International Piano 01.02 2019

NO.
52 JAN/FEB 2019
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SHEET MUSIC
CRADLE SONG OF
THE LONELY MOTHER
BY AMY BEACH DIVING DEEP
SEE PAGE 49 Exploring
Schumann’s
JUDGEMENT DAY dual nature
Should Cortot’s
failings as a man ODD MAN OUT
affect our view of Eccentric Soviet
his artistry? pedagogue
Heinrich Neuhaus
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CONTENTS
JOSEP MOLINA
TULLY POTTER COLLECTION

18 27
WOJCIECH GRZE˛DZIŃSKI/NIFC
56 80
Contents
5 EDITORIAL 16 ILL-TEMPERED CLAVIER 49 SHEET MUSIC SPECIAL FEATURES
Dressing to impress Charivari chides the Cradle Song of the Lonely
behaviour of inconsiderate Mother by Amy Beach 18 SPANISH KEY
6 LETTERS concert-goers Andalusian pianist
Your thoughts and 56 PERIOD TOUCHES Javier Perianes strikes the
comments 32 A SPLASH OF COLOUR Poland’s new competition perfect balance between
Israeli pianist and painter for Chopin on historic sweetness and objectivity
9 NEWS & EVENTS Roman Rabinovich instruments as he prepares to tour
London festival to mark introduces his new album Beethoven’s concertos
Clara Schumann’s of Haydn sonatas 58 IN CONCERT
bicentenary | Steinway Live reviews from 27 JUDGEMENT DAY
unveils Elbphilharmonie 39 SHARED EXPERIENCE Bucharest and London Should Alfred Cortot’s
piano | Hungarian IP visits Cremona Musica, failings as a man affect
composer wins Bartók World Italy’s leading 64 ONE TO ANOTHER our opinion of his
Competition | Tido app international exhibition Guitar masterpieces greatness as an artist?
expands piano repertoire | for musical instruments for the piano
and more… 35 DIVING DEEP
42 SOUNDS OF SUMMER 67-75 NEW RELEASES German pianist and scuba
12 ONE TO WATCH Practical courses for CDs, DVDs, books and diver Burkard
Leeds winner Eric Lu pianophiles in 2019 sheet music Schliessmann explores
Schumann’s dual nature
14 COMMENT 45 KEY NOTES 80 TAKE FIVE
Is it wrong to promote Achieving tonal variety Spiritual seeker and 76 ODD MAN OUT
pianists for their physical through judicious jazz pioneer Alice Eccentric Soviet pedagogue
appearance? pedalling Coltrane Heinrich Neuhaus
January/February 2019 International Piano 3

EDITOR’S NOT E
Welcome
S
ex sells, so the saying goes, but when it comes to
Editorial Director Ashutosh Khandekar
classical music, there’s a tendency for audiences, Publishing Director Owen Mortimer
artists and promoters to reject glamour in favour of Design Perla Design Ltd
Production Controller Ashley Reid
more substantial attributes. Benjamin Ivry (page 14) goes
Advertising Sales Edward Croome
straight to the heart of this issue when he says: ‘Prioritising Edward.Croome@rhinegold.co.uk
looks above all other qualities inevitably sidelines artistic Marketing Executive John Barnet
Director of Marketing & Digital Strategy Luca Da Re
maturity and emotional expression, so that exceptional Director of Subscriptions & Customer Service
pianists who could never be mistaken for fashion models Sally Boettcher
Chief Executive Officer Ben Allen
end up being overlooked’. Executive Chairman Mark Allen
Unlike opera singers, for whom appearance is an Printed by William Pollard & Co Ltd. Oak House,
important consideration given the theatrical roles they are Falcon Road, Exeter EX2 7NU
required to play, very few major pianists cut glamorous Distributed by Advantage Media Solutions Ltd
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figures on stage. Those who do, provoke controversy
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‘Breakout Rhapsody’ by the 25-year-old Swiss pianist Mélodie Zhao. Boasting slick Fax: +44 (0)20 7333 1768
production, elegant styling and a cast of beautiful young people, this pop-style music video Editorial
features Zhao performing Liszt’s Hungarian Rhapsody No 2 at a private banquet in what international.piano@rhinegold.co.uk
www.rhinegold.co.uk | www.international-piano.com
looks like a crumbling chateau. Initially ignored by the diners, her powerful performance Twitter: @IP_mag
gradually lures them into a state of Dionysian intoxication, goaded by a troupe of frenzied Subscriptions
dancers. Her rationale for this bold artistic statement, pasted below the video on YouTube, Tel: +44(0)1293 312233
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fashionable’. View the video here: y2u.be/bJpkoATOGiE. No part of this publication may be reproduced, stored
What I find strange about Zhao’s take on Liszt is the idea that she’s doing anything new in a retrieval system or transmitted in any form or any
means (electronic, mechanical, photocopying, recording
(a conceit expressed by her ‘finally’). Liszt himself was an arch publicist who exploited or otherwise) without the prior permission of Rhinegold
glamour to the max during his early glanz period, attracting a wave of hysteria dubbed Publishing Ltd. The views expressed here are those of
the authors and not of the publisher, editor, Rhinegold
‘Lisztomania’ by the poet Heine. The very idea of the ‘piano recital’, a format both Publishing Ltd or its employees. We welcome letters but
reserve the right to edit for reasons of grammar, length
pioneered and perfected by Liszt, has virtuosity, glamour and sexuality in its DNA. and legality. No responsibility is accepted for returning
Posterity has not bequeathed any recordings of Liszt’s own playing, but by all accounts photographs or manuscripts. We cannot acknowledge or
return unsolicited material.
he was an outsize personality and musician of truly exceptional ability – a genius if International Piano, 977204207700507, is published bi-
ever there was one. His monstrous egoism, moreover, was balanced by equal if not monthly by the Mark Allen Group, St Jude’s Church, Dulwich
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SHEET MUSIC
CRADLE SONG OF
THE LONELY MOTHER
BY AMY BEACH DIVING DEEP
SEE PAGE 49 Exploring
Schumann’s
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Should Cortot’s
failings as a man ODD MAN OUT
affect our view of Eccentric Soviet
his artistry? pedagogue
Heinrich Neuhaus
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LETTERS
LETTERS
Write to International Piano, 20 Rugby Street, London, WC1N 3QZ, email
international.piano@rhinegold.co.uk or tweet @IP_mag. Star letters will receive SPONS OR ED BY
a free CD from Hyperion’s best-selling Romantic Piano Concerto series H Y PER ION R EC OR DS
I was annoyed by Claire Jackson’s I cannot let Ignace Erauw’s assault on the Let us rejoice in the fact that today we
complaint in the September/October playing of Alfred Brendel and Paul Lewis have such a range of wonderful artists
issue (‘Equal measures’, page 14) about go unchallenged (IP Sept/Oct, Letters, and not complain when they don’t play
the overwhelmingly male and white jury page 6). everything.
she encountered at a recent international In Mr Erauw’s view no pianist is a David Blount
piano competition. Did she, as a female complete artist unless they excel in Exeter, Devon, UK
(though white) observer, honestly feel the Russian repertoire. Are we really
that any female or non-white participants supposed to believe that Stephen I enjoyed Benjamin Ivry’s article on
were prevented from reaching the inals Kovacevich, Radu Lupu, Murray ‘over-played’ literature in your Nov/Dec
because of jury prejudice? There is much Perahia or András Schif are not the issue (‘Familiar strains’, page 14). His
talk about possible bias, but little proof inished article because they prefer to arguments prompted me to consider a
of actual gender- or race-based prejudice. concentrate on the Classical repertoire? recent performance of Beethoven’s so-
Certainly the widespread competition Surely it is better for each artist to called Moonlight Sonata by the Canadian
success of Asian pianists (who I presume concentrate on the music with which he pianist Jane Coop. I knew Ms Coop
are considered non-white) cannot be or she has an ainity, rather than take to be a reined artist who plays with
attributed to jury bias. As for female on repertoire that is uncomfortable for integrity, depth and beautiful colour, yet
pianists, they have made a rather poor them just for completeness? I wondered how she would approach
showing in recent major competitions For me, the mark of a really great the sonata’s opening Adagio sostenuto
(Chopin, Cliburn, Tchaikovsky), artist is their ability to make one feel movement.
even though considerable numbers a familiar piece is being explored for My curiosity had been piqued by
participated. In the Cliburn, for example, the irst time, regardless of its technical visiting the Frederick Historic Piano
a single woman reached the semiinals. diiculty. I irst heard Paul Lewis Collection in Massachusetts, where one
Were the others excluded because of jury more than 20 years ago, not in a great can play an original instrument similar to
bias or because they were weaker players? blockbuster concerto, but in Beethoven’s the piano Beethoven would have known.
There was no doubt to my ears, and I Second. One of the highlights was With the knee lever providing a quieted,
was disappointed with their playing. the close of the Adagio, where Lewis thinly-veiled version of today’s sustaining
But given my ‘innate bias’ as a male, managed to make time stand still. With pedal, it is possible to do as Beethoven
which seems be taken for granted by Ms playing of such quality, why would instructed – namely hold down the pedal
Jackson, perhaps I did not even have the promotors not want to engage him in throughout the irst movement. This is
right to be disappointed. this repertoire? If any justiication were impossible on a modern instrument and
Bruno H Repp needed, just refer to the magisterial deinitely not recommended.
North Haven, Connecticut, US performance he gave of the Emperor In her introductory remarks, Ms
Concerto at last year’s Proms. Coop suggested that the irst movement
Claire Jackson replies: Mr Lewis is perfectly capable of does not express the state of dreaminess
Thank you for your letter, though your playing Rachmaninov’s Third Concerto conjured by the poet Rellstab and
question about whether particular should he so choose – indeed he did so subsequent publishers, but has a
participants were prevented from in his younger days, and made his Proms pain-illed quality. Her performance
reaching the inals because of jury debut in Liszt’s First Concerto – but it is far exceeded my expectations of the
prejudice suggests that you have in the Classical works that he is supreme. modern Steinway D. In the careful
oversimpliied my argument. What I Incidentally, I am oten struck by the hands of this skilful, intelligent pianist,
outlined in the column is that there ability of British pianists to produce she demonstrated that the composer’s
exists a societal inequality, which means a glorious rounded pianissimo, which original intention can be conveyed
certain pianists are discriminated against never fails to reach the back of the hall through sensitive pedalling on a modern
before they even enter a competition. yet can stop the heart. I am thinking piano. Bravo to Coop and her imaginative
I contend that encouraging diversity particularly of Myra Hess, Solomon expertise, which made listening to this
on jury panels allows musicians to see and Cliford Curzon from previous sonata a brand new experience.
themselves relected in the faces of those generations, though Benjamin Grosvenor Dr Patricia Stowell
who will be judging them. has this ability too. Bangor, Maine, USA
6 International Piano January/February 2019

Your best is
where we begin
The San Francisco Conservatory of Music
is proud to welcome Jeremy Denk to
its piano faculty.
PIANO FACULTY
Jeremy Denk
Paul Hersh
Sharon Mann
Corey McVicar
Yoshikazu Nagai, chair, piano
Jon Nakamatsu
Garrick Ohlsson ’16, honoris causa
Timothy Bach, chair, collaborative piano
800.899.SFCM
sfcm.edu
NEWS & NOTES
news notes
LONDON FESTIVAL TO MARK CLARA SCHUMANN’S BICENTENARY
T HE BICENTENARY YEAR OF
Clara Schumann’s birth is to be
commemorated with a three-day festival
the Schumanns and Brahms. A Lieder
Masterclass led by Eugene Asti features
three emerging singer-pianist duos
at St John’s Smith Square, London, from Oxford Lieder Young Artists, each
22-24 February 2019. of whom will explore a work by Clara
Born in Leipzig in 1819, Clara Schumann plus another piece associated
Schumann is remembered today as the with her.
wife of Robert Schumann and close friend The Festival closes with Brahms’ Vier
of Johannes Brahms. The three-day festival ernste Gesänge, which were first played
aims to shed light on other facets of her life at a private gathering of close friends
– as a pianist, composer, friend and mother. immediately after Clara’s funeral.
The Clara Schumann Festival opens Brahms sent a copy to Clara’s daughter
with a rare opportunity to hear her Marie Schumann with a letter in which
complete published songs – 29 settings in he wrote: ‘You will not be able to play
total. Belgian soprano Sophie Karthäuser through these songs just now because the
shares the programme with English words would be too affecting. But I beg
tenor Alessandro Fisher (winner of 2016 you to regard them… as a true memorial
Kathleen Ferrier Competition and BBC to your beloved mother.’ Brahms passed
New Generation Artist), accompanied by away 11 months after Clara.
Eugene Asti, whose recordings include The Beverley Vong, Festival Curator said: Remarkable resilience:
Songs of Clara Schumann for Hyperion. ‘Not only did Clara Schumann juggle Clara Schumann (1819-1896)
Other Festival highlights include an international solo career with being
a recital dubbed ‘The Old Masters’, a mother of eight (a feat in itself), but women endured endless inequalities,
juxtaposing pieces by Bach and Clara she inspired a huge amount of music. Clara Schumann displayed remarkable
Schumann; ‘Clara and Brahms’, featuring Selections of Clara’s own output are resilience, determination and devotion
piano trios by both composers; and ‘The featured alongside works by household to music.’
Mendelssohn Connection’, which explores names to whom she was a muse,
Mendelssohn’s close association with friend and colleague. In an age when www.sjss.org.uk
STEINWAY UNVEILS ELBPHILHARMONIE PIANO

S STEINWAY & SONS
TEINWAY & SONS HAVE UNVEILED enables owners to experience pianists’
eight new pianos in partnership with performances in their own home.
Hamburg’s Elbphilharmonie concert Each instrument sold will be
hall. The partnership follows the opening represented by a selected pianist
of Steinway’s Spirio Lounge next to the – known as a ‘godparent’ –
iconic venue. namely Lucas & Arthur Jussen,
Elements of the Elbphilharmonie’s design Igor Levit, Jan Lisiecki, Brad
are reflected in the pianos: the silhouette of Mehldau, Daniil Trifonov, Mitsuko
the building shapes the music stand, and Uchida, Anna Vinnitskaya
an interpretation of the dot matrix on the and Yuja Wang. Owners
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Fabric from upholstery in the Grand Hall meet the godparent of their
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The pianos are available in classic black tickets for a recital at the
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NEWS & NOTES
BIRMINGHAM CHAMBER MUSIC COMPETITION WINNERS ANNOUNCED

V IOLINIST USHA KAPOOR AND
Royal Birmingham Conservatoire
postgraduate student Edward Leung have
Conservatoire (RBC) with Pascal
Nemirovski.
The competition was held as part of
required to realise it. Royal Birmingham
Conservatoire has put chamber music at
its heart with inspiring results.’
won the first Birmingham International the inaugural Birmingham International The competition received 40 entries
Piano Chamber Music Competition. Piano Chamber Music Festival, which from 11 countries. Eight young ensembles
The duo will receive £4,000, a saw 14 concerts and 13 masterclasses were selected to participate, each giving
commercial recording with Resonus take place at RBC between 20 and 23 a public recital and taking part in
Classics and professional engagements November. masterclasses with leading artists. The
at Wigmore Hall, Winchester Chamber Curator Daniel Tong, head of piano final was live-streamed by Classic FM
Music Festival, Ulverston Festival and chamber music at RBC, said: ‘Chamber from RBC’s Bradshaw Hall.
the Chamber Circle, Brussels. Pianist music is a multi-layered medium, in The next Birmingham International
Edward Leung is currently pursuing his the wealth and depth of its repertoire Piano Chamber Music Competition is
Master of Music at Royal Birmingham as well as the skills and characteristics expected to take place in 2021.
HASTINGS COMPETITION TO BECOME BIENNIAL

H ASTINGS INTERNATIONAL
Piano Concerto Competition is to
become a biennial event after its next
history stretching back over 100 years. It
was relaunched in 2005 and celebrated its
10th anniversary in 2014 under the artistic
‘The most exciting thing about going
biennial is that we’ll have the time to
develop the competition’, said Wibaut.
instalment in 2019. direction of pianist Frank Wibaut. Recent ‘We’ll be able to make it more exhilarating
Formerly part of the Hastings Music laureates include Yekwon Sunwoo, winner for the audience and offer more
Festival, the competition has an illustrious of the 2017 Van Cliburn Competition. opportunities – including concerts – for
our contestants. Moving to a two-year
model will also help us to develop our
outreach and education programme, as
well as furthering our very important
relationship with the Royal Philharmonic
Orchestra.’
The 2019 competition will take place
from 21 February to 2 March 2019 at the
White Rock Theatre in Hastings, UK.
www.hastingsconcertocompetition.co.uk
BOB MAZZER
Hastings Competition 2017

winner Kenny Broberg
NEWS IN BRIEF
Argentinian pianist Nelson Goerner and Vietnamese pianist Dang the Liszt Academy. He was also awarded the special prize for best
Thai Son have been awarded the Gold Medal ‘Zasłuz·ony Kulturze Hungarian contestant by the Hungarian Musical Society. The
Gloria Artis’ for services as ambassadors of Polish culture. Artus international competition jury was chaired by British composer,
Szklener, head of the Fryderyk Chopin Institute, described them pianist and conductor Thomas Adés.
as, ‘not only the best ambassadors of music but also of Polishness.’
Nelson Goerner said: ‘I am deeply moved and utterly surprised, Carl Fischer Music, Theodore Presser Company and
because I never expected such a distinction. Words fail me at technology company Tido have announced a new partnership
expressing the depth of my feelings.’ giving Tido Music app subscribers access to a wide range of
repertoire, method books and studies. The partnership has been
The Bartók World Competition at Budapest’s Franz Liszt launched with Repertoire Classics for Piano. Available via desktop
Academy of Music has been won by Hungarian composer browser or iPad app, the publishers’ scores are enriched with
Dániel Dobos. He topped an international field of over 200 professional recordings and a range of practice and annotation
composers with his piano composition Drumul Dracului. Dobos tools. The iPad app can even listen to musicians as they play,
is a currently a second year graduate student of composition at turning the pages of the score automatically.

