classical recordings of 2005. Susan Kagan of Fanfare wrote of that disc - "Victor Rosenbaum's rewarding interpretation can sit proudly among the best." Soon to be released are compact discs of the music of Schubert and Mozart on the Fleur de Son label."
NELITA TRUE
"PianoArts 2008 judge, Nelita True, made her debut at age seventeen with the Chicago Symphony in Orchestra Hall and her New York debut with the Juilliard Orchestra in Avery Fisher Hall, her career has taken her to the major cities of Western and Eastern Europe, Indonesia, Korea, Japan, Mexico, Iceland, New Zealand, Brazil, Australia, Canada, and to Hong Kong and Singapore, as well as to forty-nine states in America. She was a visiting professor at the St. Petersburg Conservatory in Russia, performing and conducting master classes and has been in the People's Republic of China twelve times for recitals and master classes. She has played recitals on French national television and on Australian national radio. Her most recent recital in Boston was cited as one of the "Ten Best Classical Performances of the Year."
Ms. True has been a jury member for the China International Piano Competition (Beijing), the Queen Sonja International Piano Competition (Oslo), the National piano Competition in Brazil, the Horowitz Competition (Kiev), the Concours de Musique in Canada, the PTNA (Tokyo), the Lev Vlassenko Competition in Australia, and the Gina Bachauer, New Orleans, Hilton Head, and William Kapell International Piano Competitions in the U.S.
A Phi Beta Kappa graduate of the University of Michigan with Helen Titus, Ms. True went on to Juilliard to study with Sascha Gorodnitzki, and then earned the DMA with Leon Fleisher at the Peabody Conservatory, In Paris, she studied with Nadia Boulanger on a Fulbright grant. Formerly Distinguished Professor at the University of Maryland, Ms. True is currently Professor of Piano at the Eastman School of Music. Many of her students have won top prizes at national and international competitions, including an unprecedented five First Prizes in national MTNA competitions. Ms. True was awarded the Certificate of Merit by the Alumni Association of the University of Michigan, the Eisenhart Award for Excellence in Teaching at Eastman, the 2002 Achievement Award from MTNA, and a Lifetime Achievement Award from National Keyboard Pedagogy Conference (USA).
SH Productions of Kansas City produced a series of four videotapes, "Nelita True at Eastman," featuring her performances, lectures, and teaching. These videos are currently being seen on five continents. She has been the subject of feature articles in Clavier, Piano Today, The European Piano Teachers' Journal, and was the subject of the cover story of Keyboard Companion. An interview with Ms. True appears in the latest edition of James Bastien's "How to Teach Piano Successfully," along with interviews with the legendary Rosina Lhevinne and Adele Marcus. Ms. True has been invited to record over 100 works for Advance, Mark, Educo, and Academy Records."
DIANE WALSH
"PianoArts 2008 judge, Diane Walsh, performs solo recitals, chamber music and concertos worldwide. Her recent engagements include the Bartok Concerto No. 3 with the Austin Symphony Orchestra, the Strauss Burleske with the Syracuse and Delaware symphony orchestras, the Berg Kammerkonzert with Leon Botstein and the American Symphony Orchestra in New York City and Mozart Concerto No. 24 with David Zinman at the Skaneateles Festival. She has appeared with the radio symphonies of Munich, Frankfurt, Stuttgart and Berlin, the San Francisco Symphony, the Indianapolis Symphony and the St. Louis Symphony, toured with the Orpheus and the St. Luke’s orchestras and soloed with orchestras in Brazil, the Netherlands, the Czech Republic and Russia.
In September 2007, she joined the cast of 33 Variations, a new play by Moisés Kaufman, in its debut production at Arena Stage in Washington, D.C. for a month-long run. The play deals with Beethoven's last years and his writing of the Diabelli Variations, which Ms. Walsh performed on stage throughout the play. Coinciding with the play, her new CD of the variations, also entitled 33 Variations, was released by Jonathan Digital Recordings. The play, with Ms. Walsh as the pianist, had a second run at the La Jolla Playhouse in April 2008.
She has given recitals at the 92 Street Y, the Metropolitan Museum, Merkin Concert Hall and the Miller Theatre in New York City, the Kennedy Center in Washington, Orchestra Hall in Chicago, Wigmore Hall in London, the Concertgebouw’s Kleine Zaal in Amsterdam, Philharmonic Hall in Leningrad, Dvorak Hall in Prague, the Mozarteum in Salzburg and in other major cities in the United States, Canada, Venezuela, Italy, Belgium, Germany, Poland and the Netherlands. In demand as a chamber musician, she has performed at many festivals including Marlboro, Santa Fe, Bard, Appalachian Summer, Music From Salem, Eastern Shore, the International Musician’s Seminar in Cornwall, and Strings in the Mountains. Last summer she performed with the Fine Arts Quartet at the Summer Evenings of Music festival in Milwaukee. She is a member of the quintet La Fenice, comprised of piano quartet plus oboe, and the Cooper-Drucker-Walsh trio.From 1999 to 2004 she was Artistic Director of the Skaneateles Festival, held annually during August in upstate New York. During her tenure she presented world-renowned performers; designed and performed in innovative chamber music and chamber orchestra programs; increased the number of open rehearsals, children’s concerts, and master classes; and co-created and performed in theatrical events such as “An Evening with Bill Irwin” and “The Love Letters of Robert and Clara,” set to music by the Schumanns.
Her many awards include the top prizes at the Munich ARD International Piano Competition and the Salzburg International Mozart Competition. She won the Concert Artists Guild International Competition and the Young Concert Artists International Auditions, and was a prizewinner in the Van Cliburn International Piano Competition and also won that competition’s chamber music award. She also won prizes in the J. S. Bach International Competition in Washington D.C., the William Kapell International Competition in Maryland and the Busoni International Competition in Italy. She has made thirteen recordings for Bridge, Nonesuch, Koch, Newport, Sony, Stereophile, CRI and other labels; her first recording for Jonathan Digital Recordings, of Beethoven's Diabelli Variations, was released in August 2007. She has begun recording the Schubert piano sonatas for this label, and the first volume will be released in the summer of 2008. Diane Walsh is a Steinway Artist."