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O N E T O WAT C H
Pure poetry
Chinese-American pianist Eric Lu has been catapulted into
an international career following his stunning win at the 2018
Leeds International Piano Competition. Murray McLachlan is
impressed by the natural freshness and level-headed integrity of
this talented young performer
Consummate poet of the piano: Eric Lu
was interesting to hear him mention

with admiration and respect two of
the competition’s most illustrious stars
during a conversation the morning
after the concerto finals.
‘One pianist who influenced me
tremendously is Radu Lupu,’ says Lu.
‘I adore him: everything he touches
turns to gold. I learnt so much from
his sound production, the way he
approaches the music. His humility and
the aura around his playing – he has
ALLAN MCKENZIE/SWPIX.COM
such spirituality. It is deeply touching

but it is also completely true to the
score. He always plays with good taste
and you can tell he is a tremendous
thinker – he thinks like a composer,
so the pieces all make sense and come
together so well. Another pianist I
listen to regularly is Murray Perahia.
H
E ONLY TURNED 22 LAST DECEMBER, BUT ERIC Everything I’ve said about Radu Lupu also applies to Perahia, but
Lu already has the music world at his feet. In his they are different aesthetically. He is the kind of idol that anyone
performances last year in the Leeds International Piano would hope to become.’
Competition, he consistently showed qualities that marked him Lu was born in Massachusetts in 1997 to a family of non-
out as the top contestant. He is unquestionably a special artist – his musicians – both his parents and his sister are engineers, though
sincerity and integrity shine through as a performer who never classical music was always playing in the background at home.
fails to put the music first. The pianist’s bias towards classical repertoire and Chopin has
Lu’s elegant approach and sense of line immediately draw the featured in his career from the earliest years. Indeed, his first major
listener into a world where the music is allowed to breathe and performance was of Beethoven’s Third Concerto in Boston, aged
project with natural freshness and elegance. He is a consummate 11. ‘I was always more a classicist,’ he says. ‘I’ve always been into
poet of the piano, cultivating essential qualities such as cantabile Bach, Mozart, Chopin – very traditional … And yes, I still feel that
and parlando: Lu always manages to make the piano sing and way’. A huge influence came in his early teens when he discovered
speak. His performances throughout the competition were the recordings of Grigory Sokolov. ‘When I was 13, Sokolov started
consistently commanding, but never self-indulgent. In Chopin’s to become my favourite pianist – and he still is today,’ says Lu.
Fourth Ballade and Sonata in B-flat minor, Schubert’s Impromptus ‘He changed my life completely, just by knowing his recordings!
Op 90 and Beethoven’s Fourth Concerto, Lu showed himself to I listened all day and know his discography backwards. A gigantic
be an artist in the tradition of celebrated past winners, and it artist… incredible.’

O N E T O WAT C H
Lu’s preference for the classical repertoire has not prevented him UK appearances in March (Chopin’s Concerto in E minor with the
from venturing into territory more often associated with Romantic Hallé as well as recitals in Lancaster and Leeds). In August, he will
virtuosity. Indeed, he has already performed Rachmaninov’s perform Mozart’s Concerto in D minor with Manchester Camerata
imposing Third Concerto with authority – an impressive recording as part of the Chetham’s International Piano Summer School.
can be viewed on YouTube. Did this work take many hours of Meanwhile, Lu is being carefully mentored not only by his
preparation? ‘Yes, that piece took a long time. It was a big journey new agent, Askonas Holt, but also by the Leeds International
to put it together, but musically it came to me very naturally. Piano Competition, which continues to monitor and advise
Of course, technically maybe only a few can claim that Rach 3 him on his career. It’s reassuring to know this supremely
comes naturally to them!’ talented young man, barely old enough to drink legally at a bar
Lu’s repertoire is colossal by any professional standard, but back in Massachusetts, has a support network to ensure his success
exceptionally so for an artist so young and currently in year five is not short-lived. e
of his studies at Philadelphia’s Curtis Institute. His mentors there
are Robert McDonald, Jonathan Biss and Dang Thai Son. ‘My Eric Lu’s debut album
teachers have helped me tremendously throughout, every step of from Leeds features live
the way,’ says Lu. ‘It has been a great five years at Curtis. The level is performances of Chopin’s
very high and everyone who studies there is a tremendous musician. Fourth Ballade and Piano
We inspire each other a lot and the friends you make there are very, Sonata No 2, plus Beethoven’s
very close.’ Piano Concerto No 4 with the
Since his triumph at Leeds, Lu has been incredibly busy, Hallé Orchestra conducted by
circling the globe and performing not only in the US and Britain Edward Gardner
but also in China and mainland Europe. His latest release from (Warner Classics
Warner Classics features his prizewinning Leeds performances of 9029555215)
Beethoven’s Fourth Concerto and solo Chopin. Plans for the first
half of 2019 include an extensive tour of Korea as well as several www.ericlupianist.com
Calgary Philharmonic Orchestra presents
MORNINGSIDE
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Cello | Piano | Viola | Violin

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Application deadline: 30 January 2019
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COMMENT
Looking good
in the music the equivalent of a plot; they by many influential career-makers in the
Is it wrong to are following the ground bass or expecting music business around a half-century ago.
promote pianists for the theme to re-enter in the dominant, and

so on, and this keeps them on the rails. But
The suppression of talent in favour
of visual appeal is not just an historic
their physical I fly off every minute…’

Forster’s attention was distracted by the
phenomenon. Numerous brooding, svelte
young Russian pianists of all genders
appearance? Yes, says incidentals of concert-going, including the
‘extreme physical ugliness of the audience.
are given recording contracts complete
with come-hither CD cover portraits.
Benjamin Ivry, when A classical audience is surely the plainest
collection of people anywhere assembled
Yet one of today’s outstanding Russian
keyboard artists has been deprived of
placing emphasis for any common purpose; contributing my
quota, I have the right to point this out.
the fame he deserves: Maxim Anikushin,
born in Moscow in 1976, performs
on looks comes at Compare us with an office staff, and you with a symphonic scope and profound
will be appalled.’ understanding of how to create a sound
the expense of Promoters and marketing gurus cannot, universe from keyboard scores. The late
as yet, control the beauty quotient of pianist and critic Harris Goldsmith noted
recognising true crowds at piano recitals. For now, they in a review in 2012: ‘Anikushin’s musical
prefer to boost the careers of photogenic, persona is, to his greatest credit, brilliantly
talent alluring artists in their first flush of virtuosic, but also elegant, tasteful and
youth. This prioritising of looks above all essentially classically reserved: I can give
no higher compliment than to write that
A
DEUTSCHE GRAMMOPHON
S DEUTSCHE GRAMMOPHON he is very much in the tradition of such

releases its latest CD of Yuja fine paragons as the fondly remembered
Wang (The Berlin Recital, DG Benno Moiseiwitsch.’
4836280), adorned with the usual While perfectly presentable onstage,
midriff-accentuating dress, the trend of Anikushin is simply not the average
confounding pianistic careers with beauty marketing department’s notion of a
pageants continues. There is nothing glamour god (think, instead, of a friendly
new in focusing on visuals as well as lab technician). Record labels have
sounds in piano performances. Franz shown little interest in him, despite his
Liszt, acknowledged as founder of the distinguished training at the Moscow
piano recital, swept across 19th-century Conservatory where he studied under
Europe’s most prestigious salons with his Y I Batuyev, followed by work at the San
dashing good looks, to the point where Francisco Conservatory with Milton
one besotted grande dame reportedly Salkind, at the Juilliard School of Music
complained at the notion of setting such with Oxana Yablonskaya, and the
a fine-looking man before that humdrum Manhattan School of Music with Solomon
piece of domestic furniture, the piano. Keyboard couture: Yuja Wang Mikowsky. The piano scene in America
This tradition proved long-lived. It’s is the poorer because Anikushin is not
commonly assumed that recital audiences other qualities inevitably sidelines artistic recording more frequently.
have short attention spans, all too ready maturity and emotional expression at the Performers who bow to the tyrannical
to stray into matters unmusical. In his keyboard, so that exceptional pianists aesthetics of marketing regimes are part
essay ‘Not Listening to Music’, collected who could never be mistaken for fashion of the problem. These would-be matinee
in his Two Cheers for Democracy (1951), the models may well end up being overlooked. idols often plead, rather disingenuously,
novelist E M Forster confessed about his The American pianist Richard Goode, that they’d like to be valued by the public
behaviour at live performances: ‘I wool for example, only belatedly acquired for their music-making, and not for any
gather most of the time, and am surprised the sort of international renown that superficial sex appeal. Yet they are usually
that others don’t. Professional critics can his significant talents merit. Goode’s well aware that without their good looks
listen to a piece as consistently and as early years were spent struggling against and provocative dress-sense, the door to
steadily as if they were reading a chapter in strict preconceptions of how a keyboard big-label recording studios might never
a novel. This seems to me an amazing feat, artist should be groomed and attired. have been opened in the first place, as is the
and probably they only achieve it through Appearing on stage as a young, dishevelled case with the splendidly accomplished but
intellectual training; that is to say they find Dr Johnson-type, Goode was discounted woefully neglected Maxim Anikushin. e

T H E I L L -T E M P E R E D C L AV I E R
For sensitive, considerate concertgoers such as the long-suffering

Charivari, hell is other people …
T
HIS COLUMN IS FREQUENTLY as sentimental, reflected in the shameful the venue – precisely because of the people
critical of the BBC Proms, ‘The pantomime from the front rows where who go to them. Having paid good money
World’s Greatest Classical Music they dab their eyes and blow their noses for a ticket and made the effort to travel to
Festival’. If it’s not the same old same old in pretence of grief and sorrow. What was the concert hall (sometimes at considerable
concerto repertoire, it’s the fatuous mix once a moving piece of music (underlined distance and expense), I try to get there on
of new commissions and stale repertoire. by Wood’s juicy harmonies) is now time. Is it too much to expect others to do
I won’t rehearse all that again. But there reduced to a backdrop for the Prommers the same? Squeezing past me to get to their
is one annual act of communal inanity to play to the television cameras. seats just as the house lights lower is not
that makes me want to revive corporal Admittedly, this is but a once-a-year empathetic with the quiet, reflective state
punishment – the stocks, perhaps, or the example of thoughtless and/or stupid of mind into which I have slipped.
ducking stool – and that is during the audience behaviour, but Charivari attends You can bet your bottom dollar that
traditional part of the Last Night in the far fewer concerts than of yore – wherever your seat will be directly in front of the
Henry Wood Fantasy on British Sea Songs
when we get to the cello solo of ‘Tom
Bowling’. The words and music are by
Dibdin and memorialise the death of a
young sailor.
I can just about remember the days
of Sir Malcolm Sargent and the regular
appearance of Constance Shacklock
in ‘Rule, Britannia!’ (listen at y2u.be/
xd8Xeg9jgy4 to hear how it was done
before all the gimmickry and fancy
dress besmirched the sincerity of the
original). The audience held its breath
during ‘Tom Bowling’. It reflected the
period, not so many years before, which
had seen horrific loss of life, a motivic
threnody for all those who had died in the
conflict. Today the lovely tune is derided
STUDIO 72
Inconsiderate concertgoers
drive others to distraction

T H E I L L -T E M P E R E D C L AV I E R
lady who spends most of the entire second

movement (andante e sempre piano) rifling
‘Many venues now ban the use of mobile
through her handbag to search for a cough
sweet before unwrapping it, oblivious to
phones, but sadly not the morons who hold
the noise she is making. Or the man three
seats to the left who breathes through
them aloft to film proceedings’
his nose like a horse. Or the idiot whose
spectacles fall off his lap on to the floor
with a thump (No – don’t try to retrieve
them until the music has finished!). Or Some of them manage to escape the pest to great lengths to hide their activity
the programme, ditto. Clapping between controllers and enter the auditorium. from other audience members. Filming
concerto movements? It depends: generally, How can you listen to a Beethoven sonata proceedings is altogether different.
it’s inappropriate, though sometimes or a Chopin Nocturne while looking at a And if it interferes with other peoples’
understandable (after the first movement screen above your head? How do you think enjoyment, think what effect it might
of, say, Tchaik 1). your fellow audiences members feel about have on the artist. It is hard enough to
It is all about concentration. Once the that? Do you think that someone has come play a solo recital of difficult, demanding
music begins, one hopes – indeed, one to a piano recital to listen to music while music without the distraction of
expects – to be able to listen to it with a experiencing all sorts of antics out of the unexpected movement in the auditorium.
degree of serenity. The number of times corner of their eye? Were I playing a recital and distracted
that has been achievable in recent years People have made illicit recordings of by someone filming the concert on
can be counted on the fingers of one hand. concerts for years, made easier in recent their phone, I should stop playing, leave
True, many venues now ban the use of decades by ever smaller recording devices. the stage, and refuse to return unless
mobile phones, but sadly not all the morons At least these people are discreet. In fact, that person was bodily removed from
who hold them aloft to film proceedings. in the past, such bootleggers would go the auditorium. e

C OV ER S TORY
MIDDLE WAY
It’s not all about Spain for Javier Perianes. A native of
Andalusia, the music of his homeland runs in his blood,
but he also finds inspiration and balance in the Gallic
flavours of Debussy and the Germanic gutsiness of
Beethoven. Owen Mortimer reports from Seville
I
T’S A BALMY SEPTEMBER counting the greatest fans of Alicia de ‘It requires an audience specially quiet and
evening as I slip out of my hotel Larrocha, put me in first or second place concentrated: the atmosphere created by
to meet Javier Perianes in central – and that’s assuming first place would be Mompou’s music is really extraordinary.’
Seville. He’s already at our reserved for her family!’ Written between 1959 and 1967, the cycle
rendez-vous and greets me with Perianes received some private lessons of 28 miniatures lasts nearly 75 minutes
an enthusiastic handshake, his relaxed from Larrocha during the last year of her and contains a lot of sparse, introverted
appearance and affable manner instantly life, and describes her as ‘a very special writing – the antithesis of showy virtuosity.
putting me at my ease. woman, extremely tough and with a ‘When I was practising Musica callada it
Five minutes later we’re sitting at great sense of rhythm and colour.’ Her left me with the feeling that this is music
a roadside café shaded by Seville’s influence has clearly worn off on him, and to be played for just one person – or only
spectacular gothic cathedral, its yellow he doesn’t even seem to mind the constant for yourself. It can be quite challenging to
limestone glowing intensely as the shadows comparisons. ‘I had a beautiful experience feel the silence in this repertoire. The old
lengthen. The crenelated walls of the last year,’ he explains, ‘when her daughter idea, that silence is part of the music, is
Alcázar Palace peek out from behind the Alicia Torra came to my dressing-room particularly true in Mompou. You feel it
city’s colonial-era archive. Horse-drawn after a recital in Barcelona. I was almost here more than in most other repertoire.
carriages clip-clop along the cobbles while apologising for playing in front of her! But Maybe we are talking about a different
couples flirt and tourists go about their she took my hand and said, “You don’t know kind of silence, but its effect in Mompou is
sightseeing. Could there be a more perfect how proud my mum would have been if she very impressive – his music is very special,
setting to meet an artist whom I last heard had heard you tonight – especially the way and should be listened to in a special
performing Nights in the Gardens of Spain you play Schubert and De Falla”.’ environment.’
at London’s Southbank? Listeners keen to hear Perianes in this Mompou’s own recordings of Musica
De Falla’s masterpiece is something of repertoire for themselves need look no callada made a huge impact on Perianes,
a calling-card for the Andalusian pianist, further than his substantial discography, though he says he didn’t listen to them
and his rendition in London was superb: which features half a dozen discs or more before going into the studio –‘only when
technically polished, dramatically paced of Spanish repertoire. As well as De Falla’s I made my own album’. His teacher at
and full of colour. It’s perhaps inevitable Nights and Seven Spanish Folksongs, he has the time was Josep Colom, who had
that audiences associate him with this recorded the piano quintets by Granados also recorded Mompou’s music. ‘When
repertoire, but Perianes is quick to and Turina, Lorca’s Canciones Españolas I finished playing he said, “What you’re
emphasise the breadth of his interests. antiguas with flamenco singer Estrella doing is beautiful. I’m pleased. Don’t
‘There have been several seasons when Morente, and an album of sonatas and intervene.” He meant that I should just
I’ve not played a single note of Spanish pastorals by the 18th-century Sevillian play, feel, and be in the middle: not too
repertoire,’ he explains, ‘though it’s great composer Blasco de Nebra – all with the much sugar, or too little.’
music and deserves to be performed.’ Harmonia Mundi label. His very first This search for a ‘middle way’ is a
Anyone specialising in this repertoire album also showcased music from his recurring theme for Perianes, who believes
also faces the challenge of being compared homeland: Musica callada (Silent Music) by that the best performances strike a balance
with Alicia de Larrocha, whose recordings the celebrated Catalan composer Frederic between objectivity and feeling. This
of Granados, Albéniz and De Falla are Mompou (1893-1987). is particularly true of a composer like
widely regarded as definitive. Perianes ‘I have recorded and played a lot of Mendelssohn, whose Lieder ohne Worte ⌂
himself is no exception: ‘If you are recitals with this repertoire,’ says Perianes. stand at the crossroads between two

C OV ER S TORY
IGOR STUDIO

C OV ER S TORY
DANIEL GARCÍA BRUNO

HILARY SCOTT
‘I like talking to an audience when I have something special to say’
musical eras: ‘If you put too much sugar parents that I wanted to start the piano. Perianes’ first piano teacher was a
into this music it turns Mendelssohn into They were taken aback as they had already nun from Nerva called Julia Hierro who
a Romantic; too little leans too heavily agreed to buy a clarinet, but I said “I don’t continues to play an important role in his
towards Classicism,’ he explains. ‘How want to learn the clarinet any more, I life. ‘We are very close: I phone her before
to be in the centre? Try not to intervene prefer the piano”. Even today, whenever I every single concert. She is now 89 years old
too much.’ do a concerto with an orchestra, the first and lives in a community home where she
thing I do is to look at the clarinet section takes care of other elderly people – imagine
and think to myself: I could be there. that! If I am making a big debut, she says
⌂
P ERIANES WAS BORN IN THE
small town of Nerva, near Seville.
He began his musical studies at the age of
Who knows?!’ she will say some extra prayers for me. The
eight after being introduced to the piano

by an aunt – though not before considering
other options. ‘According to my parents I
wasn’t a very relaxed kid, so both of them
thought that it would be a good idea for
me to try music,’ he says. ‘I originally chose
the clarinet, but my aunt who was a piano
teacher at the conservatoire in Seville said,
“I want him to try the piano first!”’
Perianes was taken to a hotel in the
nearby port city of Huelva where his aunt
played for him. ‘I thought, “Wow, what a
sound!” I remember the first thing that I
told her was “This is like an orchestra”.
GRANADA FESTIVAL
As soon as I got back home, I told my
Spanish flavour: Javier Perianes

at the Alhambra in Granada

C OV ER S TORY
‘Beethoven requires a very substantial sound’
next day I call to confirm that everything ‘Yes, I also enjoyed journalism, and would some interesting ideas to convey, without
has gone OK. She is like family to me.’ have loved to write about politics, sport, becoming too technical, I think it can be
A crunch moment arrived in his mid- culture, whatever… I could also have very thought-provoking. For example, I
teens when Perianes had to decide whether imagined being an attorney and talking gave a recital at the Ravinia Festival with
or not to pursue music as a career. ‘In to the jury, convincing them to reach the a programme linking the music of Chopin
Spain we have to sit a university access test right verdict.’ and Debussy. I thought it would be useful
called the Selectividad, which determines His knack for communication makes to explain how and why I had chosen to
which career you are going to pursue. I sat Perianes a beguiling performer as well as relate pieces by these composers. In some
this exam so I had a fallback, but finally an engaging educator. ‘I like talking to an cases the relationship is very obvious, but
decided to focus on the piano.’ Were there audience when I have something special in others the link is more fragile. What do ⌂
any other pathways he might have taken? to say,’ he explains. ‘As long as you have Chopin’s Berceuse and Debussy’s ‘Clair de

New piano repertoire by Tim Richards
Jazz, Latin and Modern Collection

Spanning an eclectic range of styles including bebop, modal, swing, blues, funk,
calypso, samba and bossa, several pieces also blur the boundary between jazz
7
and classical music Seven-League Boots u TRACK 3

8
he harmony of this tune passes through three key centres a major third apart – C, A b and E major – C E B7 E B7
 
the same movement found in John Coltrane’s groundbreaking tune ‘Giant Steps’. Rhythmically the piece 17 3 3 3
        
1 1 2 1 3 4 3
is based on a Cuban 3:2 ‘clave’ pattern which repeats every two bars – aim for solid timing and a steady
           

pulse. Before you start, practise the left-hand bass line and ingering.
   