"During the PianoArts 2008 Competition, Victor Rosenbaum will serve as the Jury Head. Mr. Rosenbaum was previously a judge with PianoArts in 2003.
His distinguished career as a concert pianist was summed as "one of those artists who make up for all the drudgery the habitual concertgoer endures in the hopes of finding the real, right thing," (Boston Globe). His concert tours include performances in Europe, Asia, Israel, and Russia. Among his many recitals in the United States are those in Chicago, Minneapolis and in New York City. An avid chamber musician, Mr. Rosenbaum has performed with artists such as cellist Leonard Rose and violinists Joseph Silverstein, Arnold Steinhardt and Robert Mann, and with the Bretano and Cleveland String Qartets. Among the many festivals in which he has participated are Tanglewood, the Rockport Chamber Music Festival, Kfar Blum and Tel Hai (in Israel), Yellow Barn, Kneisel Hall (Blue Hill), the Heifetz Institute and New York City's International Keyboard Institute and Festival.
A renowned teacher, Mr. Rosenbaum is on the faculty of the Mannes College of Music; the New England Conservatory, where he was chair of the piano department; and the Longy School of Music, where he served as Director and President from 1985 to 2001. He was also a visiting professor a The Julliard School and the Eastman School of Music. Well-known for his master classes, workshops and lectures, Mr. Rosenbaum has presented at prestigious institutions throughout the United States and at London's Royal Academ of Music, Royal College of Music, and Guildhall School; the Menuhin School at Stoke d'Abernon in England; Tokyo's Toho School and the Jerusalem Music Center. Among Mr. Rosenbaum's teachers were Rosina Lhevinne and Leonard Shure.
Classical Disc Digest describred Mr. Rosenbaum's recordings of compositions by Franz Schubert on Bridge Records as "a powerful and poignant record of human experience." he also recorded the last three sonatas by Ludwig van Beethoven, which American Record Guide critic Alan Becker greeted as one of the top ten classical recordings of 2005. Susan Kagan of Fanfare wrote of that disc - "Victor Rosenbaum's rewarding interpretation can sit proudly among the best." Soon to be released are compact discs of the music of Schubert and Mozart on the Fleur de Son label."
NELITA TRUE
"PianoArts 2008 judge, Nelita True, made her debut at age seventeen with the Chicago Symphony in Orchestra Hall and her New York debut with the Juilliard Orchestra in Avery Fisher Hall, her career has taken her to the major cities of Western and Eastern Europe, Indonesia, Korea, Japan, Mexico, Iceland, New Zealand, Brazil, Australia, Canada, and to Hong Kong and Singapore, as well as to forty-nine states in America. She was a visiting professor at the St. Petersburg Conservatory in Russia, performing and conducting master classes and has been in the People's Republic of China twelve times for recitals and master classes. She has played recitals on French national television and on Australian national radio. Her most recent recital in Boston was cited as one of the "Ten Best Classical Performances of the Year."
Ms. True has been a jury member for the China International Piano Competition (Beijing), the Queen Sonja International Piano Competition (Oslo), the National piano Competition in Brazil, the Horowitz Competition (Kiev), the Concours de Musique in Canada, the PTNA (Tokyo), the Lev Vlassenko Competition in Australia, and the Gina Bachauer, New Orleans, Hilton Head, and William Kapell International Piano Competitions in the U.S.
A Phi Beta Kappa graduate of the University of Michigan with Helen Titus, Ms. True went on to Juilliard to study with Sascha Gorodnitzki, and then earned the DMA with Leon Fleisher at the Peabody Conservatory, In Paris, she studied with Nadia Boulanger on a Fulbright grant. Formerly Distinguished Professor at the University of Maryland, Ms. True is currently Professor of Piano at the Eastman School of Music. Many of her students have won top prizes at national and international competitions, including an unprecedented five First Prizes in national MTNA competitions. Ms. True was awarded the Certificate of Merit by the Alumni Association of the University of Michigan, the Eisenhart Award for Excellence in Teaching at Eastman, the 2002 Achievement Award from MTNA, and a Lifetime Achievement Award from National Keyboard Pedagogy Conference (USA).
SH Productions of Kansas City produced a series of four videotapes, "Nelita True at Eastman," featuring her performances, lectures, and teaching. These videos are currently being seen on five continents. She has been the subject of feature articles in Clavier, Piano Today, The European Piano Teachers' Journal, and was the subject of the cover story of Keyboard Companion. An interview with Ms. True appears in the latest edition of James Bastien's "How to Teach Piano Successfully," along with interviews with the legendary Rosina Lhevinne and Adele Marcus. Ms. True has been invited to record over 100 works for Advance, Mark, Educo, and Academy Records."
DIANE WALSH
"PianoArts 2008 judge, Diane Walsh, performs solo recitals, chamber music and concertos worldwide. Her recent engagements include the Bartok Concerto No. 3 with the Austin Symphony Orchestra, the Strauss Burleske with the Syracuse and Delaware symphony orchestras, the Berg Kammerkonzert with Leon Botstein and the American Symphony Orchestra in New York City and Mozart Concerto No. 24 with David Zinman at the Skaneateles Festival. She has appeared with the radio symphonies of Munich, Frankfurt, Stuttgart and Berlin, the San Francisco Symphony, the Indianapolis Symphony and the St. Louis Symphony, toured with the Orpheus and the St. Luke’s orchestras and soloed with orchestras in Brazil, the Netherlands, the Czech Republic and Russia.
In September 2007, she joined the cast of 33 Variations, a new play by Moisés Kaufman, in its debut production at Arena Stage in Washington, D.C. for a month-long run. The play deals with Beethoven's last years and his writing of the Diabelli Variations, which Ms. Walsh performed on stage throughout the play. Coinciding with the play, her new CD of the variations, also entitled 33 Variations, was released by Jonathan Digital Recordings. The play, with Ms. Walsh as the pianist, had a second run at the La Jolla Playhouse in April 2008.
She has given recitals at the 92 Street Y, the Metropolitan Museum, Merkin Concert Hall and the Miller Theatre in New York City, the Kennedy Center in Washington, Orchestra Hall in Chicago, Wigmore Hall in London, the Concertgebouw’s Kleine Zaal in Amsterdam, Philharmonic Hall in Leningrad, Dvorak Hall in Prague, the Mozarteum in Salzburg and in other major cities in the United States, Canada, Venezuela, Italy, Belgium, Germany, Poland and the Netherlands. In demand as a chamber musician, she has performed at many festivals including Marlboro, Santa Fe, Bard, Appalachian Summer, Music From Salem, Eastern Shore, the International Musician’s Seminar in Cornwall, and Strings in the Mountains. Last summer she performed with the Fine Arts Quartet at the Summer Evenings of Music festival in Milwaukee. She is a member of the quintet La Fenice, comprised of piano quartet plus oboe, and the Cooper-Drucker-Walsh trio.From 1999 to 2004 she was Artistic Director of the Skaneateles Festival, held annually during August in upstate New York. During her tenure she presented world-renowned performers; designed and performed in innovative chamber music and chamber orchestra programs; increased the number of open rehearsals, children’s concerts, and master classes; and co-created and performed in theatrical events such as “An Evening with Bill Irwin” and “The Love Letters of Robert and Clara,” set to music by the Schumanns.
Her many awards include the top prizes at the Munich ARD International Piano Competition and the Salzburg International Mozart Competition. She won the Concert Artists Guild International Competition and the Young Concert Artists International Auditions, and was a prizewinner in the Van Cliburn International Piano Competition and also won that competition’s chamber music award. She also won prizes in the J. S. Bach International Competition in Washington D.C., the William Kapell International Competition in Maryland and the Busoni International Competition in Italy. She has made thirteen recordings for Bridge, Nonesuch, Koch, Newport, Sony, Stereophile, CRI and other labels; her first recording for Jonathan Digital Recordings, of Beethoven's Diabelli Variations, was released in August 2007. She has begun recording the Schubert piano sonatas for this label, and the first volume will be released in the summer of 2008. Diane Walsh is a Steinway Artist."
Day 3: Works in Progress
Saturday was a "work day" for the pianists, who said they were drained by the end. They rehearsed duos with pianists Wilanna Kalkhof and Jeannie Yu, violinist Jennifer Startt, cellist Adrien Zitoun, and members of the Prometheus Trio.
Contestants finished up their last workshops about speaking, etiquette, and professionalism. Catherine Kautsky of UW-Madison, a performer, speaker, and writer in great demand finished up her second session with the pianists, giving them tips on communicating with an audience. Lee Dougherty then took over, presenting a complete plan for a performer before, during, and after a competition. She gave insightful advice for an effective professional career.
At the end of the day, the judges for the competition were introduced. Victor Rosenbaum, Nelita True, and Diane Walsh each spoke words of encouragement for the coming days.
Contestants finished up their last workshops about speaking, etiquette, and professionalism. Catherine Kautsky of UW-Madison, a performer, speaker, and writer in great demand finished up her second session with the pianists, giving them tips on communicating with an audience. Lee Dougherty then took over, presenting a complete plan for a performer before, during, and after a competition. She gave insightful advice for an effective professional career.
At the end of the day, the judges for the competition were introduced. Victor Rosenbaum, Nelita True, and Diane Walsh each spoke words of encouragement for the coming days.
Saturday, June 21, 2008
Day 2: Rehearsals and Prelude Recital
Throughout Friday, Sean Yeh carried around an enormous book-bag, which threatened to topple him. "That's a big bag," I commented. "Lots of music," he replied. "I suppose."
In the morning, contestants like Brian Chang snapped into action, practicing solo material, rehearsing with MSO violinists and cellists, and working on their speeches with clinician Catherine Kautsky, chair of the UW-Madison piano department. Others caught up on sleep before the workshop, such as Choo Choo Hu, who said she slept 14 hours after hardly sleeping the night before due to involvement in a concert around Baltimore, and early-morning travels.
In the evening, all took in an outstanding display of musicality and virtuosity by Ms. Michelle Naughton, the 2006 PianoArts winner.
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Internationally beloved pianist Alfred Brendel once commented in an interview with Jeremy Siepmann that he "cannot bear to hear [Domenico Scarlatti's music] on the piano." Perhaps he would be more open-minded had he heard Michelle Naughton play Scarlatti's Sonata in B minor, K. 87, L. 33 last night at Wisconsin Conservatory of Music. A mixture of baroque and classical form and thematic material, the piece created a serious and cleansing atmosphere. It's hard to imagine it sounding better on anything besides piano.
Naughton made Mozart's arduous Sonata in D major, K. 576 sound effortless. Nearly every note was clearly audible, her shaping of phrases well-done, and her balance of sound remarkable. Amidst flighty passages, the main themes were brought out, never harshly pounded out. The slow, second movement was simply beautiful and showed her control of dynamics and attention to the line of a phrase. And the complex third movement was thoughtfully prepared as she handled Mozart's fugal and rhythmic tricks with grace.
Before intermission, she spoke about and performed five of William Bolcom's "12 New Etudes for Piano." As Michelle said, Bolcom is a professor at the University of Michigan, and this set won a Pulitzer Prize in 1988. These contemporary technical studies were full of humor and fresh performance techniques for pianists. Number I, "Fast and Furious," was just that; it began and ended with fiery motives in the bass. It also integrated hand and full arm "slaps" to the keys. Next she played number IV, "Scene d'Opera," a plodding and subdued ground bass with episodes in higher registers. II, titled "Hi-Jinks" is both high and has a joking spirit. Michelle related the irony that Bolcom directs the performer to use little or no pedal for this piece, while most of it is in the high register where the pedal doesn't much effect the sound. However, Naughton efficiently and effectively used the pedal to capture overtones and specific sounds to highlight contrasts. She also alluded to the irony in her fourth etude, number VI having the title "Nocturne," when in a set of Etudes. And there was more irony: while we often think of consoling night music by Chopin when we hear "nocturne," this one spoke more of mischief with a soft, syncopated and slightly dissonant bass with a much louder, drawn-out, sporadic melody. She concluded the first half of the program with the etude VIII, "Rag Infernal" which was packed with energy and several "endings" that fooled the listener.