The collection is aimed at pianists looking 
 

   


   
5 
Tim Richards
q = 160 Swing or straight 8s 4
3 2 1
4
to expand their musical horizons C G7 C G7

A
4  
3 3
 
5 4
 4          
1 1
 
 

     E
Improvise for two bars on repeat,
hands together, E major pentatonic
mf 21 E B7
 
5
 4    
1 4 3 1 1 3 2
        
5
4          
1

1                
4 3 2 1
5
           
   
13 original pieces, plus arrangements of   
hands together, C major pentatonic
C G7 C
5 5 3 4 4 1 2 3

5 4 1 3 1
    
3 1
       
Repeat with improvised sections (1x on audio track)

     
then D.C. al Coda

two standards by iconic jazz composers   
   
        CODA
 3 1
E C
   
25
Thelonious Monk and Duke Ellington          

2

1
  


B A¨ E¨7 A¨ E¨7
 
9 5
 
2 2
          

3

  
    
            
       
3
   4     
3
2 1
3 2
Suitable for intermediate to advanced players

5

A¨ E
      
hands together, Ab major pentatonic 29
A¨ E¨7 A¨
   
1

13
  
3 3
    
5 4 1

 
1 3 2
   
2 1
   

     f sfz
           
            
     
4 1 3 3 
© 2018 Schott Music Ltd., London 5
Edition with online audio For more on the 3:2 CLAVE see ELP pp. 34–36 and 58–61.
For more on MAJOR PENTATONIC SCALES see p. 68. See also EJP1 pp. 19, 51, 62–63 and 182–183.
ED 13970 | £ 14.99 12 13
Available in all good music shops
for more information visit www.schottmusiclondon.com/tim-richards

C OV ER S TORY
lune’ have in common? I feel they share an

atmospheric relationship.’ Mostly, however,
too, with the orchestra fighting against the
piano, asking for permission to be heard –
‘Artists should act as a
he prefers to let music speak for itself: ‘I as Liszt used to say, like “Orpheus and the kind of translator of
don’t want to be a lecturer or talk down to Furies”. You can hear Haydn’s influence in
the audience, so I always aim to keep my the finale, which is music of pure joy and what the composer
comments short, precise and attractive.’ celebration. It’s a very special concerto.’
Social media is another important Warmth, wit and drama characterise intended. That’s how I
platform for Perianes to build and Perianes’ Beethoven, as can be heard from
communicate with his fan base, yet unlike his 2012 sonatas album Moto perpetuo
feel about music.’
some artists who are happy to put their (Harmonia Mundi HMC902138). He
personal lives on show, he keep his posts places particular emphasis on creating
strictly professional. ‘My social networks a rounded sound in this repertoire,
are a great part of everything I’m doing and following advice he received during [Estampes], “La sérénade interrompue”
are taken care of by my wife Lidia,’ he says. a masterclass in 2005 with Daniel [Préludes, Book I] and “La puerta del
‘We share the same philosophy: everything Barenboim. ‘It’s all about the sound,’ says Vino” [Préludes, Book II] – all beautiful
should be about the music. I have an old- Perianes. ‘If you watch the masterclass music inspired by Spain.’ The last of these
fashioned way of thinking. When I am online (see www.forte-piano-pianissimo. pieces took its cue from a postcard that
playing a Beethoven piano concerto or com/DanielBarenboimMasterclass.html) Debussy received from De Falla, depicting
sonata, it is about Beethoven, not about he’s completely right. Beethoven requires one of the Alhambra’s exquisite Arabic
me. The aim is to convey whatever you a very substantial sound. By comparison, a doorways. ‘When you listen to Debussy’s
can, drawing on your own background, composer like Debussy requires a “neutral” music, it convinces you that he must have
education and ideas. Artists should act as sound that floats. Barenboim told me this visited Granada,’ says Perianes. ‘Some
a kind of translator of what the composer approach can work in Beethoven – but not musicologists think he might have visited
intended. That’s how I feel about music.’ all the time. Take the first chord of Op 110 the Basque country, yet even so that has
[Sonata No 31 in A-flat major], which is nothing to do with “La puerta del Vino”.
a statement that has to begin powerfully, Debussy captured the scent of Spain like
no-one else.’ e
B EETHOVEN IS ONE OF THE
composers who looms large on the near
horizon for Perianes. In February, he returns
not hesitantly.’
French music, says Perianes, requires
a very different approach because it Javier Perianes’ latest album features Debussy’s
to London’s Southbank for a complete cycle was conceived as ‘a reaction against the Estampes and Préludes Book I (Harmonia
of the piano concertos with the London “stomach-music” of Austro-German Mundi Debussy Centenary Edition,
Philharmonic Orchestra. Both concerts composers. Beethoven, Brahms, Bruckner HMM902301).
will be conducted by his compatriot Juanjo and Mahler are aiming for something
Mena. ‘The orchestra likes Juanjo very transcendent, whereas Debussy and Ravel Perianes’ Beethoven Piano Cycle with the
much and he’s someone with whom I’ve are all about colour and frangrance. London Philharmonic Orchestra takes place
worked a lot. He is a very flexible musician Having said that, I think there is a mistaken at the Royal Festival Hall on 22-23 February
and a wonderful accompanist.’ approach to French and Spanish repertoire 2019. He returns to the Southbank for an
Perianes hopes that presenting all five to think of it as only colour.’ International Piano Series recital of works by
concertos together will highlight the Perianes will back at the Southbank Chopin, Debussy and De Falla on 16 April.
development of Beethoven’s compositional again in April for a recital featuring
style: ‘You get to hear how Beethoven went Chopin in the first half, followed by a www.javierperianes.com
from a composer whose music was very second half linking French and Spanish
close to Haydn and Mozart, to the big music. ‘Why juxtapose Debussy’s Estampes
statement of No 3, the poetic lyricism of No and De Falla’s Four Spanish Pieces? Because
4 and finally another big statement, No 5. they were both premiered by the great
I think it’s a nice way to show this Spanish pianist Ricardo Viñes. This year
beautiful evolution.’ also marks the centenary of Falla’s Three-
Interpretatively, Perianes finds the Cornered Hat, so I’ll be playing his amazing
Fourth Concerto most challenging. ‘It was piano arrangement of three pieces from
the last concerto Beethoven played himself, the ballet.’
and is the most difficult for both soloist A Spanish flavour permeates much of
and orchestra. It’s very lyrical, poetic and Debussy’s music, and Perianes is full of
highly original. The first movement starts admiration for the Frenchman’s affinity
with the piano [in G major], and the effect to his homeland: ‘He felt Spain like no-
is miraculous when the orchestra enters in one else, yet never visited our country!
B major. The second movement is unusual Just listen to “La soirée dans Grenade”

The 6th Manchester International Piano
Concerto Competition for Young Pianists
21–27 August 2019
Stoller Hall, Chetham’s School of Music, Manchester
Founder: Murray McLachlan
ENTRY CATEGORY
• 22-and-under
EMINENT JURY OF INTERNATIONAL
CONCERT PIANISTS
under the chair of Murray McLachlan
PRIZES
Participants perform for over £3,000
prize money, performance opportunities,
bursaries for study, scholarships
FINALS to be accompanied by Manchester
Camerata with conductor Stephen Threlfall
In association with
email: info@pianoconcertocompetition.com
www.pianoconcertocompetition.com
Saturday 20 April at 1pm

2019 Parkhouse Award
Finals Concert
Wigmore Hall, London
Two hours of varied and

exciting chamber music will
be performed by the four
finalist ensembles chosen
from an international entry. David Parkhouse
1930-1989
The jury’s decision will be
announced c. 3.45pm Supported by
Gordon
www.parkhouseaward.com Foundation
The Tertis
Tickets: £5 (free to Friends of Foundation
Parkhouse Award and Wigmore Hall)
Registered Charity
0207 935 2141 Wigmore-hall.org.uk 1014284
REVIEWS | BOOKS
JUDGEMENT DAY
Should the human failings of a man affect our opinion of his
greatness as an artist? A new French biography of Alfred Cortot
throws a spotlight on the pianist’s shocking wartime record as a
ruthless cultural arbiter for the Nazis. Benjamin Ivry assesses Cortot’s
destructive influence in musical circles during the Vichy regime
I n 1952, the Swiss-French pianist Alfred

Cortot informed a friend and early
biographer that the keyboard virtuoso
Arthur Rubinstein, of Polish Jewish origin,
was a ‘marvellous musician, but onstage,
his race incites him to behave like a
trained, or epileptic, dog. Always that old
Semitic desire to astonish one’s neighbour.
It spoils everything.’
Esteem for Cortot’s recordings has
remained unspoilt by persistent rumours,
only partly documented in English, about
Cortot’s deeds as High Commissioner for
Arts during the Nazi Occupation of France.
Cortot, who died in 1962 at age 84, was
a magisterial interpreter of Schumann,
Chopin and other composers, in addition to
permanently fascinating trio performances
with the violinist Jacques Thibaud and cellist
Pablo Casals. At the piano, he attained the
status of a Romantic poet – not a category of
individuals noted for good behaviour. Now
a detailed study, arranged thematically and
biographically, offers a summum of archival
research, some of it previously unpublished,
such as Cortot’s opinion of Rubinstein.
In addition to his pianism, Cortot had
extensive experience as a conductor, and
was a legendary teacher of such celebrated
pianists as Clara Haskil, of Romanian
Jewish origin. Yet as Haskil’s biographer
Jérôme Spycket pointed out, Cortot’s
wartime committee vetted all French

musicians for performance permits during
⌂
the Nazi Occupation, and Aryan origin was
‘Hitler of the piano’:

Alfred Cortot (1877-1962)

REVIEWS | BOOKS
Jewish pianist Léon Kartun (1895-1981), who

had studied with Louis Diémer at the Paris
Conservatory, was married to an Aryan.
No matter. The widely recorded Kartun
continued to endure life-threatening
imprisonment in detention camps until
shortly before the war ended, when he
finally escaped. Cortot also ineffectively
tried to help the pianist Henri Etlin (1886-
1951), threatened with having his flat seized
by the Nazis, on the grounds that Etlin, by
then blind, had served in the First World
War. In only one case did Cortot participate
peripherally in what turned out to be the
rescue of an imperilled Jewish musician.
The elderly soprano Marya Freund was
incarcerated, despite being championed
by Marie-Blanche Lanvin, the Countess of
Polignac. Finally, Freund was transferred
to a hospital, from which she escaped to be
sheltered by the accompanist Irène Aïtoff,
among others. Cortot played no role in
these subsequent events.
As leader of his so-called Cortot
Committee during the war, Cortot
had a dry, frigid, French civil servant’s
approach. His French biographers, François
Anselmini and Rémi Jacobs, point out that
the committee existed to plan a future
Can we appreciate Cortot for his musical accomplishments without admiring the man? for young Gallic musicians willing to be
subservient to Nazi Germany in exchange
considered a must. Haskil’s sister Jeanne, a risked his own life to return to for no career competition from non-Aryans.
capable and experienced violinist, was axed Occupied Paris from the Free Zone The Lithuanian-born Vlado Perlemuter
by the committee at mass auditions held to beg Cortot to intervene. Cortot did not qualify as French, any more than
to eliminate what was seen as a ‘foreign refused ‘coldly’ and Lazare-Lévy’s did Yvonne Lefébure’s Dutch husband.
element’ from the Paris music scene. son was tortured to death by Alois Brunner, Lazare-Lévy’s son was not a musician, so
A newly published biography of Cortot an Austrian Schutzstaffel (SS) officer Cortot’s advice would have been considered
(in French), which examines the pianist’s who became notorious as Adolf irrelevant. These bureaucratic explanations
wartime record in some detail, gives a series Eichmann’s assistant. for his inaction would have a certain logic,
of damning accounts of Cortot’s human During this tragic historical time, Corot were it not for Cortot’s pronounced gusto
failings. When asked to intervene to save did respond to appeals about a handful in opting to lead the Aryanising effort.
his former student Vlado Perlemuter from of Jewish musicians. Never suggesting to He worked energetically with other Vichy
deportation and death, Cortot ‘icily’ replied: Nazi officials that these prisoners should administrators, who ensured that all Paris
‘It can’t be helped. I have other worries. be freed or that the racial laws were unjust, Conservatory professors with links to
I must see to larger concerns.’ Another instead he recommended gentler treatment, Judaism were fired. Cortot accepted that
pupil and old friend, the pianist Yvonne given the status of detainees as musicians, the pianist Magda Tagliaferro (1893-1986),
Lefébure, was forced to flee the German or in some cases, as former French soldiers. whose husband was Jewish, should be
occupants because her husband was of One such was the pianist François Lang, pink-slipped. After the war, Cortot would
Dutch Jewish origin. Due to their lengthy from a prominent Alsatian family, a pupil claim that his goal was to protect the school
friendship, Lefébure appealed to Cortot for of Lazare-Lévy. Cortot’s argument, that and keep it open.
assistance, to no avail. An even older friend Lang had been awarded a Croix de Guerre It is less easy to explain why in 1938, at
was the French pianist and teacher Lazare- decoration for fighting the Germans in a recital in Karlsruhe, Germany, Cortot
Lévy, whom Cortot knew from around 1940, bore no results; Lang was murdered at was unfazed by a pre-concert order by Nazi
the turn of the century. Lazare-Lévy’s Auschwitz at age 35. officials that any Jews in the audience must
son, a French Jewish Resistance fighter, Cortot also informed the Gestapo, as a leave the hall immediately. After waiting for ⌂
was arrested by the Gestapo. His father mitigating circumstance, that the French this evacuation to occur, Cortot carried on

REVIEWS | BOOKS
with the scheduled programme. The same from Petrushka in concert and, somewhat master, Ernő Dohnányi. Anselmini
year, Cortot slated Erik Satie’s music on the curiously, devoted an entire chapter to and Jacobs have boundless reverence
supposed grounds of the latter’s ‘non-Aryan Stravinsky in his book, French Piano Music for Cortot’s discography, even a 1951
origins’. Cortot’s readiness to accept such (1930). Cortot claimed that in 1924, Edward Schumann concerto with Ferenc
criteria and actions extended to his being Elgar promised to write a concerto for him, Fricsay (Audite 95498) that is a mess,
the only French pianist to concertise in which seems unlikely, given Elgar’s reduced while a set of Bach Brandenburg
Nazi Germany during the Second World compositional output by then. Concertos conducted by Cortot in the
War. He made two separate concert tours Composers generally avoided by early 1930s (EMI Classics 67211), marred
to Deutschland in 1942. In Stuttgart, Cortot for public performance ranged by weird tempo changes, is lauded as
the accompanist Hubert Giesen (1898- from Mozart to Fauré. Only a selective ‘très honorable’.
1980) searched for superlatives and finally interpreter of Ravel, Cortot justified his Essential aspects of Cortot’s personality
declared to Cortot: ‘You are the Hitler of the insistence on playing that composer’s remain mysterious. No one appears able to
piano!’ Cortot noted these flattering words Concerto for the Left Hand using both explain why during a concert tour of America
in his diary. hands. He even produced an arrangement in 1920, Cortot, usually dignified well past
After the war, French authorities were accordingly. The furious Ravel considered the point of pomposity, agreed to pose for
mostly concerned with prosecuting writers it a betrayal, and said so. Undismayed, publicity photos dressed as a Hollywood
who had published incriminating texts Cortot argued that as long as the notes cowboy. An imagist at the keyboard and
demonstrating collaboration with the Nazis. remained the same, an interpreter was in didactic exhortations, Cortot urged
Musicians were dismissed as purveyors of ‘free to choose the fingering he prefers, students to create images with notes. His
mere non-verbal expression. Cortot himself using both hands and even his nose, own image remains in flux, adulated by
would express contempt for one badly as Mozart did on one epic occasion.’ fans, appreciated by others for his musical
informed postwar inspector who allegedly Cortot further asked how the work could accomplishments without admiration for
asked him, ‘Where did you sing during be harmed if the performer ‘used ten the man. At his funeral ceremony at the
the Occupation?’ Cortot’s eminence in the fingers instead of the five parsimoniously Church of Saint-Roch in central Paris,
international musical world made him an granted when it was written for a certain few professional musicians attended, but a
unlikely target for retribution, although he context’. Nor was Cortot a completist with number of pianists who had come to terms
decided prudently to relocate permanently Debussy, with whom he did not get with his wartime record were present to
to Switzerland. along on a personal level. pay homage: Magda Tagliaferro, Yvonne
Popular sentiment remained vivid Note-perfect Cortot never was, and Lefébure, Reine Gianoli, Jules Gentil and
nonetheless, especially from musicians who mishaps grew worse with the advancing Thierry de Brunhoff. A dozen years later, de
had been subjected to auditions by Cortot to years. Perhaps his multifarious activities Brunhoff, a Cortot pupil, would retire to a
‘eliminate the foreign element’. At his first did not allow time for practising. Memory Benedictine monastery in southern France
postwar Paris recital in January 1947, when lapses were another issue, captured in where he still lives, with forgiveness as
Cortot launched into the third movement Sir Thomas Beecham’s anecdote about part of his profession. e
‘Funeral March’ of Chopin’s Sonata No 2, peforming a Beethoven concerto with
a voice from the balcony inquired: ‘Mr Cortot: ‘We started with the Beethoven,
Cortot, is this dedicated to your friend and I kept up with Cortot through the
Hitler or to the dead of Ravensbrück Grieg, Schumann, Bach and Tchaikovsky,
[concentration camp]?’ and then he hit on one I didn’t know,
so I stopped dead.’ Cortot’s sense
T he new biography, simply titled Alfred

Cortot, is equally revelatory about
Cortot’s wide repertoire in younger years.
of programme-building could
odd. In May 1909 at the Salle Pleyel in
Paris, he played Beethoven’s Sonata No
be
He gave one rendition of Brahms’ Concerto 32 in C minor Op 111 before the interval,
No 1, at London’s Albert Hall in November then returned to conduct a concert version
1921, and never again. He also played in of Act III of Wagner’s Götterdämmerung,
public Musorgsky’s Pictures at an Exhibition sung in French.
and even Balakirev’s Islamey. In the autumn For all the vagaries of live renditions,
of 1919, Cortot performed Rachmaninov’s from today’s perspective one can only
Concerto No 3 at Queen’s Hall in London regret not having heard some events,
under the direction of Sir Henry Wood. such as an occasion in 1933 when Cortot
Not long after, he toured America with this conducted a Paris ensemble in Liszt’s Piano
concerto, accompanied by the Philadelphia Concerto No 2 with the soloist Vladimir
Orchestra with Leopold Stokowski. Cortot Horowitz. Or Cortot’s own reading of
was uninterested in Prokofiev’s music, Liszt’s Concerto No 1 in Budapest in
but played Stravinsky’s Three Movements 1935, conducted by another keyboard