For the second half of the program, Ms. Naughton came storming back to match the expressive and tyrannically technical demands of Rachmaninoff's "Variations on a Theme by Corelli," Opus 42. In it, Rachmaninoff manipulates Corelli's solemn, yet triumphant theme in numerous thrilling and moving ways. Naughton swiftly captured these moments, while cutting through the density of his writing which might easily weigh down a listener's ear.
Ravel's "Sonatine" revealed Naughton's control of sound and color, though at times it lacked her contemplative and expressive phrasing heard earlier. The first movement, Modere, features a beautiful melody atop fluttering below, offset by slower-moving themes. But her tempo fluctuated unnaturally, aside from the various ritardandos and a tempos. The second movement, Mouvement de Menuet was interpreted as a rather brisk minuet. However, this tempo and her lack of dynamic attention did not allow Ravel's phrases the time to sink in or be understood. It also anticipated and dulled the excitement of the climax in the middle of the movement. Another side-effect was that the third movement did not then seem as animated, though marked Animè. In combination with too little time between movements, Naughton did not effectively communicate the unique character of each movement. Some moments in the third movement seemed a bit thickly-pedaled, possibly her reaction to a suddenly squeaky pedal. Nevertheless, the final movement was precise, colorful and exciting.
By this point, many pianists would have dropped to the floor, exhausted. Michelle Naughton exuberantly got back on stage and performed Liszt's Paganini Etude in A minor, No. 6. Her fingers were still fast at work, and the depth of her tone quality stood out in this demanding piece. At the end, she brought the crowd to a standing ovation, then gratified the crowd with a charming little salon piece by Mompou.
In the morning, contestants like Brian Chang snapped into action, practicing solo material, rehearsing with MSO violinists and cellists, and working on their speeches with clinician Catherine Kautsky, chair of the UW-Madison piano department. Others caught up on sleep before the workshop, such as Choo Choo Hu, who said she slept 14 hours after hardly sleeping the night before due to involvement in a concert around Baltimore, and early-morning travels.
In the evening, all took in an outstanding display of musicality and virtuosity by Ms. Michelle Naughton, the 2006 PianoArts winner.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Internationally beloved pianist Alfred Brendel once commented in an interview with Jeremy Siepmann that he "cannot bear to hear [Domenico Scarlatti's music] on the piano." Perhaps he would be more open-minded had he heard Michelle Naughton play Scarlatti's Sonata in B minor, K. 87, L. 33 last night at Wisconsin Conservatory of Music. A mixture of baroque and classical form and thematic material, the piece created a serious and cleansing atmosphere. It's hard to imagine it sounding better on anything besides piano.
Naughton made Mozart's arduous Sonata in D major, K. 576 sound effortless. Nearly every note was clearly audible, her shaping of phrases well-done, and her balance of sound remarkable. Amidst flighty passages, the main themes were brought out, never harshly pounded out. The slow, second movement was simply beautiful and showed her control of dynamics and attention to the line of a phrase. And the complex third movement was thoughtfully prepared as she handled Mozart's fugal and rhythmic tricks with grace.
Before intermission, she spoke about and performed five of William Bolcom's "12 New Etudes for Piano." As Michelle said, Bolcom is a professor at the University of Michigan, and this set won a Pulitzer Prize in 1988. These contemporary technical studies were full of humor and fresh performance techniques for pianists. Number I, "Fast and Furious," was just that; it began and ended with fiery motives in the bass. It also integrated hand and full arm "slaps" to the keys. Next she played number IV, "Scene d'Opera," a plodding and subdued ground bass with episodes in higher registers. II, titled "Hi-Jinks" is both high and has a joking spirit. Michelle related the irony that Bolcom directs the performer to use little or no pedal for this piece, while most of it is in the high register where the pedal doesn't much effect the sound. However, Naughton efficiently and effectively used the pedal to capture overtones and specific sounds to highlight contrasts. She also alluded to the irony in her fourth etude, number VI having the title "Nocturne," when in a set of Etudes. And there was more irony: while we often think of consoling night music by Chopin when we hear "nocturne," this one spoke more of mischief with a soft, syncopated and slightly dissonant bass with a much louder, drawn-out, sporadic melody. She concluded the first half of the program with the etude VIII, "Rag Infernal" which was packed with energy and several "endings" that fooled the listener.
For the second half of the program, Ms. Naughton came storming back to match the expressive and tyrannically technical demands of Rachmaninoff's "Variations on a Theme by Corelli," Opus 42. In it, Rachmaninoff manipulates Corelli's solemn, yet triumphant theme in numerous thrilling and moving ways. Naughton swiftly captured these moments, while cutting through the density of his writing which might easily weigh down a listener's ear.
Ravel's "Sonatine" revealed Naughton's control of sound and color, though at times it lacked her contemplative and expressive phrasing heard earlier. The first movement, Modere, features a beautiful melody atop fluttering below, offset by slower-moving themes. But her tempo fluctuated unnaturally, aside from the various ritardandos and a tempos. The second movement, Mouvement de Menuet was interpreted as a rather brisk minuet. However, this tempo and her lack of dynamic attention did not allow Ravel's phrases the time to sink in or be understood. It also anticipated and dulled the excitement of the climax in the middle of the movement. Another side-effect was that the third movement did not then seem as animated, though marked Animè. In combination with too little time between movements, Naughton did not effectively communicate the unique character of each movement. Some moments in the third movement seemed a bit thickly-pedaled, possibly her reaction to a suddenly squeaky pedal. Nevertheless, the final movement was precise, colorful and exciting.