A RTIST FOCUS
BOGUSŁAW BESZŁEJ/NFM
A splash of colour
Roman Rabinovich’s performance of the first volume of Haydn sonatas
is now out on CD. Michael Church meets a pianist whose approach to
music-making is informed by his love of painting and drawing
R
OMAN RABINOVICH’S NEW assuming that he would be a professional complementary, in that both involve
Haydn CD comes in a cover artist, and he still draws or paints every working with colour.
decorated with Expressionist day, the latter often on an iPad, which for Rabinovich also composes: his debut
streaks of colour laid over drawings of him means drawing with light; his style is recital at London’s Wigmore Hall in 2017
himself and the composer, all done with a accomplished and individual, suggesting included a whimsical set of miniatures
fine, sensitive line. I mention this because kinship with Klimt and Matisse. Music entitled Memory Box, which he’d written
the designs are his own. He grew up and painting, he says, are profoundly to accompany a series of paintings. ‘It is

A RTIST FOCUS
important for me that whatever I create in the keys. I enjoyed the great privilege
comes from a place of spontaneity and
‘Whatever I create of playing the piano which Haydn
playfulness,’ he explains. And when
you meet this agreeably unpretentious
comes from a place touched.’ In his view every pianist should
have the experience of playing historical
34-year-old, you sense the truth in that of spontaneity and instruments, and of exploring their tonal
remark. Winner of the Arthur Rubinstein possibilities, ‘because they are the direct
International Piano Master Competition playfulness’ link to the music they are playing’. He is
at the age of 23, he has long exuded the now learning to play the harpsichord: ‘It’s
relaxed grace which makes his recitals a completely different way of thinking about
such a pleasure. There’s a refined beauty in sound. You can’t make any diminuendo
his sound, his deployment of tone-colour or dynamics, for example – it’s just loud,
is masterly, and his virtuosity effortless. or softer. You have to phrase everything
The six or seven hours’ practice he puts with time, or with ornamentation. It’s a
in every day are subsumed into a pianistic very interesting challenge.’
excellence which seems unforced and Hammerklavier in private, as he does Bach’s A glance at Rabinovich’s diary might
lightly-worn. Goldberg Variations. The challenges of the suggest a case of severe workaholism.
Rabinovich was born in Tashkent in Hammerklavier are obvious, but what is it He gives around 60 recitals a year
1985. He showed early talent, and since about the Goldbergs? ‘There’s such a long and plays chamber music with his
both his parents were piano teachers, it tradition of great performances of them wife, the violinist Diana Cohen,
was natural that he should follow in the – and you don’t want to make a fool of who is the leader of the Calgary
footsteps of pianists like Yefim Bronfman, yourself! You want to find new angles Philharmonic and founder and co-
Stanislav Ioudenitch and Alexei Sultanov and find your own way with it, as well as director of Chamberfest Cleveland.
by beginning his studies at the city’s incorporating all the knowledge which has He tries to make time for three or four
celebrated Uspensky School of Music. been there for years. That takes time. As visits to Israel each year, though that is
Uzbekistan’s post-Soviet economy was very with all great music, it is better than can from a desire to spend holidays with his
rocky, so the family moved when he was ever be played.’ family, rather than out of any religious
eight to Israel, where (again following in Rabinovich’s Haydn CD is the first urge. Home for him means Calgary and
distinguished footsteps) Rabinovich came volume in a set which will include 42 of New York, but he’s not often there.
under the tutelage of Arie Vardy; thereafter that composer’s sonatas and divertimenti. Isn’t all this rather stressful? On the
he progressed to the Curtis Institute Why is he so enamoured of Haydn? ‘This contrary, he replies with a beatific smile.
in Philadelphia, where his grounding has been said before, but I must say it ‘I absolutely love what I do, and I can’t
was completed at the hands of teachers again: Mozart surprises you with the imagine doing anything else. I’m the
who had been trained in the Serkin and expected, but Haydn surprises you with luckiest guy alive, playing the greatest
Horszowski tradition. Pianistic pedigrees the unexpected. Haydn’s music has a music, in beautiful halls, on great pianos
don’t come more stylish than this. shocking quality, Mozart’s less so. Mozart – and getting paid to do it!’ e
Asked to list his favourite living pianists, is in a way more conventional.’ His Haydn
he quickly rattles off the right names: Lupu, is notably clean and muscular; in his Roman Rabinovich’s first volume of Haydn
Sokolov, Schiff, Perahia. And dead ones? hands, movements which other pianists Sonatas is now available from First Hand
‘Rachmaninov, Schnabel, Fischer, Lipatti render banal can on occasion become (FHR71). He can be heard in recital at
was unbelievable, Cortot.’ Including the imbued with magic. ‘He has this mocking London’s Wigmore Hall on 25 January
latter’s wrong notes? ‘I love his wrong side, as in the C major Sonata with its 2019, performing works by Ligeti, JS Bach
notes! And Gould of course. Some things opening notes which you can play with and Schubert. www.romanrabinovich.net
with him I do not understand, but one finger. But what he does with it is so
pianistically I don’t know anyone else who ingenious. Beethoven continued in that
could come close. Michelangeli maybe.’ vein, with his very simple, basic motifs,
In his forthcoming recital at Wigmore but his Bagatelles Op 126 are pure genius.
Hall he will play Schubert’s Sonata in How in such small forms he manages to
C minor D958, Bach’s Partita No 4 and encompass entire universes!’
Ligeti’s Musica ricercata. How comfortable Rabinovich recently visited the Cobbe
does he feel about tackling the latter? Collection of historic pianos as part of his
‘Not at all. You must overcome the fear. research into the history of performance
It takes a lot out of you to play music like and was blown away by the experience.
that.’ And as he discusses repertoire, he He has come to believe, with touching
reveals an engaging diffidence with regard mysticism, that instruments retain the
to the pianistic high peaks. He performs personality and the sound of their previous
a lot of Beethoven, but he only plays the owners: ‘Their DNA is forever ingrained

CHOPIN
Interpreter v Composer
Chopin: Interpreting
the Grandes Etudes
Op.10 & Op.25
by Angela Lear
A unique book with a detailed

commentary on the various aspects
governing Chopin interpretation.
CD1: A complete performance featuring
several original variants.
CD2: Illustrates comparative approaches
to each étude plus commentary.
‘Angela Lear enshrines all that
is best in Chopin playing.’ Angela Lear’s commentaries and
BBC MUSIC MAGAZINE recordings are based on extensive
research into Chopin’s Autographs,
I thought I knew a lot about Bach’s notation but you opened my ‘Her Chopin, alongside other draft/sketch manuscripts, annotated
eyes. It is surely one of the most illuminating books on performance performances, even by some of scores, original editions and all
practice of any composer. Thank you so much for writing it. the most respected pianists, is available sources. Chopin’s music has
J.L. – Denver, Colorado a revelation. Hear what always posed a challenge to pianists,
Chopin really intended.’
The author’s research is overwhelming… This book gives the but has the challenge to his interpreter
BBC MUSIC MAGAZINE
performer a wealth of information in a practical and non-didactic ever been successfully met?
way, which will beneit all keyboard-players – pianists included.
Stephen Kovacevich
ENQUIRIES & ORDERS VIA WEBSITE OR EMAIL:
info@angelalear.com ● www.angelalear.com
For full details, and to buy online htp://angelalear.com/book.html
All payments made securely using PayPal
www.didbach.co.uk
2nd edition
Hauts-de-France
international piano competition
Les Etoiles du Piano

From november 19th to november 23rd 2019
Hauts-de-France
international
piano competition
2nd edition
Roubaix, FRANCE
From november 19 to november 23rd 2019
th
Opened to all nationalities

Pianists aged from 18 to 32
Application deadline : october 8th 2019
INFORMATIONS & REGISTRATION

www.etoilesdupiano.fr
p.bougamont@etoilesdupiano.fr
+33(0)6 08 74 55 13
PERSONAL TOUCH
PERSONAL TOUCH
German pianist Burkard Schliessmann explains how
he has found inspiration for his latest album of Schumann
by delving deep into Romantic literature and philosophy,
as well as encountering the underwater world
through his love of scuba
G
OETHE SAID: ‘DREAMS ARE spoke, is the true domain of all Romantic his Opus 12 and 111 consist of groups of
the feelings of the imagination’. musicians. The thoughts and dreams of the kleinere Fantasiestücke (shorter fantasy
To me, fantasy and imagination poets, their poetry and vividly evocative pieces). Other works by him that could
without feelings are hollow and dry tales, inspired composers like Schumann come under this designation include
– music only comes to life when they to invent new harmonies and forms Kreisleriana, the Novelletten, Nachtstücke,
are combined. that dissolved inherited preconceptions. Kinderszenen and the later Waldszenen.
The realm of fantasy, that ‘dreamland Schumann used the word Fantasy in the Many of Schumann’s piano pieces were
⌂
Atlantis’ of which the writer ETA Hofmann title of his Opus 17, but not only there: inspired by works of literature. Knowledge
Burkard Schliessmann: ‘Schumann was a master of using music to evoke special states of mind’
MATTHIAS HEYDE

PERSONAL TOUCH
The originality, greatness and

individuality of Schumann’s mature
style comprises two aspects. His creative
imagination took him well beyond
the harmonic sequences known by his
predecessors, but he also discovered a
Romantic principle in fugues and canons
by earlier composers. Schumann saw
a parallel between the interweaving of
voices, the essence of counterpoint, and
the mysterious relationships between the
human psyche and exterior phenomena.
He felt impelled to express this discovery
in what the German Romantics called
musical arabesques.
Schubert’s broad melodic lyricism is
oten contrasted with Schumann’s terse
motivic writing, erroneously regarded as
‘short-winded’. Yet it is precisely with these
short melodic formulae that Schumann
shone his searchlight into the previously
unplumbed depths of the human
psyche. His melodies are rarely through-
composed, but their simple strophic
form can express everything from tender
intimacy to violent passion. The key to
this transformation is harmony, achieved
through Schumann’s use of chromatic
progressions, suspensions, pedal points
and a rapid alternation of minor and
major modes.
Schumann’s unique instrumental style is
perfectly attuned to his own compositional
idiom. Following a period in which the
Diving deep: Schliessmann in the Caribbean piano had been used to explore sensuous
beauty of sound and brilliant colouration,
of these literary sources, together with Stylistically, Schumann’s works follow with Schumann it again became a tool for
an understanding of musical structure, is on from a transitional period deined by conveying poetic monologues. He avoids
essential for any interpreter. Schumann the successors of Viennese Classicism, using the tone-colours of diferent registers
was a master of using music to evoke particularly Beethoven. Just as the sons of in an orchestral, Beethovenian manner,
special states of mind: for example, he Bach espoused the ‘galant’, ornamented but what counts is the dynamic richness
frequently writes passages that require the style of their generation, so the pupils and the diferentiation between main and
hands to cross, upsetting the performer’s of Mozart and Beethoven – Hummel, secondary voices. The fact that Schumann
natural sense of rhythm. Some efects can Ries, Czerny, Moscheles and so on – took rarely uses the top and bottom extremes
seem completely illogical when you hear pains to compensate for thinner musical of the keyboard is one feature of his piano
them for the irst time, but they gradually substance with increased instrumental style that signiicantly diferentiates its
make sense as the piece develops. In this brilliance, thereby preparing the ground colour palette from that of Liszt or Chopin.
he is a typical representative of an epoch for the golden age of the piano and the era The use of the sustaining pedal over long
in which the decline of religion led to a of the Romantic virtuoso. Yet among the arcs of sound, especially in lyrical passages,
revaluation of madness. Early Romantic multitude of composers writing for the helps the performer to evoke Schumann’s
writers like Gerard de Nerval, Hölderlin piano at that time, only two – Weber and dreamlike moods, mysterious sound quality
and Charles Lamb tried to replace logical Schubert – stand out as original creative and free-roaming imagination. It also reveals
thinking and rationalism with a new form forces. Schumann’s early piano works owe the limitations of the instruments of his day:
of understanding. Schumann did the same a greater debt to the intimate, romantic and notes can be sustained for much longer on
in music: anyone listening carefully can deeply soul-searching idiom of Schubert modern instruments, making it easier to
feel his irrational, almost crazy quality. than to Weber’s reined brilliance. achieve what is indicated in the score.

PERSONAL TOUCH
Schumann gave fantasy names to a composer or a piece of music, but in the Burkard Schliessmann’s Fantasies will be
diferent aspects of his own personality: end, it is important to free oneself from released in Spring 2019, featuring an all-
‘Florestan’ and ‘Eusebius’ represent thinking. True artistry can only be achieved Schumann programme on two SACDs/CDs:
opposing qualities such as ‘storm’ and by merging all aspects of music. The result Fantasiestücke Op 12, Kreisleriana Op 16,
‘explosion’ versus ‘deep emotionality’ and is an ‘explosion’ felt by every member of Fantasie in C major Op 17, Nachtstücke Op
‘intimacy’. Recognising these extreme the audience: intuition and emotionality 23, Fantasiestücke Op 111 and Gesänge der
feelings is the key to understanding end in catharsis, the highest level of art, Frühe Op 133 (Divine Art DDC 257530)
Schumann’s life, in which illusion became interpretation and intermediation. www.schliessmann.com
reality for him. By holding up a mirror Away from the piano, I ind inspiration
to Schumann’s febrile inner conlicts, for my music-making through scuba diving.
sharpness and poignancy, we can access his I am a qualiied PADI Master Instructor
Romantic realm of fantasy. and have logged more than 8,500 dives
In terms of his development, Schumann’s in oceans around the world. Thanks to a
direction of travel was from large phenomenon called synesthesia, I am able
architectural forms to miniatures. His to express the colours of the underwater
later works ofer a concentrated explosion world through my playing. Diving also
of sheer detail. Gesänge der Frühe (Songs of ofers a psychological ‘border experience’,
Dawn) Op 133 is one of Schumann’s most comparable with my experience of
shattering and deeply touching works, performing: when everything lows, the
created from the depths of his soul. It is music merges with the intentions of the
visionary yet abstruse. composer, the instrument, the acoustic
I strongly believe that intuition is an of the hall and the audience to achieve
aspect of truth. Intellectual understanding artistic perfection – the highest ideal
is one way for an interpreter to approach of all. e

Piano courses in France
and the UK
Chetham’s International
Summer School & Festival
for Pianists 2019
Artistic Director: Murray McLachlan
Part One: 15–21 August 2019 The
Part Two: 21–27 August 2019 Friendliest
Piano Summer
Artists include: School in the
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World!
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With daily concerts, lectures, improvisation, jazz, composition,

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Booking opens 10 January 2019
For further information, call +44 (0)1625 266899

or email info@pianosummerschool.com
www.pianosummerschool.com www.pianowithjameslisney.com
Piano Holiday
South of France
with Graham Fitch
1st - 8th May 2019
At Saint Laurent, we will

provide a fun-filled week
of music-making and
learning in a unique
venue, nestling in the
stunning Pyrenean
countryside.
Following on from
Graham's highly
successful Piano
Holiday at Saint Laurent
last summer, this new
Spring Course will still
be centred around the

piano, but will now include
master classes, workshops,
individual tuition, a student
concert and opportunities to
play duets.
Penny +33 6 02 10 37 13
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M A N U FAC T U R E R F O C US
SHARED
away in a workshop situated in his
patron Ferdinando de’ Medici’s Uffizi in
Florence, less than a hundred miles away
in Cremona Antonio Stradivarius was
EXPERIENCE producing violins of the highest quality

on an industrial scale. Over 600 or so of
them remain in circulation, and when
any of them sell it makes headline news.
Robert Turnbull reports from Cremona So what happened to piano manufacture
in Italy? It seems that after Cristofori’s
Musica, Italy’s leading international departure, it declined to the point
of extinction. Vienna and later Paris
exhibition for musical instruments, became the epicentres of the trade,
a phenomenon of the later phase of the
including the world’s only trade fair Industrial Revolution. But it certainly
wasn’t the end for Italy. In 1982, in the
exclusively dedicated to the piano – small town of Facile in the Veneto, the
furniture-making Fazioli family took up
Piano Experience the craft once again and began making
hand-built, highly specialised instruments
with a distinctly Italian label.
Ironically it was in the ‘violin city’
SK YOUR FRIENDS WHO 1731) can lay claim to have created what of Cremona that I first happened upon
A invented the piano and

you’d be surprised how
few know the answer.
Like many other feats of
17th-century musical technology, it was a
brilliant but by all accounts modest Italian:
Bartolomeo Cristofori da Francesco (1655-
was to become the most sophisticated and
popular musical instrument of all time,
though he is hardly a household name today.
That may be also because,
astonishingly, only three of his instruments
survive. It makes an interesting contrast
to the violin. While Cristofori beavered
an original Cristofori piano, tucked
away in the corner of a large brightly-
lit warehouse. The occasion was the
Cremona Musica, one of Europe’ largest
annual instrument fairs, set up by the city
as part of the much larger CremonaFiere.
Today more than 150 manufacturers pack
⌂
Valentina Lisitsa leads a piano masterclass at Cremona Musica