By this point, many pianists would have dropped to the floor, exhausted. Michelle Naughton exuberantly got back on stage and performed Liszt's Paganini Etude in A minor, No. 6. Her fingers were still fast at work, and the depth of her tone quality stood out in this demanding piece. At the end, she brought the crowd to a standing ovation, then gratified the crowd with a charming little salon piece by Mompou.
Friday, June 20, 2008
Day 1: Registration, Orientation, and Refreshments
On Thursday, June 19, students and parents from around the United States arrived in Milwaukee for the start of the PianoArts 2008 National Competition. After registering at the Wisconsin Conservatory of Music and practicing a couple hours, contestants were summoned to the Helen Bader Concert Hall for a random selection of the performance order. For Sunday: First will be Choo Choo, then Yoshiko, Brian, Amy, Paige, Sejoon, Yi An, Sean, Alexander, and finally Hunter. For Monday, Sean will lead off, followed by Sejoon, Amy, Choo Choo, Yoshiko, Brian, Hunter, Alex, Yi An, and Paige.
After the drawing, contestants, their parents, and some host families were treated by the Prometheus Trio's thrilling performance of Schoenfeld's "Café Music" piano trio, a bluesy and showy piece, in short. The trio - Stefanie Jacob at piano, Timothy Klabunde on Violin, and Scott Tisdel on Cello - will assist competitors on Sunday in violin and cello duos and the first movement of their concerto. The trio has an active residence at Wisconsin Conservatory, and the individuals are outstanding teachers and professional musicians for Milwaukee Symphony Orchestra.
Arriving late, I caught most of the trio's performance from the hallway. When they had left the stage, Sue Medford came to congratulate them and was surprised to see me outside the recital hall. She introduced me and hurried back offstage. I told everyone that I am in intern with PianoArts, that I will be writing about the competition online and will later try to publish a story, and that if they have questions, they can ask me. Later, when Yi An Pan's mother did ask me a question, I realized that I should have said, "Ask me, and I'll gladly ask someone else for you." Her question regarded piano practice rooms. Although Wisconsin Conservatory and host families provide pianos, the conservatory closes around 7:30 - much earlier than is convenient for contestants staying in hotel rooms. Fortunately, PianoArts is an integrated organization in Milwaukee. The Steinway Gallery's owner, Barbara Wanless, will keep the Wauwatosa store available after hours during the competition for practicing.
Perhaps having one central practice location would be more convenient. But PianoArts' involvement around the city is unique. There are events at a musical center (Wisconsin Conservatory Thursday through Sunday), at an Art Gallery (Charles Allis on Monday), and at a college concert hall with nationally praised acoustics (Schwann Hall at Wisconsin Lutheran College on Tuesday). This publicizes and promotes the arts in two ways: First, it brings top-notch classical piano music to a variety of settings. Secondly, it opens up the contestants to those settings and allows them to see different sides of the city. For many competitions, one may come to a city and never see anything besides the one building where it takes place.
Likewise, Thursday's reception integrated local flavor and offered competitors and their families a chance to see more of Milwaukee. Among the refreshments generously provided by Marguerite Alpers, punch, elegant shrimp wraps and tasty asian dishes were countered by Wisconsin turkey-brats, Usinger's sausage and cheese, and Sprecher Sodas. "Very Wisconsin," contestant Amy Lauters said with a smile.
Following the reception, those of us who weren't too exhausted from long travels and 4AM alarm clocks accepted complimentary tickets to see "Classical Connections" with Milwaukee Symphony Orchestra at Uihlein Hall. The program featured pleasant Strauss and Mozart music, humourous and informative speeches by Andreas Delfs and Frank Almond, and an astounding performance by guest Gil Shaham of the second and third movements from Brahms' violin concerto.
From there, everyone headed to bed for sleep, or back to the piano.
After the drawing, contestants, their parents, and some host families were treated by the Prometheus Trio's thrilling performance of Schoenfeld's "Café Music" piano trio, a bluesy and showy piece, in short. The trio - Stefanie Jacob at piano, Timothy Klabunde on Violin, and Scott Tisdel on Cello - will assist competitors on Sunday in violin and cello duos and the first movement of their concerto. The trio has an active residence at Wisconsin Conservatory, and the individuals are outstanding teachers and professional musicians for Milwaukee Symphony Orchestra.
Arriving late, I caught most of the trio's performance from the hallway. When they had left the stage, Sue Medford came to congratulate them and was surprised to see me outside the recital hall. She introduced me and hurried back offstage. I told everyone that I am in intern with PianoArts, that I will be writing about the competition online and will later try to publish a story, and that if they have questions, they can ask me. Later, when Yi An Pan's mother did ask me a question, I realized that I should have said, "Ask me, and I'll gladly ask someone else for you." Her question regarded piano practice rooms. Although Wisconsin Conservatory and host families provide pianos, the conservatory closes around 7:30 - much earlier than is convenient for contestants staying in hotel rooms. Fortunately, PianoArts is an integrated organization in Milwaukee. The Steinway Gallery's owner, Barbara Wanless, will keep the Wauwatosa store available after hours during the competition for practicing.
Perhaps having one central practice location would be more convenient. But PianoArts' involvement around the city is unique. There are events at a musical center (Wisconsin Conservatory Thursday through Sunday), at an Art Gallery (Charles Allis on Monday), and at a college concert hall with nationally praised acoustics (Schwann Hall at Wisconsin Lutheran College on Tuesday). This publicizes and promotes the arts in two ways: First, it brings top-notch classical piano music to a variety of settings. Secondly, it opens up the contestants to those settings and allows them to see different sides of the city. For many competitions, one may come to a city and never see anything besides the one building where it takes place.
Likewise, Thursday's reception integrated local flavor and offered competitors and their families a chance to see more of Milwaukee. Among the refreshments generously provided by Marguerite Alpers, punch, elegant shrimp wraps and tasty asian dishes were countered by Wisconsin turkey-brats, Usinger's sausage and cheese, and Sprecher Sodas. "Very Wisconsin," contestant Amy Lauters said with a smile.
Following the reception, those of us who weren't too exhausted from long travels and 4AM alarm clocks accepted complimentary tickets to see "Classical Connections" with Milwaukee Symphony Orchestra at Uihlein Hall. The program featured pleasant Strauss and Mozart music, humourous and informative speeches by Andreas Delfs and Frank Almond, and an astounding performance by guest Gil Shaham of the second and third movements from Brahms' violin concerto.
From there, everyone headed to bed for sleep, or back to the piano.
Tuesday, June 10, 2008
Preliminary Round
Early on the morning of April 6, 2008, a panel of judges met to review and discuss the recorded auditions of applicants for the 2008 PianoArts National Competition. The atmosphere was welcoming and supportive, though professional and focused. Judges provided in-depth constructive commentary on each piece to be sent back to each applicant.
The deciding preliminary panel included Eun-Joo Kwak of Cardinal Stritch University, Renato Premezzi of Beloit College, and Eugene Alcalay of UW-Platteville. Margaret Otwell of UW-Milwaukee and Mt. Mary College was the non-voting advisory judge.
Due to the raised requirements this year, including a full concerto with Milwaukee Symphony Orchestra for one winner, noticeably less applications were received. Fortunately, all applicants are fine young musicians, and the the jury painstakingly selected ten for the semi-final round this June.
LINKS
Kwak: http://faculty.stritch.edu/ekwak/
Premezzi: http://www.beloit.edu/~music/faculty/renato_premezzi.html
Alcalay: http://www.uwplatt.edu/~alcalaye/060706.htm
Otwell: http://www.mtmary.edu/music_faculty.htm
The deciding preliminary panel included Eun-Joo Kwak of Cardinal Stritch University, Renato Premezzi of Beloit College, and Eugene Alcalay of UW-Platteville. Margaret Otwell of UW-Milwaukee and Mt. Mary College was the non-voting advisory judge.
Due to the raised requirements this year, including a full concerto with Milwaukee Symphony Orchestra for one winner, noticeably less applications were received. Fortunately, all applicants are fine young musicians, and the the jury painstakingly selected ten for the semi-final round this June.
LINKS
Kwak: http://faculty.stritch.edu/ekwak/
Premezzi: http://www.beloit.edu/~music/faculty/renato_premezzi.html
Alcalay: http://www.uwplatt.edu/~alcalaye/060706.htm
Otwell: http://www.mtmary.edu/music_faculty.htm
PianoArts: Ahead of Competition
PianoArts: Ahead of Competition
Pianists compete for many reasons and experience rewarding benefits, great or small, whether or not they win. But a time comes when basic experience - nervousness, constructive criticism, additional performances, or small prizes - are not enough. At this time, pianists seek greater opportunity; some stepping stone to a professional career.
Numerous National and International competitions serve that purpose, such as the Gina Bachauer International Young Artists’ Competition, the Minnesota Piano-e-Competition, the Southeastern Piano Competition, the New York Piano Competition, the Virginia Waring International Competition (formerly the Joanna Hodges-), and the PianoArts National Piano Competition. Several of these competitions offer a performance with an orchestra; all demand great dedication from its competitors and deserve highest commendation for their standards of excellence.
Yet, only one of these competitions - PianoArts - provides one-on-one professional coaching for contestants prior to competing. Contestants also learn to interact with the audience by speaking about their music in each round, and in later years winners return for
Evaluations, Insight, and Praise
"I think the phrase 'competition' is misleading, because the atmosphere of this experience is more like that of a music academy where the focus is on piano art, where one goes to sharpen artistic skills and made friends instead of focusing on winning." -Konrad Binienda, 2006 Finalist
Jie Chen credited PianoArts and her competition experience with giving her the "confidence she needed" to pursue her performing career. -Jie Chen,2003 First Place
"It was so much more than a competition and I think all involved (the contestants) left changed in some way." -2006 contestant
"Performing in front of diverse age groups in places like schools retirement centers and even a small house concert (Soirée) taught me how to approach the different age groups of listeners and adapt to particular situations."- InSoo Jung, 2005 Winner of First Place
"The two things I was most impressed about at this competition were the integrity of the judges' comments and the organization of the competition. I learned quite a bit from my conferences with the judges especially in terms of my long-term development. The organization of the competition was very impressive and was clear that a tremendous amount of time and energy had gone into the crafting of the competition schedule."
Jie Chen credited PianoArts and her competition experience with giving her the "confidence she needed" to pursue her performing career. -Jie Chen,
"PianoArts is not just a competition. the people organizing the competition go to such lengths to make your experience a good one, and the environment is such that all the competitors become friends, something I have never seen before. I would also say that purely as a competition, Piano Arts is very respectable and maintains a very high level of competitiveness. Finally, I would say that the best thing about the organization is that it's always changing and moving in new directions."-2006 contestant
"It was so much more than a competition and I think all involved (the contestants) left changed in some way." -2006 contestant
"My overall experience in this competition was very positive. I felt I played very well, and was rewarded for it with with the scholarship to the Festival at Mannes. The people I met in
"Performing in front of diverse age groups in places like schools retirement centers and even a small house concert (Soirée) taught me how to approach the different age groups of listeners and adapt to particular situations."
"The rehearsals with the professional musicians were valuable experiences – such great opportunities for everyone, not just the finalists." -2006 contestant
"The opportunities offered to me by PianoArts, have changed my attitude towards classical music in 21st century. Not only must a pianist/musician be a world class performer, but he/she must show the world why it is so important to keep classical music alive. Through my experiences, I have been inspired to keep community outreach an active part of my career. The PianoArts organization truly understands and embraces classical music in today’s world. They have enriched the lives of countless people and I am grateful and honored to be a part of the PianoArts family.
In the last few years, I have realized the most important task for young musicians is to be ambassadors of classical music. This means we must find new and exciting ways to inspire the youth and show the world classical music; PianoArts is a leader in this field." -Jacob Ertl, 2002 Winner of
Concerts: Do You Watch, Listen, or Experience?