Yamaha’s Silent Wifi Concert in Cremona, with audience members listening through headphones
into 1,000 square metres of breezy air- coordinator in 2018. The affable and has worked with the best, from the Berlin
conditioned exhibition halls to network, astonishingly enterprising 44-year-old Philharmonic and the LPO to the Leipzig
posture and palaver. New products are from Latina could not have been a better Gewandhaus Orchestra, with conductors
furiously being launched by armies of choice, given his dedication to raising the of the calibre of Riccardo Chailly and
salespeople so every available space is profile of Italian pianism – especially given Yannick Nézet-Séguin.
used for seminars, workshops, concerts the Fazioli phenomenon has now claimed Prosseda’s vision for Cremona is to create
and auditions; but the atmosphere special relationships with a number of a piano community of shared networks
is quintessentially Italian, with five or six local artists, not to mention pianists of the that is not simply commercial, but brings
restaurants and bars providing lubrication calibre of Daniil Trifonov, Angela Hewitt together academics, journalists and
and a convivial atmosphere. and Louis Lortie. other leading industry figures in a great
As I examined the lonely Cristofori, Prosseda has already enjoyed an symbiosis. ‘Artists need to work on the best
dutifully obeying the instruction to ‘non astonishingly varied career moving on pianos while the manufacturers need great
toccare’, waves of music resounded from from a major competition winner to a musicians to show off their instruments’,
every other corner of the hall. The sound confidant multitasker. With Decca and he says. ‘Here we have a meeting-point
of budding string players showing off Hyperion, he has recorded Mendelsohn’s with all the rings of the chain present.’
their vibrati pervaded the air, with other entire piano works including a Third In two days, the Fiera brought 20,000
orchestral instruments, from tubas to Piano Concerto few people knew existed, people to Cremona. For the Piano
accordions rudely butting in. Imagine the which Prosseda discovered unfinished in Experience, Prosseda organised 30
shimmering string sound of Mantovani an archive. recitals, most given by pianists for no
relayed over Stockhausen’s Gruppen, and He also revived and recorded a fee. Old friends and former teachers such
you get the aural picture. number of works for the pedal piano, an as Boris Berman and Lortie offered their
In 2014 the Fiera asked Roberto instrument with an organ keyboard much services gratis to supplement a number
Prosseda to create the Piano Experience loved by late 19th-century composers such of younger artists he has been cultivating
as artistic advisor, becoming artistic as Charles Gounod. As a concert artist he over the years. Prosseda also took care to

invite journalists as ‘the primary source enough, he maintains. ‘Talent spotters ago, is from Puglia in the far south of
of identification. Websites, print media, from London or New York simply don’t Italy. However, her artistic and formative
blogs are our first line of support, so we set know what’s happening here. They should base is in Germany. Antonio Pompa-Baldi,
up a Media Lounge to hear what the press be more curious. It’s too easy today to live another Van Cliburn winner, teaches at
had to say.’ on YouTube or Facebook.’ the Cleveland Institute. Fabio Bidini, a
As each piano manufacturer was Italian piano music suffers too, says Steinway artist, settled in Los Angeles.
allocated an acoustically-sealed separate Prosseda. ‘Most composers are completely Those that stayed behind work as best
showroom, new endorsements and unknown outside Italy or famous only as they can in a potentially demoralising
enthusiasms were the result: ‘Many for their opera or instrumental music. climate – and yet they thrive. One of the
pianists never really get a chance to play Roberto Attanasio and Luca Longobardi recitals at the Fiera was given by Mariangela
on unfamiliar pianos,’ says Prosseda, ‘so are a couple of contemporary names, but Vacatello, a fiery Naples-born player who
we had Petrov and Steingraeber as well as we have a slew of Romantic composers played a technically demanding piece
the usual brands’. New ideas and technical too and promoting them is a big job’. The by Salvatore Sciarrino with exuberance.
innovations could also be introduced at scene has fragmented, he says. ‘Trying to Another was Axel Trolese, who played
the Fiera. Steinway, for instance, exhibited forge an integrated musical life has become Stockhausen’s Klavierstücke IX as well as
a new keyboard in which the angle of the more difficult since the forces applied to late Debussy.
middle black note has been slightly altered Italian music have shifted.’ On a positive note, while its
to allow fingers to fit more comfortably Classical music in general is fighting conservatories may have faltered over
into the white notes between. many fronts but the situation has been the years, Italy has a number of elite
Prosseda addresses these issues with compounded in Italy, where artists easily academies, such as at Bologna, Como and
boundless enthusiasm, but on the much find themselves excluded from advancing Fiesole, which cater to the most serious
larger question of Italy’s pianistic profile for reasons that are often political in professionals. It may be a rough ride but
in the global market one can detect some nature. It is the legacy of a postwar Italy is still a luminary force in music,
frustration. When I suggest that there are system that carves up the entire country’s and music-making is very much a part of
too few recognisable names on the global institutions along political lines. It is called the nation’s DNA. This was the land that
circuit today he had to concur. We admire clientelismo and describes a process where invented the fortepiano as well as opera.
Sergio Fiorentino, Arturo Benedetti people of influence are inserted into public It now needs to harness its own musical
Michelangeli or Aldo Ciccolini, but these administration, not necessarily through identity and forge its own way forward in
were, as Prosseda woefully points out, of a merit or even experience. Getting a job in a the 21st century. e
previous generation. musical institution meant joining a political
There are in fact a few emerging artists party and, if necessary, doing its bidding. Cremona Musica 2019 will run from 27 to 29
with recording contracts and full diaries The result was that many of the best September at CremonaFiere, Italy. The Piano
but one could argue that only Maurizio pedagogues left Italy to set up bases Experience is presented in partnership with
Pollini stands out on the international abroad. Beatrice Rana, a prizewinner at the Italian Association of Piano Tuners and
circuit today, and he is close to retirement. the Van Cliburn competition a few years Repairers (AIARP). www.cremonamusica.com
I venture a comparison with the current
posse of French pianists emerging
confidently on to the scene, all with their
sights set on Carnegie Hall.
I venture to ask Prosseda whether, like
many Italian opera stars during the sixties
and seventies, pianists generally prefer
to stay within the comfort zone of Italy’s
narrower market, close to their family
support system. ‘Oh no, that’s not it at
all’, he insists. ‘Italy has many uniquely
talented pianists who are ambitious
and want to travel. The problem is lack
of meaningful support from either the
private sector or the government.’ Contacts
with managers abroad aren’t nearly strong
Italian style: Fazioli instruments

were a major draw for visitors
to this year’s Piano Experience

SUMMER SCHOOLS
Sounds of summer
IP puts a spotlight on practical courses for pianophiles in 2019
US MMB 2019 takes place at Boston’s New interactive sessions (student performances
Morningside Music Bridge England Conservatory. Courses in solo with discussion by classmates and
8 July to 3 August 2019 piano and collaborative piano will be teachers); guest lectures; faculty lecture-
Boston, Massachusetts led by a distinguished line-up of tutors, recitals and presentations on effective
Morningside Music Bridge (MMB) including guest faculty members Krzysztof practicing, style and interpretation,
is a summer classical music training Jablonski and Roman Rabinovich. technique, memorisation, performance
programme for advanced piano, violin, Application deadline: 30 January 2019 preparation and repertoire. There is also
viola and cello students aged 12 to 18. Each www.mmb.international weekly coaching in piano duet or chamber
year, dozens of young musicians gather works, together with opportunities to
for a month of intensive music-making Jacobs School of Music perform ensemble music in recital.
that includes a concerto competition, Piano Academy Other highlights include theory classes
masterclasses, private lessons, chamber 22 June to 13 July 2019 and daily supervised practice periods,
coaching and numerous performance Bloomington, Indiana with experienced teachers and practice
opportunities. The Jacobs School of Music Piano coaches on hand to help students progress
MMB charges no tuition fees, Academy brings serious young pianists rapidly. An optional three-week series of
guaranteeing barrier-free learning that has together with outstanding teachers and eight classes is offered for students wishing
benefitted hundreds of young musicians renowned guest artists in an intensive and to learn the Feldenkrais Method, which
since the programme’s inception in 1997. varied programme. focuses on how to relax and function
Alumni perform in the world’s major In addition to two individual lessons more effectively.
concert halls, record for prominent labels per week with core faculty members, daily Application deadline: 12 April 2019
and work in leading music organisations. group classes feature a variety of activities: www.music.indiana.edu/precollege/summer/piano
Intensive tuition for advanced students at Morningside Music Bridge

SUMMER SCHOOLS
PianoTexas International MUSIC AT ALBINAC

Academy & Festival As tempting as the south of France might be for vacationing in August, pianist,
3 to 30 June 2019 writer and lecturer Paul Roberts opens his summer school there for amateur
pianists with a stern warning. ‘I tell them this is not a holiday. They are here to work,
Fort Worth, Texas to practice, to perform… and to eat.’
PianoTexas International Academy &
Festival was founded in 1981 during the
6th Van Cliburn International Piano
Competition. Over the years, it has
evolved into an International Music
Festival, renowned for its world-class
solo, concerto, and chamber music
concerts. The International Academy is
an important launch pad for nurturing
talented young pianists, as well as training
teachers and amateur performers.
The PianoTexas Young Artists Program
(3 to 30 June) will celebrate French
composers and their music. Celebrating
the Magic of French Music features a
distinguished faculty including Michal
Béroff, Rachel Cheung, Pascal Rogé,
Tamás Ungár, Arie Vardi and the Fort
Worth Symphony Orchestra under music Paul Roberts: ‘Everything can be trained’
director Miguel Harth-Bedoya.
London-based Roberts, a certified Debussy expert and popular concert pianist,
The 2019 Festival will also feature has been leading his annual sessions Music at Albignac since 1991, making him
PrepFest, a preparatory course designed one of Europe’s longest-running summer teachers for amateurs. He averages 24
for students ages 6-18. This intensive intermediate and advanced students each year from around the world – Sweden,
Turkey, China, Britain, France…
programme (8 to 16 June) offers ‘We cover everything related to the piano, from the most abstrusely deep matters
opportunities to study and interact with of fingering to the cosmical potential of the late Beethoven,’ says Roberts. One
eminent musicians, discover role models issue that recurs is the amateurs’ inability to memorise, but Roberts is adamant. ‘It’s
a learnable process,’ he says. ‘Everything can be trained. You can learn how to do it!’
and take part in a range of performances. Despite his warning of hard work, Roberts emphasises the food, wine and sense
PianoTexas’ Teachers Program of enjoyment as crucial to the mix. ‘My vision is to make music and teach music in
caters for a wide range of levels, from the most beautiful surroundings possible,’ he explains.
Located in the remote Tarn Aveyron, Music at Albignac trucks in an array of
university faculty members to private pianos for intensive workouts by the amateurs in a ‘crumbling chateau’. Last year’s
teachers who want to return to practicing equipment included a concert grand for recitals plus six uprights and five Korg
and performing, while the Amateurs digitals with earphones for private practice.
One of the return students, a veteran of nine summers, is Diane Baxter, a piano
Program is for nonprofessional pianists teacher at Western Oregon University in the United States. She praises the Albignac
who enjoy music and love playing the experience for its ‘rich tapestry of memories’. The teaching by Roberts and others,
piano regardless of age, profession and she says, ‘feeds me for a year’.
background. Both courses run 19 to 30 MICHAEL JOHNSON
June. Teachers and Amateurs who are
www.albignacmusic.com
selected as Performers will be invited
to perform a concerto movement with
the Fort Worth Symphony Orchestra, during the daytimes is supplemented by
participate in masterclasses, recitals, EUROPE a busy schedule of lectures and evening
lectures, discussion sessions, and receive Chetham’s International Summer recitals. Facilities at Chetham’s International
two private lessons. School and Festival for Pianists Summer School include the world-class
Teachers, Amateurs and PrepFest 15 to 21 & 21 to 27 August 2019 Stoller Concert Hall, seven recital halls, 100
Performers will be selected from video Manchester, UK practice rooms, on-site accommodation and
recordings submitted online. Places Open to all ages from Grade 1 to concert meals. Distinguished faculty members for
are also available for Active Observers standard, this week-long residential course the 2019 courses include Katya Apekisheva,
and General Observers on all courses, takes place annually at one of Britain’s Paul Badura-Skoda, Peter Donohoe, Peter
including the Young Artists Program. leading specialist music schools. Participants Frankl, Leslie Howard, Piers Lane, Charles
Application deadlines: 5 March 2019 from all over the world enrol to be taught Owen and many others.
(Performers), 1 May 2019 (Observers) by a faculty of more than 60 eminent Alongside the usual plethora of courses, ⌂
www.pianotexas.org performer-teachers. One-to-one tuition this year’s programme will feature the

SUMMER SCHOOLS
PETER SCHÜTTE
MUSIC HOLIDAY ITALY

What do a judge, retired doctor,
military base commander, Facebook
executive, care-worker, stand-up
comedian, and carpet salesman have
in common? The answer, based on my
experience of teaching over the past
year, is an overwhelming desire to
play the piano better. As their music
coach for the week, I never cease to
be astonished how such busy people
sustain their passion for playing
the piano, and find the energy and
motivation to do whatever it takes to
keep improving.
This passion and energy has
prompted me to move away from
giving traditional group masterclasses
Philip Fowke leads the Adult Amateurs course at Chetham’s Summer School at Montemuse, offering instead
intensive one-on-one coaching
weeks. Our students are prepared
6th Manchester International Concerto performance. Through applying the basic to sacrifice a week of their annual
Competition for Young Pianists (22-26 principles of the Alexander Technique leave for their passion, but one week
August). Open to pianists aged 22 and under, to playing, she teaches pianists a way of is all they have. This means they
are very serious indeed about making
the Competition culminates in a concerto working which prevents disturbing tensions the most of their time.
final at Stoller Hall with the Manchester or injuries in practising and performing.
Camerata conducted by Stephen Threlfall. Participants receive individual lessons
DEJETLEYMARKS PHOTOGRAPHY
Audiences can also look forward a recital at the piano with Ben-Or and a short daily
by last year’s Leeds Competition winner session in the Alexander Technique.
Eric Lu, who will perform during the jury www.pianocourseswithalexandertechnique.com
deliberations on 26 August.
New initiatives in 2019 include an Piano Pot-Pourri
Aural Training Course designed to help 1 to 8 May 2019
pianists develop their ‘inner ear’, and the Rieux-Volvestre, France
opportunity for young pianists to book an This new piano holiday destination in
Advice Audition with Chetham’s head of southwest France offers group residential
keyboard, Murray McLachlan. courses for up to 10 participants. Led by
Application deadline: 10 June 2019 the London-based pianist, teacher and
www.pianosummerschool.com writer Graham Fitch, the Spring Course is
aimed at intermediate to advanced players
Gil Jetley
Nelly Ben-Or Piano Courses and will feature masterclasses, workshops,
11 to 16 July 2019 individual tuition, a student concert and
Initially, I wondered if four hours
Watford, UK opportunities to play duets. solid coaching might tax even the
Nelly Ben-Or is a professor at the Guildhall The course is held at Saint Laurent, a most dedicated. After a relaxing lunch
School of Music & Drama where she refurbished farmhouse offering breath- in the Italian sun, I assumed students
would want to spend the afternoon
has taught the piano and the Alexander taking views of the Pyrenees. Facilities exploring – especially since we’re
Technique since 1975. She is internationally include a performance space for up to 60 based in one of Italy’s most unspoilt,
recognised as the leading exponent of people, a Kawai RX2 grand piano and a hidden regions. But no! It’s back to
work, practising or demanding more
Alexander Technique for pianists. Ben-Or’s swimming pool. Additional accommodation coaching. One student even asked for
career as a performer includes solo recitals, is also available in a converted sheepfold, the afternoons to be spent on theory!
chamber music and concerts with orchestra. which boasts a Pleyel grand piano and its This convinced me that one-on-
one coaching is the way forward:
Her commercial and broadcast recordings – own pool. Emphasis is placed on creating students are in control and we
including many for the BBC – cover music a pleasant, friendly, supportive and non- adjust each day’s coaching to suit
by a wide range of composers from the 18th competitive atmosphere for participants to their needs and desires. Changing
my role from teacher to coach has
to the 20th centuries. study and relax. also proved enormously satisfying.
Ben-Or’s Piano Course with Alexander Hosts Penny and Geoff Douglas lived GIL JETLEY
Technique covers various aspects of piano in in Africa for more than 35 years, where
playing, such as learning and memorising they ran a healthcare organisation before Gil Jetley’s one-on-one courses near
new scores, improving freedom, velocity retiring to the south of France. Macerata in Italy run from April to October
and fluency and increasing each player’s bygad.biz/Development/vision/piano- 2019. www.musicholidayitaly.com
listening awareness for greater clarity of holiday-2019

KEY NOTES
KEY NOTES
Historical perspectives on piano technique
BY MURRAY MCLACHLAN
UNA CORDA
‘In pianos of the 18th and early a little more muted, ethereal and distant – Chetham’s piano summer school in
19th centuries, the una corda pedal but it is important to be able to play more 2016. He began playing a single note at
caused the action to be shifted so quietly with your fingers alone. Pianists mezzo forte, reiterating it and gradually
far that the hammers struck only should never rely exclusively on footwork becoming quieter and quieter. Just when
one string throughout the range of in order to play quieter than piano. it seemed that it wasn’t possible to play
the instrument, giving the pianist a Perhaps the best way to ensure that any softer, he seemed to find new reserves
choice between tre corde (when the the una corda is never used in a lazy, of inspiration and was able to produce a
pedal was not depressed), due corde thoughtless way is to cultivate touch quadruple pianissimo, then go even softer!
(partly depressed) and una corda control that enables you to play with focus It was a remarkable feat of technique and a
(depressed completely)’ and confidence at the quietest dynamic superb exercise for pianists of all levels to
New Grove Dictionary of Music and level exclusively with your fingers – or try out on a daily basis, to give them more
Musicians at least without the use of the una corda confidence in controlling dynamics away
(using the sustaining pedal could be useful from the una corda pedal.
in this context). I recall an extraordinary If you can cope with this Osborne
L
ET’S BEGIN WITH PERHAPS public warm-up from the virtuoso pianist exercise, you will be freed to use the una
the most important thing: the Steven Osborne at the beginning of a corda exclusively for musical rather than for
⌂
una corda, sometimes referred to miraculous Debussy recital during the mechanical/technical reasons. Having said
as the sordino, left or even the ‘muting’
pedal, is primarily a colouristic device for
the player. If pianists remember this, they Pianists should never rely exclusively on footwork in order to play quieter than piano
will have at their disposal a most valuable
tool for tonal variety.
Technically, on the modern piano
we should refer to it as the ‘due corda’
as it shifts all the keys to the left when
depressed, taking out of action not two
strings for each note but only one – but
perhaps that is just being academic.
In any case, this principle only applies
to grands as the una corda device on
upright and electronic as well as hybrid
instruments is totally different.
More seriously, we should avoid the lazy
habit of referring to the una corda pedal
as ‘the one that enables you to play more
softly’. This pedal is not a convenience
utensil, guaranteeing by instant depression
that pianissimo passages can be uniformly
and generically differentiated in all musical
contexts from those marked piano. Style
and musical taste should be developed so
that the una corda is used with taste and
BIGSTOCK
discretion. Of course, in practice we all use

it as a means of producing sounds that are

KEY NOTES
accompaniment notes in the una corda and 106). Many years ago, I was told off for
Judicious use of una but playing melodic figures without it, the being lazy when I played the pianissimo
corda can help to overall sense of hierarchy in a piece can be
established and sustained clearly.
opening line of Beethoven’s Appassionata
with una corda to my teacher Peter Katin.
articulate and project He was quite right: trying to avoid bumps
and ‘blanks’ in the texture here may be
a sense of perspective
L
ET’S NOW THINK challenging, but the sound achieved when
stylistically. In Scarlatti, and indeed pianissimo is executed successfully with no
and texture in music in all Baroque keyboard music, it pedal is far more invigorating than when
can become something of a mannerism your left foot is brought into operation.
of every period to consistently highlight an extreme dip With the Romantic and 20th-century
in dynamic level and then use the una repertoire performers can feel more
corda for so called ‘echo effect’ phrases. liberated and use the una corda with even
These are often only one bar long. If this greater freedom. But as with most things
that, there will be occasions when pianists interpretive approach is used without in life, it is worth remembering that
find instruments in poor condition, which question, it can become predictable and less is often more. To start off Chopin’s
benefit from the use of the pedal in places even irritating to listeners – especially if celebrated Berceuse with the una corda is
where it would not normally be deployed. used throughout every movement of an fair enough; but to refrain from releasing
This often occurs when replacement extended Handel or Bach Suite. On the it until the final note of the piece has been
hammers are necessary – the instrument other hand, it makes sense to apply the played would be to lose opportunities
will seem ‘metallic’ and incredibly hard to una corda for ‘echoes’ at least some of the for tonal variety. Within the sotto voce
control in playing below the mezzo forte time, as this approach emulates something aesthetic of this work, there is ample scope
range. Experience has shown that if you of a sense of change of registration. If you for passages in which the use of the right
have to give a concert on an instrument want to recreate something of the organ pedal on its own is artistically viable. One
that is not in the best shape, damage may be in your playing, then the una corda can should always be open to variety when it
limited by the partial depression of the una be employed in the manner of a ‘stop’ as comes to colours at the keyboard. To play
corda mechanism. It never ceases to amaze it will allow for an immediate and extreme all the slow movements of the 19th century
me how much more control is possible change in tonal colour. with consistent and persistent use of the
on even the most aggressive instruments In Mozart and Haydn, the una corda una corda would be to stifle the music’s
when the una corda is partially depressed. pedal is much more controversial. Without sonic perspective: creativity requires more
Try this technique: pivot your heel into categorically forbidding its use, let’s just pragmatism and flexibility.
the floor and then contact the pedal’s left- say that, for many, its veiled aesthetic does In short, blanket solutions to interpretive
hand corner with the ball of your big toe. not fit comfortably with the fresh clarity issues seldom wear well in the long term,
Experiment with the smallest depression and openness of expression that was the though it may be worth considering
of the pedal, then try to go further. pre-Beethovenian norm. From 1750 to refraining from using so much una corda
This is similar to multi-layered pedalling 1790, central European keyboard music as a general principle in passages marked
for the sustaining (right) pedal, and in owes much to the voice and to string espressivo from Schubert onwards (and
both cases it should be possible for playing. To use the una corda too much indeed in Beethoven too there is clearly
all pianists to find five different levels makes the music connect less with open, a sense that espressivo implies a more
of depression. The degrees of tonal projected violin playing and singing. outgoing sound than the marking dolce).
differentiation will vary from instrument While there may be many great artists who Having said that, heavy use of una corda
to instrument, so experimentation is both could ensure that the opening of the slow always remains an interpretive possibility.
necessary and fascinating. movement of Mozart’s Piano Concerto in In the ‘Golden Age’ of pianists, it was not
In practical terms, it is often not advisable A major K488 would sound beautiful with unknown for celebrated artists to use una
to use the una corda at all. This is especially ubiquitous una corda pedalling, personally corda as their default in a wide variety
true in concerto playing, where projection I find this ravishing musical outpouring of contexts. It’s all down to taste and
and clarity of tone counts for a great all the more poignant and tender with the conviction in the delivery: In the case of
deal. For this reason, many pedagogues fresh tonal innocence that can be achieved the great Polish pianist-composer Ignacy
would recommend that the pedal is left without resorting to the use of the left foot. Jan Paderewski, forte and even fortissimo
well alone for the opening entries of the With Beethoven it is possible to use on occasion were used with the una corda
solo piano part in the slow movements of much more una corda, though you should firmly pressed down. His wonderful
both the Grieg and second Rachmaninov always be discerning. In the late works, it parlando and freedom of phrasing was
concertos. On the other hand, judicious is fascinating and challenging to take on always accompanied by a beauty of tone
use of una corda can help to articulate and board Beethoven’s own directions for the quality that remains inspirational and
project a sense of perspective and texture use of this pedal (see in particular the awe-inspiring to listeners in our artistically
in music of every period. By ‘catching’ third movements of his Sonatas Opp 101 more sober era. e

ED N
IT EW
RHINEGOLD IO
N
!
BRITISH MUSIC & DRAMA
EDUCATION YEARBOOK 2018-19
The ESSENTIAL guide to music and drama education
AVAILABLE IN
RHINEGOLD PRINT & DIGITAL
BRITISH MUSIC & DRAMA FORMATS
EDUCATION YEARBOOK
HIGHER EDUCATION CHOICES
PERFORMANCE ANXIETY
Higher education
2018–19 www.rhinegold.co.uk Prepared performance
choices
For talented music students wishing for a career in music, there is no clear-cut path to take in regards to
Performance anxiety – be it for a large-scale concert, a small event, or even an exam – affects almost all
pupils. Rebecca Pizzey speaks to some experts about methods for learning to control the symptoms
higher education, and each route has its own benefits. Assuming that a university-level course is in order,
there are three main options: attending a conservatoire, doing a music degree or doing a degree in another
subject (arts-related or otherwise)
‘The essential guide She is famed for her incredible voice and
she has performed in front of some of the
he important thing is to open up the
dialogue around performance anxiety
Mental versus physical
So what are these physiological symptoms?
largest audiences in the world – so you’d and remind your pupils that it doesn’t Jane Oakland, music psychologist and
to music and drama be forgiven for assuming that Adele laughs
in the face of performance anxiety. In fact,
discriminate. Performance psychologist
Noa Kageyama recommends introducing it
founder of StressPoints, says: ‘When faced
with danger the body triggers the ight-or-
Studying at a conservatoire
If your child intends to pursue a career as
is increasing all the time. Not to mention
the scope for improving technically
musicians who have similar goals. And
when they do graduate, they are likely education.’ she sufers from it so intensely that it
takes her a long time to commit to a tour.
Understanding that even a talent
with athletes in mind: as with musicians,
athletes’ bodies may react a particular way
before certain events. Your pupils should, he
light response to prepare an individual for
action. Unfortunately, the body does not
diferentiate between real danger and an
a performing musician, there is no doubt and musically in an intensely creative to have the best possible access to the
that attending one of the UK’s dedicated environment. Previously non-traditional network of performers and performing like Adele experiences anxieties around says, be assured ‘that it’s totally normal and activity such as performance.
performing certainly normalises what expected to get a bit excited, and it’s how our ‘Physical symptoms include a raised
conservatoires is a great irst step. Here, genres such as jazz and indigenous music organisations they will need to develop
may, for some pupils, be a debilitating body gets us ready to bring our A-game’. heartbeat, shallow breathing, impaired motor
a relatively small number of students from around the world are now well their career.
issue. One of the problems with anxiety Greg and Alison Daubney – respectively control – such as tense or shaky movements
receive specialised, high-quality training embedded in conservatoire syllabuses. On the other hand, this may be a less is that many people are afraid to open a chartered sport and exercise – and changes in body temperature.’ Not
from people who are often well known in he type of education ofered by suitable path for those who have not fully up about it, for fear they are alone or an psychologist, and a music educator, ideal physical symptoms for a musician,
the industry. Your child’s fellow students conservatoires provides huge advantages decided on what they want to do within the anomaly. The reality is that most, if not researcher and trainer – agree. A pupil who then. Indeed, Oakland says that the physical
are likely to be equally talented or more to students with the right temperament: music industry, or those who do not have
talented than them, which may push them
harder, but also leave them in no doubt of
those with ambition, a strong work ethic,
some idea of what they want from their
the potential to be exceptional performers. Includes over all, musicians will have experienced it to
some degree. While some may feel slight
butterflies before stepping in front of a
recognises the diference between stress
and excitement – which both have very
similar physical symptoms – can positively
symptoms experienced by musicians tend
to be instrument-speciic: ‘String players
may experience a shaky bow arm, pianists
the work ahead.
hree UK conservatoires have drama
career and, not forgetting, exceptional raw
talent. Students may have the opportunity Studying music at university
12,000 listings for thousand-strong audience, others may
find the physical and mental symptoms
harness these symptoms as part of their
activation state. ‘It is how we handle them
get sweaty palms, and wind players and
singers can experience muscle tension in the
incapacitating before a Grade 2 exam. that is important,’ their book says. diaphragm, leading to shallow breathing.’
departments and one, Trinity Laban, is a
conservatoire of music and dance, so the
to meet and befriend generation-
deining performers at an early stage of
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Trinity Laban’s music faculty is housed at the Old Royal Naval College in Greenwich organisations and
performers.
Trinity Laban’s music faculty is housed at

the Old Royal Naval College in Greenwich
Trinity Laban’s music faculty is housed at
the Old Royal Naval College in Greenwich
16 RHINEGOLD BRITISH MUSIC & DRAMA EDUCATION YEARBOOK 2018–19
10 RHINEGOLD BRITISH MUSIC & DRAMA EDUCATION YEARBOOK 2018–19
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SHEET MUSIC
Cradle Song of the Lonely Mother
by Amy Beach
About the music
T
he acclaimed American composer Amy Beach was a a lonely atmosphere (perhaps the mother
child prodigy from a wealthy New Hampshire family. is abandoned?) by introducing dissonant
Her prodigious output includes a large piano concerto, harmonies in the right hand, as opposed
a Gaelic Symphony, choral works, several volumes of weighty to the straightforward harmonies of the
chamber and piano pieces, and more than 150 songs. Beach was left hand. Asking for sempre con pedale
also a successful concert pianist in Germany and the USA, and and mainly soft dynamics, a caressing,
dedicated her later years to encouraging and educating young atmospheric touch would be ideal to
composers, particularly girls. capture the music’s uneasiness.
Cradle Song of the Lonely Mother, composed in 1924, has It is important to work on warm, legato phrasing in the right
a darker, more introspective feel than her earlier romantic hand – some of the slurring is syncopated, as in bars 8 and 9,
works, sharing the sparer textures and introspective qualities and there are effectively two voices in the treble clef, which
of late Brahms piano pieces. Just as Brahms weaves a Scottish becomes very explicit at the first key change (bar 17). Although
lullaby into his Intermezzo Beach doesn’t indicate this, at bar 29 the 9/8 quavers smoothly
Op 117/1, Beach establishes transform into 3/4 triplets; here the right hand has to be magically
a folk-inflected 9/8 lilt in E imperceptible, with fluttering trills and falling thirds from bar 45.
minor, forming the backbone Lento espressivo need not imply a very slow speed, but the
of this soulful, searching left hand has to rock the cradle comfortably. The bass part also
piece. Composing later than carries both melody and harmonic accompaniment in the 3/4
Brahms, her harmonic palette section right up to bar 51, where there’s a subtle handover, back
is considerably wider. to the right hand. The intense Berg-like harmonies on the final
page bring the piece to a psychologically dark end. Be sure to
Performance notes play the bass clef melody with intense cantabile, handing it over
Beach’s Cradle Song is exactly in the penultimate bar.
that – a lullaby with a number
of verses. The composer creates Notes taken from In Concert (LCM Publications, © 2017 Joanna
MacGregor). To enter an exam or view the current LCME Piano
Amy Beach (1867-1944) syllabuses visit lcme.uwl.ac.uk
SUBSCRIBE TO *
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PRINT & DIGITAL
It’s not all about Spain for Javier Perianes. A native of
Andalusia, the music of his homeland runs in his blood,
but he also finds inspiration and balance in the Gallic
flavours of Debussy and the Germanic gutsiness of NO.52 JAN/FEB 2019
FORMATS
Beethoven. Owen Mortimer reports from Seville £5.50
I
T’S A BALMY SEPTEMBER counting the greatest fans of Alicia de ‘It requires an audience specially quiet and
evening as I slip out of my hotel Larrocha, put me in first or second place concentrated: the atmosphere created by
to meet Javier Perianes in central – and that’s assuming first place would be Mompou’s music is really extraordinary.’
Seville. He’s already at our reserved for her family!’ Written between 1959 and 1967, the cycle
rendez-vous and greets me with Perianes received some private lessons of 28 miniatures lasts nearly 75 minutes
an enthusiastic handshake, his relaxed from Larrocha during the last year of her and contains a lot of sparse, introverted
appearance and affable manner instantly life, and describes her as ‘a very special writing – the antithesis of showy virtuosity.
putting me at my ease. woman, extremely tough and with a ‘When I was practising Musica callada it
Five minutes later we’re sitting at great sense of rhythm and colour.’ Her left me with the feeling that this is music
a roadside café shaded by Seville’s influence has clearly worn off on him, and to be played for just one person – or only
TWO MONTHS’
INSIDE
spectacular gothic cathedral, its yellow he doesn’t even seem to mind the constant for yourself. It can be quite challenging to
limestone glowing intensely as the shadows comparisons. ‘I had a beautiful experience feel the silence in this repertoire. The old FREE ISM FULL
lengthen. The crenelated walls of the last year,’ he explains, ‘when her daughter idea, that silence is part of the music, is MEMBERSHIP
Alcázar Palace peek out from behind the Alicia Torra came to my dressing-room particularly true in Mompou. You feel it TURN TO PAGE 11
city’s colonial-era archive. Horse-drawn
carriages clip-clop along the cobbles while
after a recital in Barcelona. I was almost
apologising for playing in front of her! But
here more than in most other repertoire.
Maybe we are talking about a different
SHEET MUSIC
couples flirt and tourists go about their she took my hand and said, “You don’t know kind of silence, but its effect in Mompou is CRADLE SONG OF
sightseeing. Could there be a more perfect how proud my mum would have been if she very impressive – his music is very special,
THE LONELY MOTHER
DIVING DEEP
setting to meet an artist whom I last heard had heard you tonight – especially the way and should be listened to in a special
performing Nights in the Gardens of Spain
at London’s Southbank?
you play Schubert and De Falla”.’
Listeners keen to hear Perianes in this
environment.’
Mompou’s own recordings of Musica
BY AMY BEACH
De Falla’s masterpiece is something of
a calling-card for the Andalusian pianist,
repertoire for themselves need look no
further than his substantial discography,
callada made a huge impact on Perianes,
though he says he didn’t listen to them
SEE PAGE 49 Exploring REVIEWS | CDs
and his rendition in London was superb:
technically polished, dramatically paced
which features half a dozen discs or more
of Spanish repertoire. As well as De Falla’s
before going into the studio –‘only when
I made my own album’. His teacher at
Schumann’s
and full of colour. It’s perhaps inevitable
that audiences associate him with this
Nights and Seven Spanish Folksongs, he has
recorded the piano quintets by Granados
the time was Josep Colom, who had
also recorded Mompou’s music. ‘When
repertoire, but Perianes is quick to and Turina, Lorca’s Canciones Españolas I finished playing he said, “What you’re
emphasise the breadth of his interests. antiguas with flamenco singer Estrella doing is beautiful. I’m pleased. Don’t
Should Cortot’s
‘There have been several seasons when
I’ve not played a single note of Spanish
repertoire,’ he explains, ‘though it’s great
Morente, and an album of sonatas and
pastorals by the 18th-century Sevillian
composer Blasco de Nebra – all with the
intervene.” He meant that I should just
play, feel, and be in the middle: not too
much sugar, or too little.’ failings as a man ODD MAN OUT
music and deserves to be performed.’
Anyone specialising in this repertoire
Harmonia Mundi label. His very first
album also showcased music from his
This search for a ‘middle way’ is a
recurring theme for Perianes, who believes affect our view of Eccentric Soviet Tchaikovsky Plus One – Volume1
Tchaikovsky The Seasons Op 37b Musorgsky
Brahms Seven Fantasias Op 116; 3 Intermezzi
Op 117; Six Pieces Op 118; Scherzo in E-flat
Rachmaninov Piano Concertos 2 & 4
Rachmaninov Partita for Violin in E major
also faces the challenge of being compared

with Alicia de Larrocha, whose recordings
homeland: Musica callada (Silent Music) by
the celebrated Catalan composer Frederic
that the best performances strike a balance
between objectivity and feeling. This his artistry? pedagogue Pictures from an Exhibition
Barry Douglas (pf)
Chandos CHAN10991
minor Op 4
Garrick Ohlsson (pf)
Hyperion CDA68226
Daniil Trifonov (pf
Yannick Nézet-Ségu
Deutsche Grammoph
Heinrich Neuhaus
IGOR STUDIO
llll lll lll

of Granados, Albéniz and De Falla are Mompou (1893-1987). is particularly true of a composer like
This is the first volume in a short series of Each of Brahms’ final four sets of piano Rachmaninov’s Suite fr
widely regarded as definitive. Perianes ‘I have recorded and played a lot of Mendelssohn, whose Lieder ohne Worte ⌂ recordings, programmed by Barry Douglas as pieces, all composed in 1892 and published in E major (after J S Bach),
himself is no exception: ‘If you are recitals with this repertoire,’ says Perianes. stand at the crossroads between two his personal homage to Russia. Each will pair as Opp 116-9, make a self-contained group, Bachmaninoff, is doubtless the most dele
one of Tchaikovsky’s major piano works with and have mostly been performed and item in this new release.
18 19
a significant other. In his booklet note, recorded as such. However, the thematic and formal interpretation of this w
JAVIER
Douglas confirms Rachmaninov’s Moments and expressive interconnections between composer himself, T
International Piano January/February 2019 January/February 2019 International Piano
PLUS musicaux will figure in a future volume, but
here he has chosen the most significant of all
19th-century keyboard works, Musorgsky’s
the 20 component capriccios, intermezzi
(of which there are 14 examples alone), a
ballade, a rhapsody and a romance – with a
light-hearted merriment,
coy, coquettish dance infl
entitled ‘Gigue’ and
Spiritual seeker Pictures from an Exhibition. (Note from an

Exhibition, not at – a literal translation of the
Russian original rather than its typical
combined running time of around 75
minutes – make them an obvious and
cohesive collection for CD. There are
flirty effect is akin to that of Monsieur T
the elderly tutor in T
Onegin, who evokes 18th-
Alice Coltrane
PERIANES
Anglicised form). several recordings of all four opus numbers quaintly Russified sty
Despite the focus on Tchaikovsky, it is to confirm its viability, so I am bemused at Rachmaninov was a de
Musorgsky’s epic suite – given here in its why Ohlsson replaces the culminating Four pre-Revolutionary Russian so
original form, uncorrected by Rimsky- Pieces Op 119, with Brahms’ earliest As for the rest of this CD,
Summer courses
Korsakov – that is the main event. Next to it, sanctioned published work, the Scherzo in Bachmaninoff, alas,
Tchaikovsky’s The Seasons (1876), miniature E-flat minor. This last’s inclusion Rachmaninov’s Se
portraits of the 12 months of the year completely breaks the valedictory mood of tendentious, ineffe
composed in instalments, is lightweight and the preceding hour’s music, especially in orchestral playing that is limp,
for pianophiles charming, aimed at gifted amateur players. what is a somewhat heavy-handed and slow like a slow eruption in a toff
Perfect balance
Musorgsky’s shorter version of Pictures is account: not the slowest, by any means, but Nézet-Séguin flails ab
altogether more serious, a public statement compared with, for example, Melnikov on believed this music w
commemorating his dead friend, the artist Harmonia Mundi or Plowright on BIS, poignant to compar
Cremona Victor Hartman.