Students, teachers, amateurs, music lovers: Don't underestimate the value of attending live concerts. With the ever-expanding range of technology, my generation often becomes socially isolated. Not in the sense that we don't hang out with friends, but because if we want to hear a fresh musical interpretation, check difficult fingering, or explore technical motions, we don't all flock to a concert; often, we individually search websites like youtube.com to hear and watch Arthur Rubinstein, Martha Algerich, Evgeny Kissin, Lang Lang, Alfred Brendel, Vladimir Horowitz and so on. But recordings cannot, and never will, adequately capture the subtleties of live acoustics and energy in a hall. It is a unique and exclusive interaction between audience member and performer. Just as you visit friends to see and hear them, it is through a combination of these senses that we want to be entertained, to be moved, to learn, to ponder, and - most of all - to be inspired. From June 20 through June 24, PianoArts gives us this chance to be exhilarated, as young men and women with gifts of great talent perform roughly 15 hours of piano repertoire cumulatively at various locations in Milwaukee. For students growing in music, this is invaluable. It is self-evident that we do not attend concerts to remind them of what music sounds like. We go to experience something fresh, live, and unpredictable. We go because we crave excellence. We admire beauty. We appreciate intellectual thoughtfulness. We go to inspire our imagination and see artists fulfill their dreams.
Meet the 2008 Semi-Finalists
17, Falls Church, VA
“I am a normal teenager who happens to be in love with music.... To feel the connection between myself and the audience is extremely rewarding"... something
In 2007 Sejoon won first prize in the Aspen Music Festival Piano Concerto and performed Edward Grieg’s Piano Concerto with the Orchestra of the
Yoshiko Arahata
19, Rochester, NY & Tokyo, Japan
A dual student in Piano Performance at the Eastman School of Music and Brain and Cognitive Science at the
Yoshiko was born in
Although Yoshiko’s family now lives in
Brian Chang
17, Naperville, IL
Brian Chang enjoys a challenge. He likes math, chemistry and music and being with people who can discuss those subjects. Brian is looking forward to the PianoArts competition, which he describes as “extremely challenging…. I enjoy the format: having to talk about each piece before playing it (to demonstrate some knowledge about the piece), being able to play a duo (displaying our ability to perform with others), and being able to interact with all of the other participants. Best of all, I would love the excitement of playing the concerto with a great orchestra.” Besides classical music, Brian says he tries not to take anything too seriously and in his free time, he enjoys playing basketball, listening to jazz, and rapping.
A junior at the Illinois Mathematic and
Brian has won many awards as a soloist, including the overall winner in the senior group and open division of the 2006 Walgreens National Concerto Competition. That same year, he was also a finalist in the
Amy K. Lauters
19, Manhattan, Kansas
Before she goes to her morning classes at Lawrence University Conservatory, Amy Lauters listens to Wolfgang Amadeus Mozart’s Requiem, a huge, grand work that she finds inspiring. Because Mozart is her favorite composer, she is happy to have this opportunity to perform a Mozart piano concerto and hopes that her audience shares her joy and other emotions that the music evoke.
A graduate of the
Amy enjoys participating in a wide range of musical activities – playing with jazz ensembles, for church services, and for musicals. She has a passion for Russian literature and gets “worked up” when she listens to the orchestral works of Peter Tchaikovsky, Gustav Mahler and Igor Stravinsky. She is a 2008 winner of Wisconsin Public Radio’s Neale–Silva Young Artists’ Competition and performed an April recital that was broadcast live on
Next fall, Amy will begin her sophomore year at Lawrence Conservatory, where she studies with Anthony Padilla. She is an accompanying fellow, teaches private lessons and recently performed for concert pianist Jon Kimura Parker. About her performance for PianoArts, she hopes that she can perform and verbally communicate with the audience about her pieces. “Music can be many different things for different people…. I love these pieces and want to convey to the audience that I love what I do.”
Sean Yeh
16, Libertyville, IL
When he was four, he began taking violins lessons and at six, he began piano, so it is no surprise that Sean Yeh enjoys performing chamber music. As a violist, he performs with the BAM quartet, the winner of the Bonze Medal at the 2005 Fischoff National Chamber Music Competition, the youngest aged winners in the competition. The quartet was then featured on the National Public Radio program, “From the Top,” on WFMT Radio, at the Young Steinway Concert Series,
Sean has also won many honors as a solo pianist. In 2005 he was invited to perform at the Tenth World Piano Pedagogy Conference in
Alexander Zhu
16, Saint Paul, MN
Starting first with piano lessons, then with violin lessons, Alexander Zhu now hopes to become a conductor. He has learned to play eleven piano concertos and several violin concertos. He is the concertmaster of the top orchestra in the Greater Twin Cities Youth Orchestras, a freelance violinist and a piano accompanist. In addition to his love of piano and violin repertories, he enjoys the symphonies of Phillip Glass, Dmitri Shostakovich, Peter Tchaikovsky and Ludwig van Beethoven, as well as orchestral works by John Adams, Gustav Holst, Nikolai Rimsky-Korsakov, Leonard Bernstein and operas by Wolfgang Amadeus Mozart. Alexander is also fluent in French and loves to study geography.
Alexander has won many awards, including first prizes in the 2007 and 2005 Twin Cities Youth Symphonies Concerto Competitions, and the 2007 Morningside College Young Artist Competition in
The reasons Alexander entered the PianoArts competition are to meet other young artists like himself, to bring his repertory to a higher level, and to have the opportunity to perform with professional musicians. His goals are to project a mature artistry, technical charisma and integrity in bringing out the composer’s thoughts and intentions. He has also been accepted to participate in the piano program of the Eastern Music Festival this summer. Alexander is home schooled and studies with Susan Billmeyer, the pianist with the Minnesota Symphony Orchestra.
“Choo Choo” Hu
Speaking about her PianoArts performances, Choo Choo Hu says that her ultimate goal is for her audience to “walk away with a sense of reflection and contemplation….” She wants “to engage them in the active process of music-making…. Just like playing with an orchestra, the rapport between performer and audience is very much a collaborative effort, and a performance cannot be successful without the full participation of both parties.”
Choo Choo has had the opportunity to put those words into action on many occasions. She was a two-time winner of the Washington University Symphony Orchestra Young Artists Piano Concerto Competition. As the winner of the 2005 St. Louis Symphony Youth Orchestra Piano Concerto Competition, she performed all movements of Peter Tchaikovsky’s Piano Concerto no. 1. Choo Choo is interested in expanding her horizons and broadening her experiences as a collaborator with an orchestra and as a solo instrumentalist. Another recent award as a piano soloist was the second prize in the Margaret A Guthman Keyboard Competition.
Her life revolves around music. When Choo Choo is not practicing piano, she enjoys attending symphony concerts and is especially drawn to the symphonies of Gustav Mahler and Peter Tchaikovsky, as well as Edward Elgar’s Cello Concerto, and Peter Tchaikovsky’s Violin Concerto.
Because she was home schooled beginning with the eighth grade, her high school studies were accelerated and she entered college a year early. Next season, Choo Choo will be a junior at the Peabody Conservatory of Johns Hopkins University, where she studies piano with Brian Ganz. “I have been playing the piano since the age of five. It is one of my greatest passions and one that I want to continue to pursue for the rest of my life.”
Hunter Jennings
18k Highland, MA
As a double major in business and music performance, Hunter Jennings will be especially interested in the cultural and economic impact of the arts on
Hunter began his piano study with Dr. Joan Spicknall and completed the entire Suzuki Piano Method. He enjoys listening to classical music – string ensembles, such as the Adagio for Strings by Samuel Barber, violin concertos and the Beethoven symphonies. About his own performances and what he would like the audience to hear in his music, Hunter said, “I would like the audience to appreciate the amount of emotion, thought and concentration that goes into every performance.” He believes that if he can convey those things, while at the same time his performance sounds natural and beautiful, he will be successful.
Winning several competitions and receiving a full–tuition Fine Arts Scholarship to
Yi An Pan
16, Interlochen, MI
Born in
It is no surprise that Yi An loves both piano and cello music, such as the Edward Elgar Cello Concert and Peter Tchaikovsky’s Variations on a Rococo Theme for cello and orchestra. Yi An also likes pop music. But for now, she is looking forward to performing classical piano music – solos, a concerto and the duo in the PianoArts competition, which she believes are invaluable experiences for young musicians. She hopes that her performances will “captivate and fascinate” the audiences.
Paige Chun Li
18, Interlochen, MI & Jiang Su, China
When she was twelve, Paige Chun Li moved to
“Being independent and optimistic, I adapt quickly to new environments….” says Paige, who is always ready for a challenge. When she was seventeen, she was accepted at the
The PianoArts competition is her first major competition in the
In addition to performing the piano, Paige plays traditional Chinese instruments and loves to sing. Outside the piano repertory, her favorite music is for the voice, “the most beautiful sound in the world.” But for now, she is concentrating on her piano performance.
Tuesday, June 3, 2008
Schedule of Events: June 20 - 24
2008 PianoArts National Bienniel Competition
PRELUDE RECITAL - Michelle Naughton
Friday, June 20: 8PM - Wisconsin Conservatory
"Michelle Naughton sets the standard for the competition to follow! There is something invigorating about Michelle's performances. This is a splendid opportunity to hear this superb talent in a solo piano recital."
SEMIFINAL DUO RECITALS
Sunday, June 22: 9:30am - 6:30pm, Wisconsin Conservatory
"Semifinalists discuss their music and perform piano and violin or cello duos with musicians from the Milwaukee Symphony and the first movements of concertos with a second pianist before the panel of judges. Discover young, talented pianists performing with Milwaukee's pros."
SEMIFINAL SOLO RECITALS
Monday, June 23: 10am - 5pm, Charles Allis Art Museum
"Semifinalists shine as they perform solo piano recitals and discuss their music before the judges."
FINALS & AWARDS CONCERT
* Tuesday, June 24: 8pm, Schwann Concert Hall @ Wisconsin Lutheran College
"In the Awards Concert, finalists perform Mozart or Beethoven piano concertos with the Milwaukee Symphony Orchestra and PianoArts Music Director Andrews Sill. Don't miss this grand finale performed by young virtuosos, and see the beginnings of what may be significant careers of classical pianists."
* ALSO on Tuesday, June 24:
3pm CONCERTO MASTER CLASS in Schwan Concert Hall @ WLC
6pm PIANO PROMENADES - A final recital, in the WLC Arts lobby, for those not selected as finalists.
PRELUDE RECITAL - Michelle Naughton
Friday, June 20: 8PM - Wisconsin Conservatory
"Michelle Naughton sets the standard for the competition to follow! There is something invigorating about Michelle's performances. This is a splendid opportunity to hear this superb talent in a solo piano recital."
SEMIFINAL DUO RECITALS
Sunday, June 22: 9:30am - 6:30pm, Wisconsin Conservatory
"Semifinalists discuss their music and perform piano and violin or cello duos with musicians from the Milwaukee Symphony and the first movements of concertos with a second pianist before the panel of judges. Discover young, talented pianists performing with Milwaukee's pros."
SEMIFINAL SOLO RECITALS
Monday, June 23: 10am - 5pm, Charles Allis Art Museum
"Semifinalists shine as they perform solo piano recitals and discuss their music before the judges."
FINALS & AWARDS CONCERT
* Tuesday, June 24: 8pm, Schwann Concert Hall @ Wisconsin Lutheran College
"In the Awards Concert, finalists perform Mozart or Beethoven piano concertos with the Milwaukee Symphony Orchestra and PianoArts Music Director Andrews Sill. Don't miss this grand finale performed by young virtuosos, and see the beginnings of what may be significant careers of classical pianists."
* ALSO on Tuesday, June 24:
3pm CONCERTO MASTER CLASS in Schwan Concert Hall @ WLC
6pm PIANO PROMENADES - A final recital, in the WLC Arts lobby, for those not selected as finalists.
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