Douglas’ performance is excellent, but he
cannot disguise the fact that Tchaikovsky’s
Ohlsson seems leaden.
Matters are better in the later pieces, yet
here again there is a want of subtlety and
Philadelphia Orchestr
Stokowski and Ormand
composer recorded these concertos,
Musica concluding ‘Christmas Waltz’ for December

lacks the culminatory impact of ‘The Great
Gate of Kiev’. I suspect one could close
finesse in the playing, especially when set
against the finest exponents of late Brahms,
of which there are quite a few. The set that
reduced artistic impr
orchestral passages w
pianist sound perfunctory
Tchaikovsky’s year at any month and it would comes off best is the Seven Fantasias, where All too often, the Se
be no more downbeat – indeed, August or the three Capriccios do at least sound pettish, without an
September would make a more effective wilful. However, Ohlsson’s interpretations Even worse, the F
finale! Douglas is at least a match for Freddy are not very involving compared with lumbering and loud,
Kempf (BIS CD2140), which I welcomed Plowright’s; and there is little magic in the crass item of Soviet r
back in 2016. With Pictures, competition is softer intermezzi, both here and in Opp sounds overstressed in the studio,
keener; fine though this newcomer is, it does 117-8. Compare the latter with Arcadi reacting to the crushing de
not lead the field. I marginally prefer Stephen Volodos (Sony Classical 8887513019) and orchestra. His nimble fi
Osborne (Hyperion CDA67896, coupled with the difference in quality is marked, with mudslide accompaniment.
Prokofiev): a more powerful reading, with little of the cultured playing and insight will surely have the opp
greater variety of colour, on an instrument that the Russian brings to this music. these works again w
with greater depth of tone. Hyperion’s sound is clear and resonant. orchestra better suite
GR GR BI
70
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COMPETITION FOCUS
PERIOD TOUCHES
Rich imagination and exceptional insight: Tomasz Ritter
HE CENTENARY OF took part, 15 of whom qualified for the to perform Polonaises by Chopin’s own
T Poland’s independence in
September 2018 saw the
launch of a new piano
competition using period
instruments that Chopin himself might
have known and played. This initiative of
Warsaw’s Chopin Institute, presented in
semi-finals, whittled down to a final six
for the concerto round. The participants
were judged not just on the usual
criteria of musicianship and technique,
but also on their ability to choose the
right instrument for the repertoire that
they played – revealing as much about
largely forgotten contemporaries. Bach
tested the nerves of many participants,
while the Polonaises explored Chopin’s
wider cultural context, bringing some
valuable repertoire to light and, for
the more creative participants, offering
opportunities for extemporisation – a
collaboration with Polish TV and Radio, themselves as their playing. The line-up 19th-century tradition now making
aims to champion authenticity of style and of pianos featured a selection of Erards, a resurgence.
sound, prizing refinement and finesse over Pleyels, a Graf, a Broadwood and – in The jury was chaired by Artur Szklener,
bravura and brilliance. pride of place – a replica of Chopin’s own director of the Chopin Institute, and
The Warsaw Philharmonic Hall, Buchholz piano, commissioned from the comprised renowned historical practice
home to one of the world’s oldest piano Canadian maker Paul McNulty especially experts and internationally recognised
competitions, (the original Chopin for the occasion. concert pianists. Former Chopin laureates
Competition dates back to 1927), was the The specific nature of the competition such as Dong Thai Son and Nelson
perfect venue for showcasing exceptional saw the inclusion of set pieces by Bach, Goerner sat alongside leading exponents
talent and the visual wonder of period with a selection from the Well-Tempered of the fortepiano, including Tobias Koch
instruments, lavishly decorated and Clavier, which was such an influence and Alexi Lubimov.
hand-built with expert craftsmanship. on Chopin; alongside the Preludes and Six finalists performed Chopin
In all, 30 pianists from nine countries Fugues, participants were also invited concertos, split across two evenings. Five

COMPETITION FOCUS
out of six chose the Concerto in F minor, Tomasz Ritter from Poland followed As all six finalists returned for the
and Krzysztof Książek, winner of the with a return to the 1842 Pleyel. I’d been award ceremony, the camaraderie
Mazurka Prize, gave the only performance watching this young pianist with avid between them was evident in their
of the E minor. Performances from all interest in earlier rounds. His semifinal smiles and heartfelt hugs. The first prize
rounds were streamed live and the finals recital elicited the most enthusiastic of €15,000 and PKN Orlen Prize for
broadcast on Polish television, which audience response of the entire competition. representing Poland was well deserved
proved a truly momentous occasion. His playing was highly personal, combining by Tomasz Ritter. He blazed a bright trail
Dmitry Ablogin opened the finals on a rich imagination with exceptional insight. from start to finish and we shall no doubt
Pleyel. The 28-year-old Russian has been At 23, a student at the State Conservatory hear more of him in the future. Joint
hailed as one of the most authentic exponents in Moscow and winner of the Rubinstein second prize of €10,000 was awarded to
of period style and is already a laureate at a in Memoriam Competition for Young Naruhiko Kawaguchi and Aleksandra
number of international competitions. He Pianists, his performance was full of Świgut; third prize of €5,000 and the
gave a sensitive, introverted account of the charisma. The delicacy of his fiorituras on Mazurka Prize.
concerto, but didn’t show dramatic heroism the Pleyel contrasted exquisite pianissimo An opportunity was also given to
in the more virtuosic passages, struggling with an explosion of temperament in the the orchestra’s 49 members to vote for
at times with projection. His second dramatic sections that was never aggressive their personal favourite. They selected
movement was deeply poetic, recalling or forced. Aleksandra Świgut and Krzysztof Książek,
Berlioz’s description of Chopin’s playing Polish Aleksandra Świgut gave the final expressing their wish to work with all the
as being ‘as soft as the playing of elves’. performance. A second-prize winner in finalists again in the future. Their input
Although not a prizewinner, the opening the Ettlingen and New Orleans piano added a personal touch and an interesting
of his second movement was achingly competitions, she was an audience favourite dimension to the jury’s decision.
beautiful and one of my own personal but had by no means been certain to go The success of this first period instrument
highlights of the evening. through to the finals, despite her moving edition of the Chopin Competition is
Next was the French Antoine de Grolée. Bach Prelude and Fugue in the prelims a tribute to the extraordinary character
As the oldest participant at 34, and a along with an excellent Barcarolle. She of Stanisław Leszczyński, director of the
prizewinner of the Long-Thibaud-Crespin chose the 1837 Pleyel, conjuring up myriad Festival Chopin, who admits that the
Competition, he has a commanding colours and displaying mercurial changes project was something of an experiment.
presence. He chose the heavier 1837 Erard, of mood and spontaneity of thought that He says he hopes future instalments will
which suited his robust style. A pianist of concluded a feast of music-making. The focus on the music, rather than ‘dwelling
flamboyant gestures, Grolée has rather too Orchestra of the Eighteenth Century was on the nature of the competition itself.’ It
much drive for the elegance of Chopin: untiring in its efforts, led by the masterful is a vision of which Chopin himself would
his theatrical and authoritative approach conducting of Grzegorz Nowak. It was a wholeheartedly approve. e
would be better suited to a modern piano. delight to hear these period instruments
The last contestant on the first night evoking rich, earthy colours and revealing The 18th International Fryderyk Chopin Piano
shone the brightest: the Japanese pianist the true chamber-music nature of Chopin’s Competition will take place in Warsaw in
Naruhiko Kawaguchi. A laureate of the concertos. October 2020. www.chopin.nifc.pl
first Rome Fortepiano competition and
Musica Antiqua in Bruges, his experience
Ritter wows the audience with his semifinal recital
of these instruments showed to his
advantage. Making a last-minute switch
from the Buchholz to the 1842 Pleyel was
a wise choice, offering crystal delicacy
and buoyant vibrancy. He demonstrated
expert control, dancing with the
rhythmic brilliance of a Kujawiak in the
finale. Drawing warmth from the bass,
Kawaguchi’s tone had a rich velvet quality
and harmonic depth.
The second evening marked a change
with the only performance of the E minor

Concerto from Krzysztof Książek, given
to a packed concert hall. A semifinalist
in the 17th International Warsaw Chopin
Competition, he chose the more extrovert
Erard piano, giving a vivid and emotionally
intense performance.

R EV IEWS | CONCERTS
ROMANIA Liszt liked his melodrama but if the sonata

is not to lurch into pantomime gestures it
sandwiched between ballades by Grieg and
Barber. Once on that side of the Atlantic, he
BUCHAREST needs strong overall direction – otherwise explored Bernstein’s take on Copland’s El
George Enescu Competition the more energetic moments come out Salón México and Earl Wilde’s on
Romanian Athenaeum messy and the contemplative sections just Gershwin’s Embraceable You.
Takuma Ishii 20 September; sound insincere. Jablonski is the most easy-going recitalist:
Peter Jablonski 22 September The Enescu work was more successful, there are no histrionics, he takes an
Between the bouts of the biennial Enescu and Ishii showed his own thoughtfulness, improvisatory delight in discovery and has a
Competition, a previous prizewinner and and also the Parisian side of the composer technique sure enough to make the toughest
one of the current jury members gives a – at moments in thrall to Debussy but also, passages deceptively effortless. Somehow in
recital in the same hall. Whether this is to before its breezy Presto, strangely subdued, his hands, the pathway through the music is
show competitors how it should be done, or as though dealing with an autumn clear. He invites you on a tour, never mind
to remind those sitting through the morning in the city with a mild hangover. what it says on TripAdvisor.
marathon rounds how interpreters might The Enescu and a Chopin Polonaise that On this tour the point of the itinerary
mature with longer in the profession, is a followed may be more Ishii’s natural gradually emerged – all the works
moot point. Takuma Ishii was given second repertoire, based on this showing. challenged the expectation of their title,
prize in 2016; and Peter Jablonski was one of Very few in the audience for Peter testing the limits of serenade, ballad and
those charged with finding a successor. Jablonski bothered to buy a programme dance. Bernstein’s Mexico is a New York
Ishii, perhaps wishing to revisit old (and, unlike for Ishii, there was no free tequila cocktail, Scriabin’s mazurka would
triumphs, picked a programme closely sheet), but even if they had done they leave revellers floundering. Jablonski is just
aligned with the test pieces for this year. would not have been much the wiser since as much at home in the jazz room as the
The competitors all had to play an he added, subtracted and re-jigged liberally. concert hall and he transfers that etiquette.
important Enescu piece but none chose the A fascinating survey emerged: You are required to follow the route the
First Sonata. The next day, however, three of Szymanowski’s Don Juan Serenade, the early music takes seriously but without worrying
them picked the Liszt Sonata in B minor. Sonata in E-flat minor by the rarely heard about explanations or extraneous
The direct comparison suggested that Ishii Alexei Stanchinsky (1888-1914), and two showmanship. It is a beguiling invitation.
might not have fared so well in this edition. mazurkas each by Chopin and Scriabin SIMON MUNDY
Deceptively effortless: Peter Jablonski

ANDREI GÎNDAC

ARI MAGG
Ravishingly nuanced: Víkingur Ólafsson
UK the status of unwritten rules among

pianists. His performance of the 11 sonatas
took us down to the underworld and then
up to heaven. Two encores set the seal on it
LONDON he had chosen here ran the gamut from all: a lovely arrangement of Handel’s ‘Lascia
Wigmore Hall András Schiff 12 October; exquisite refinement to circus-style la spina’, and the Bach-Busoni ‘Jesu, joy of
Federico Colli 1 November
LSO St Luke’s Víkingur Ólafsson brashness: K32, entitled Aria, seemed to man’s desiring’.
21 September begin with wisps of melody blowing in András Schiff has become so integral to
through an open window, while at top the Wigmore programme that he seems
Every recital by Federico Colli is an event, speed in K39 his hands became such a blur part of the furniture, but the item of
but his recent performance at Wigmore – the piece losing none of its precision – furniture be brought for his latest recital –
Hall was something else. The Scarlatti that you could see people grinning in repeated two days later to cope with the
sonatas with which he began were of an disbelief; he played intricate games with usual heavy demand for tickets – led to a
order to make all the other contenders on dissonances, sudden silences and dramatic delightfully unexpected evening. Schubert’s
that thickly-populated battle-ground – even textural shocks. He has said in interview sonatas may have been written for the
the excellent Yevgeny Sudbin – look like that for him each piece has its own colour, fortepiano, but they are rarely heard on one
plodders. Those familiar with his new and here we got all the colours of the today. On Schiff ’s own fortepiano, made in
Scarlatti CD from Chandos will have had rainbow. This Scarlatti was Protean. 1820 by the Viennese manufacturer Franz
some idea what to expect, but the first Colli had requested no applause during Brodmann, they sounded bracingly
sonata he played – one of Scarlatti’s the second half of his recital, which again unfamiliar – as did Schiff himself.
modestly described Essercizi – came as a held us spellbound. I’ve never heard One tends to forget what a different kind
pleasurable shock: the recording engineer Mozart’s Fantasia in D minor sound so of beast the fortepiano is. Its soft pedal
had been unable to reflect the intense wayward and idiosyncratic, while Busoni’s results in a thin sound almost redolent of
bloom which Colli put on the notes as he arrangement of Bach’s Chaconne emerged the harp; its bassoon stop – so named
embarked on this ruminative voyage with majestic grandeur; but the most because of its buzz – consists of a strip of
through a mysterious landscape. gripping work here was Brahms’s parchment and silk pressed against the
The composer himself said that the only arrangement of the Theme and Variations in strings of the bass register. The moderator
rule in playing these pieces was not to D minor from his first sextet. Relishing the pedal inserts a piece of cloth between the
displease the ear, and indeed Colli broke dark beauty of its textures and the hammers and the strings, and the
⌂
with all the conventions which have gained sensuousness of its harmonic shifts, Colli sustaining pedal has a much less dramatic

effect than that on a modern instrument, to heart. In a prefatory essay he notes the to Schubert’s harmonic, and emotive,
thanks to the thinness of the strings. This is lack of any indications from the composer changes. She nails the sound-world of each
why, with a fortepiano, Beethoven’s as to how his pieces should be played: every composer, from sultry Granados (‘Maiden
instruction to keep this pedal down element is therefore up for debate – tempo, and the Nightingale’ from Goyescas) to
throughout the first movement of the dynamics, proportions, articulation – and, Ginastera (Argentinian Dances Op 2, the
Moonlight can be followed without creating as he points out, performance styles on an accents of the finale icily brilliant). Owen
a maddening cacophony. And on this instrument which Bach could not have made up the balance of the first part with a
occasion Schiff ’s attitude to the keyboard imagined have gone through huge changes beautifully controlled Ravel Gaspard, if one
was quite different from his usual one: he over the decades. Each player, he adds, must that could have ushered in a touch more
seemed to be judiciously appraising his stand on the shoulders of their precursors, atmosphere. The virtuosity was all there,
effects like a detached observer, rather than and he names his own chosen precursors: though, the repeated notes of ‘Scarbo’ alive
being profoundly physically involved. Fischer, Tureck, Lipatti, Gould, Argerich. with energy.
There were some frustrating moments. As he started to play, one realised that It works well to appreciate each player’s
The bare octaves opening the Sonata in A this name-checking was less a meretricious strengths: Apekisheva’s burnished, Russian
minor D845 sounded initially too thin to cosying-up to genius then a genuine sound; Owen’s lighter, considered playing.
bear the weight the first movement put on acknowledgement of kinship, because he The conjoining of the two in the second
them, and at the point of the majestic really is the subtlest of performers, with a half made for fascinating listening as the
key-change in the development I wanted ravishingly nuanced touch – velvet for the two players complement each other so well.
the force of a Steinway. But the Andante spiralling figurations in the improvised Debussy’s Nocturnes (arr Ravel) were
had unusual charm, and the effect of the sections of the Toccata in Partita No 6; perfectly judged, from the bright ‘Fêtes’ to
final Rondo was to conjure up vistas majestically resonant when that movement the hypnotic ‘Sirènes’. Milhaud’s outrageous
beyond vistas in a smiling landscape. The reached its cathedral-like climax. The Scaramouche provided an energetic finale
thick chords and sweeping scales at the Allemande was measured, the Corrente with its playful dissonances and meltingly
opening of D850 seemed to want more rippled cheerfully, the Sarabande had grave lovely central panel, brilliantly executed by
power than Schiff ’s instrument could give, plangency, and the concluding fugal Gigue the duo. A perfectly chosen encore, Arthur
but I was soon seduced into an ultra-refined came robed in splendour. The succeeding Benjamin’s Jamaican Rumba, brought the
sound-world, in which the bassoon pedal pieces interwove pieces from the ‘48’ with house down.
contributed a singular grounding. And by some celebrated arrangements, and if his Less successful was Konstantin
the time he reached D894, I needed no own arrangement of a movement from Lifschitz’ recital entitled ‘On an
further convincing: this really did feel like Cantata BWV54 was not on the same Overgrown Path’. The expected Janáček was
the way to listen to this delicately calibrated exalted level as Busoni’s of ‘Ich ruf zu dir’ preceded by an awkward rendition of
and structurally complex music. Schiff ’s which had preceded it, it still had nobility. Schubert’s Sonata in A minor D764.
encore was the Andantino from D959: a MICHAEL CHURCH Although brilliantly stark at the opening, it
daring choice, given the deranged was too frequently uncomfortably loud, the
fortissimo storm at its centre, but here too London Piano Festival acoustic ill-judged, the first movement
the fortepiano held its own against Kings Place Charles Owen, Katya development structurally unconvincing, the
Apekisheva 3 October; Konstantin
Steinway expectations. In contrast to Lifschitz 4 October; Leszek Moz·dz·er finale shorn of any sense of adventure or
Alexander Lifschitz’s account of D784 at 5 October; Paul Roberts 6 October; Pavel play. It was unappealing and unsmiling, and
Kings Place a week earlier, where Schubert’s Kolesnikov 6 October; Stephen one hoped for more from the Janáček, but
world had been presented as thunderous Kovacevich, Margaret Fingerhut, Katya over-projected inner voices and a lack of
Apekisheva, Charles Owen, Konstantin
and unremittingly bleak, Schiff ’s Lifschitz, Pavel Kolesnikov, Samuel Tsoy alignment with the composer provided
performance opened the door to a 6 October; Alexandra Dariescu 7 October further disappointment: this was not
refreshing re-appraisal of that world. particularly Czech Janáček, surely a cardinal
I suspect that the young Icelandic pianist Now in its third year, the London Piano sin. Rubato was often forced.
Víkingur Ólafsson is being pushed too Festival at Kings Place already has an Jazz now made it to the main body of
hard by his new management, having to atmosphere of welcome familiarity. While the festival with Polish phenomenon
learn and perform more concertos than is the focus might change – this time marking Leszek Możdżer, who is classically trained
healthy in a short space of time. Memories the centenary of Debussy’s death – and it (his encore was Chopin’s ‘Revolutionary’
of his outstanding debut at St John’s Smith seems to be constantly expanding (from Etude and he has released a disc of jazz
Square last year were recently obliterated by three days in 2016 to five in 2018), its Chopin arrangements called Impresje).
a performance of six late Brahms pieces at central attractions remain: an exciting Hugely popular in his native Poland (his
Kings Place in which he took almost melée of pianists, the (re)discovery of album Komeda achieving double
everything at an unrelieved fortissimo, with treasurable yet neglected repertoire and a platinum) Możdżer opted for a bright,
no characterisation of any kind. But his spectacular Two-Piano Marathon. amplified Fazioli, playing barefoot. At
latest brilliant album for Deutsche Festival founders Charles Owen and times he prepares his piano à la Cage,
Grammophon was the occasion for an Katya Apekisheva remain at the hub of the sometimes altering the instrument with
equally brilliant recital at LSO St Luke’s, in action. The opening night presented both one hand while the other plays. It was all
which he delivered a mixture of Bach and artists, first solo then as a duo. Apekisheva’s wonderfully spontaneous (he even forgot
Bach-arrangements as a non-stop sequence. playing is finely honed and ever-musical. what he had played when he tried to give
‘Bach is a free country’, he was apparently Her Schubert (the first three Moments us a list of pieces). Możdżer’s repeated
once told, and he’s clearly taken the advice musicaux of D780) was impeccably sensitive notes (a vital part of his vocabulary) are

VIKTOR ERIC EMANUEL

LPF co-artistic directors Charles Owen and Katya Apekisheva
remarkable: at one point there were made an interesting pairing, Fingerhut are all part of this experience, but the
cimbalom-like rapid repeated notes in gritty in Hardanger. She also joined reflective has its place, too. Owen and
both hands. Apekisheva for three Poulenc pieces, Apekisheva were magnificent and it was
The build-up to Saturday night was via a including the rather batty Capriccio (d’après good to see the composer in attendance.
fascinating lecture on Debussy’s Images by ‘La bal masque’). Kolesnikov and Troy Lifschitz partnered Apekisheva for the
Paul Roberts, plus a stunning recital by reminded us what a delicious piece final two items, again literal in his
Pavel Kolesnikov entitled ‘From Grandeur Stravinsky’s Concerto for Two Pianos is, the contribution to Debussy’s Danse sacrée et
to Intimacy’: Louis Couperin’s Suite in G rhythms perfectly precise. Kolesnikov and danse profane. There followed what was
minor, exploratory and with a Courante Troy, on this showing, must be one of the surely a discovery for many:
that opened out like a chrysalis, a finest duos around today. Rachmaninov’s Russian Rhapsody,
controlled Tombeau de M. de Blancrocher, It was lovely to see Stephen Kovacevich composed in 1891, when the composer
and a simply mind-blowing Schumann partnering Owen in Debussy’s En blanc et was just 18. Russian folksong inspires
Fantasie. Controlled, monumental, yet noir (the third movement of which is much of this work, deliciously given by
completely honouring Schumann’s quirky dedicated to Stravinsky, a nice link to the Apekisheva, who was simply mismatched
side, this Fantasie was a triumph. The end of the first half). Placed next to each with Lifschitz’s unsubtle style.
acoustic was masterly judged. other and with Kovacevich characteristically The final day saw Romanian-born British
The climax of the festival, the Two-Piano low, this was a beautiful, sophisticated pianist Alexandra Dariescu present her
Marathon introduced some wonderful account. A late work, Debussy’s language is multimedia staging of excerpts from
repertoire, not least Schumann’s intriguing reduced to its quintessence, advanced and Tchaikovsky’s Nutcracker – a glorious show
Six Pieces in Canonic Form (arranged by full of beauty. There’s a very different for children, complete with ballet dancer
Debussy), played by the established duo of sound-world for Adès’ Concert Paraphrase on and colourful digital animations. It proved
Kolesnikov and Samson Troy. Two pieces ‘Powder Her Face’, which captures the a fun finale that brought another
by Bax reminded us of the stature of this exuberance of that composer’s operatic triumphant festival to a close, confirming
Irish composer: the contrasting Poisoned writing while referencing the spirit of LPF’s well-deserved reputation as a jewel in
Fountain and the Norwegian-influenced 19th-century paraphrases. Distorted jazz, London’s pianistic crown.
Hardanger. Margaret Fingerhut and Owen fractured gestures and glittering fingerwork COLIN CLARKE

L O N D O N P I A N O F E S T I VA L
RIDING THE WAVE

London Piano Festival co-artistic director Charles Owen introduces
some of his favourite moments from last year’s programme
| Rehearsing Debussy’s late masterpiece
En blanc et noir with Stephen Kovacevich
was a fascinating and thrilling experience.
Stephen has played the piece for years
and generously shared his insights into
this dark, multi-layered music. The second
movement vividly evokes a First World
War battlefield scene, while the outer
movements whirl past in a series of ecstatic,
shifting moods.
} Paul Roberts has been a close friend

and colleague for many years. His deep
knowledge of Debussy’s life, milieu and
music resulted in a fascinating lecture-
recital on the two sets of Images. Here
he is in full flow with a little help from
Hokusai’s Great Wave.
| Taking a bow with Thomas Adès

after playing his extraordinary Concert
Paraphrase on ‘Powder Her Face’. Learning
Adès’ music was an immensely challenging
experience on many levels, almost like
learning a foreign language! His Paraphrase
takes the Lisztian idea of reworking operatic
themes into a virtuoso work, in this case
his own opera on the scandalous life of
Margaret, Duchess of Argyll.

L O N D O N P I A N O F E S T I VA L
} Pavel Kolesnikov is pictured here rehearsing

Schumann’s great C major Fantasie following
a stressful journey through the London traffic!
His engrossing performance of this masterpiece
was preceded by a series of harpsichord works
by Louis Couperin, which he brought magically
to life with an almost lute-like touch. A very
special and charming guy.
Teamwork and a sense of ‘relay race’

characterised the Two-Piano Marathon,
with seven pianists playing in various
combinations. Here we are backstage and
in suitably relaxed moods after an epic
two-and-a-half hours of piano duos. Big
thanks to our indefatigable page turners
Sebastian, Kamilla and Mike!
| The final group bow

surrounded by a forest of BBC
Radio 3 microphones. A packed
hall with a super-focused
audience gave this epic concert
an extra sense of occasion
and warmth. So much varied
repertoire presented by seven
pianists, including established
pairings and new collaborations –
a joy all round!
Photos by Viktor Erik Emanuel

@viktorerikemanuel

PR EVIEWS: CDs
ONE TO
ANOTHER
Alan Weiss: ‘I like Busoni’s idea that every composition

is a transcription from the composer’s mind’

PR EVIEWS: CDs
Pianist and composer Alan Weiss tells Jeremy Nicholas how his early
musical life as a guitarist, with the sound of Segovia ringing in his ears,
led him to create his own transcriptions for the piano
A LAN WEISS HAS RECENTLY

achieved the remarkable feat of not
only recording an album of his own piano
harmony. I started the following day. The
moment I began I was transported by the
piano repertoire. But the reason I began
Since those days, Weiss has enjoyed a
distinguished – if low-key – career and
now spends much of his time teaching at
transcriptions but simultaneously issuing my transcriptions was because I held that the Lemmens Institute in Belgium. His
the sheet music. It’s a deeply personal beautiful sound of Segovia in my ear. CD of transcriptions is proof positive that
project, rooted in the remarkable story of When I think of it – tears are coming into he rediscovered his ‘beautiful tone and
how Weiss came to be a pianist. my eyes right now. The young guitarists phrasing’, while the sheet music album is
Weiss was born in 1950 to Polish- can pooh-pooh him for too much rubato handsomely produced and meticulously
Argentinian parents in New York and or always dwelling on a high note, but notated. The selection is as unexpected as
raised in Connecticut. Having received it is imaginative, mixing works by Tárrega,
an electric guitar for his ninth birthday, Bach, Purcell and Liszt with Dowland,
he was enrolled in the nearby Waterbury Medtner and Brahms (the longest work,
School of Music. Three weeks later, his ‘Segovia was very kind a solo transcription of his Variations on a
father discovered that Alan was learning Theme by Robert Schumann for piano four
pop music and playing with a plectrum.
to us. He gave us his hands, Op 23). ‘The very first one I wrote
He informed the teacher that he didn’t
want his son ‘to play that garbage’. He
telephone number and was the John Dowland – 25 years ago,’ he
says, ‘then the Tárrega in about 1998. I like
wanted Alan ‘to play classical guitar like
Segovia’. Instead of being annoyed, the
said he would help to Busoni’s idea that every composition is a
transcription from the composer’s mind.
teacher was overjoyed. It was the first time find me a teacher’ As soon as someone writes something
in 10 years that any parent had asked him down, it’s not the original impulse. You’re
to teach classical guitar – his first love. already one step away. It’s usually a question
There and then he launched into an Etude he had the most distinctive phrasing of hearing something – like the beautiful
by Dionisio Aguado. Weiss was transfixed. and rhythm. Then I began playing the recording of Medtner with Schwarzkopf
Later that day, his father bought an LP Diabelli Variations and the Brahms singing his song The Muse – and wanting
of Segovia. ‘I listened to it 15 times the Sonata in B-flat, and I fell under the spell to play it myself. My producer wants me to
same day,’ Weiss recalls. ‘It had Ponce of the piano literature.’ do some more, but these things have to be
on it, Couperin’s Passacaglia… it Weiss dropped the guitar when he working on you from the inside. It cannot
went right to my soul.’ was 12 (it was six years before he finally come from the outside.’
Soon Weiss was practising eight or told Segovia). Though by his mid-teens
nine hours a day at the weekends. ‘Then, people were starting to take notice of him Both CD and music are published by
miraculously, Segovia came to Watertown, as a pianist, he realised he was playing Uaná Association for the Arts, a non-profit
Connecticut, which is close to Waterbury, completely from intuition. ‘I had no organisation run by producer Victor Somma
and played a recital. It was 18 April 1960.’ discipline at all. So I went to Juilliard to and his pianist wife Sylvia Thereza
During the intermission, Weiss’s father, study with David Saperton [Godowsky’s www.uana.be
the owner of a tool and die store, had the son-in-law]. He really helped me but,
chutzpah to take his son backstage and unwittingly, screwed me up at the same Alan Weiss: Piano Transcriptions
introduce him to Segovia. ‘My dad was time. I lost all my confidence. I lost my Sheet music: ISBN-13: 978-1986154529;
driven to help me,’ he says. ‘Segovia didn’t intuition and with it my beautiful tone ISBN-10: 1986154521. CD: Uaná UN001
take it amiss. He was very kind to us. He and phrasing. It took me four or five years
gave us his telephone number to call and to get it back. By then I was in my early
said he would help to find me a teacher.’ twenties. I loved Saperton. I used to wash
Two months later, Weiss played for dishes for him, buy food for him, and get
Segovia at his apartment in New York. his medication. I wanted to pick his brains
‘He arranged for me to begin studies with for everything. After all, he had been
one of his pupils, the Mexican guitarist assistant to my idol, Josef Hofmann. And
Gustavo Lopez, and said I should study you know what? He hated Hofmann and
piano as well in order to learn theory and hated his playing!’

SCHUBERT Piano Music ARVO PÄRT: Für Anna Maria, Für Alina,
New on Drei Klavierstücke D.946, Five Songs arr. Franz Liszt, S.558
Fantasy in C major, ‘Wanderer’, D.760
Variationen zür Gesundung von Arinuschka
J.S. BACH: 15 Two and Three-part Inventions
SOMM
Leon McCawley, piano Cordelia Williams, piano

‘What a range in his interpretation and how many layers “The spontaneity of the performances, as well as the
of gradation! McCawley ties these together, in a special beauty of the piano tone… linger in the mind.
quality of inlexions which make their point with great - Misha Donat **** BBC Music Magazine
intelligibility and sensitivity’. - Diapason D’Or, Diapason,
July 2017
Worldwide Distribution: www.somm-recordings.com | sales@somm-recordings.com

R EV IEWS | CD s & DV D s
Wilhelm Backhaus plays Chopin, Liszt, Backhaus – unlike Schnabel who despised Mieczysław Horszowski: Vatican Radio 1940;
Schumann & encore pieces: HMV recordings the lighter virtues – was drawn to Romantic Beethoven Masterworks 1952–1975
1925-1937 bonnes bouches and you only have to hear him Works by Beethoven, Chopin, Franck and Liszt
Chopin 12 Études Op 10; 12 Études Op 25; Prélude in Liszt’s Second Hungarian Rhapsody to find Mieczysław Horszowski (pf)
in C major Op 28/1; Berceuse in D-flat major Op 57; him delighting in a riotous brilliance and Arbiter Records 165
Waltz in E-flat major Op 18; Waltz in D-flat major theatricality. Yet his way with his legendary lllll
Op 64/1; Fantaisie-Impromptu in C-sharp minor Op set of the Chopin Études has you blowing hot
66 Mendelssohn/Hucheson Scherzo from A and cold. Opus 10/1 has breadth and dignity Three previously unpublished recordings of
Midsummer Night’s Dream Smetana Polka No 3 in (no mere ‘runaway chorale’) but he takes a Mieczysław Horszowski playing Beethoven
F major from Czech Dances Delibes/Dohnányi rough hand to the sparkling cascades of No 8 at recitals in Philadelphia (from the 1970s)
Waltz from Naïla Mozart/Backhaus Serenade and is more hefty than loving in the glorious and New York (from 1952) are presented
from Don Giovanni Schubert/Backhaus Marche central section of Op 25/5. Again, he is as here. Each alone would make the set worth
militaire in E-flat major D733/3 Schubert/Liszt light and buoyant as you could wish in No 9 acquiring for devout Beethovenians.
Soirée de Vienne No 6 in A major S427/ 6 Liszt (the so-called ‘Butterfly’ Etude) while In the Eroica Variations Op 35,
Waldesrauschen S145/1; Liebesträume No 3 S541/3; whipping up an elemental storm in No 11 Horszowski displays a unique attack,
Hungarian Rhapsody No 2 in C-sharp minor S244/2 (‘Winter Wind’). Elsewhere he is graceless with percussive passages sounding like a
Schumann/Liszt Widmung S566 Schumann and flurried in the first Prelude of Op 28 and sprightly, yet peremptory, knocking on
Fantasiestücke Op 12: No 2 ‘Aufschwung’ and No 7 his tendency towards supersonic speeds the door. Profoundly understood musical
‘Traumes Wirren’; Nachtstück in F major Op 23/4; allows too little time for a phrase to tell and characterisation depicts Beethoven as a
Fantasie in C major Op 17 Albéniz ‘Triana’ No 3 breathe. His Mendelssohn Scherzo from A boor capable of flights of unsurpassed
from Iberia, Book 2 Albéniz/Godowsky Tango Op Midsummer Night’s Dream, arranged by Eric elegance.
165/2 Moszkowski Caprice espagnole Op 37 Hutcheson, is a refreshing change from The Diabelli Variations Op 120 from
Rachmaninov’s more familiar setting; but he 1970 are decidedly more raucous and
Wilhelm Backhaus: The complete is no elegant white-tie-and-tails dancer in the rambunctious than a refined 1951
pre-War Beethoven recordings Delibes/Dohnányi Waltz from Naïla (try recording (Vox CDX25511) of that work.
Beethoven Piano Concertos: No 4 in G major Cyril Smith in comparison) and his Chopin There is intense life in the humorous
Op 58; No 5 (Emperor) in E-flat major Op 73; Piano Minute Waltz is more an exercise in speed Teutonic sensibility expressed here. At the
Sonatas: Pathétique in C minor Op 13; Moonlight in than musicianship. keyboard, Horszowski was something of a
C-sharp minor Op 27/2; Les Adieux in E-flat major Backhaus’s Beethoven prompts even sorcerer’s apprentice, retaining near-eternal
Op 81a; No 32 in C minor Op 111 Bach Preludes greater argument. Fluent and direct in the youth like the claims of immortality made
and Fugues from the Well-Tempered Clavier, Book 1: Fourth Concerto, his playing could perhaps by shadowy figures of the Enlightenment
C major BWV 846; B-flat minor BWV 867; Pastorale too easily be mistaken for diffidence, for such as the Count of St. Germain. A
from Christmas Oratorio BWV 248 (arr Lucas) being ‘on auto-pilot’. But his directness in the Waldstein Sonata from 1952 is played
Pathétique Sonata is belittling and in Op 111 crisply in an intensely intellectual, yet
Wilhelm Backhaus (pf) he rides roughshod over Beethoven’s risk-taking, performance.
APR 6026 and 6027 – 4 CDs eloquence. For him a description of the The Vatican City recital from 1940 is
lll Arietta as like ‘a slow drift towards the shores rightly considered to be the Holy Grail of
of Paradise’ is mere quasi-poetic nonsense, a Horszowski performances. This restoration
APR’s invaluable tribute to Wilhelm subjective alternative to an art that is by producer Allan Evans improves upon his
Backhaus (1884-1969) provokes a sea of essentially sui generis. And yet in his final previous, rougher-sounding transfer from
controversy. Estimates of his playing have offering of Bach’s Pastorale from 1994 for Pearl. An apt chiaroscuro now
always been wildly contradictory (APR’s the Christmas Oratorio, arranged by Clarence illuminates the sound, identifying
excellent accompanying notes quote Lucas (very much in the style of Wilhelm Horszowski as a Romantic, yet no-
Horowitz, Barenboim, Uchida and Argerich, Kempff ’s Romantic settings of the Classical nonsense, interpreter of 19th-century
among others) some rejoicing in a rugged, and Baroque) you are alerted to a heart of works. Lofty poetic flights of fancy remind
technically magisterial command, others gold beating beneath that mighty if us why devotees esteemed Horszowski as a
finding him intimidating and aloof. For one Olympian surface. A point-counterpoint rare survivor of an unsurpassed era of
critic he could ‘pin back a Chopin Mazurka experience, then, though presented with all of pianistic genius, a half-century before his
by the ears and belabour it unmercifully.’ APR’s expertise and attention to detail. belated rediscovery.
Associated primarily with Beethoven, BRYCE MORRISON BENJAMIN IVRY
November/December 2018 International Piano 67

REVIEWS | CDs
Life Works by Busoni, Bach, Schumann, Rzewski, Nightfall Works by Debussy, Satie and Ravel Composer Masterworks
Liszt and Bill Evans Alice Sara Ott (pf) Vol 1: Works by Brahms, Chopin and Mendelssohn
Igor Levit (pf) Deutsche Grammophon DG4835187 Vol 2: Bach Goldberg Variations
Sony 88985424452 – 2 CDs lllll Jean Tews (pf)
lllll llll
Igor Levit’s latest 2-CD album is a sufficiently Nightfall, the title of Alice Sara Ott’s new Jean Tews was a Canadian pianist who
epic achievement to make even his finest album celebrating her 10 years with DG, is studied alongside Glenn Gould and Mario
rivals sound small-minded by comparison. accompanied by a personal and fascinating Bernardi. She died in 1993 after a battle with
The underlying theme of Life is the journey essay. Here she tells of music by Paris-based cancer; these two releases are part of a series
from the earthly to the seraphic, ‘music whose composers who cumulatively but in radically of six discs of late recordings released for the
bleak grandeur and melancholy beauty’ is different ways blurred the distinction first time in 2018 and available via Tews’
lovingly chosen by Levit as solace after the between light and darkness, fear and website: www.jeantewspiano.com.
death of a close friend. happiness and, ultimately, life and death. Tews’ Bach is luminous and variegated.
Busoni’s Fantasia after JS Bach gives us one Opening with Debussy’s Rêverie and Suite While the influence of Gould is instantly
composer through the prism of another, an bergamasque, both products of the composer’s detectable, Tews has her own way, the
elegy in memory of Busoni’s father. Indeed, early, evanescent magic, Ott is poised and frequent illuminations fully taking
Busoni is the presiding presence in this with a sense of occasion in the former, witty advantage of her Kawai EX piano. Suffusing
extraordinary album, and never more so than and affectionate in the latter. Debussy may the entire interpretation is a quiet
in his outsize setting of Liszt’s organ Fantasia have resented the publication of Rêverie so underlying dignity that refuses excess in any
and Fugue on the Chorale ‘Ad nos, ad salutarem soon after La Mer (among his greatest area; pedalling is a model of its kind yet
undam’, most daunting of transcriptions. And masterpieces) but it has always retained the consistently imaginative. The gentle lilt of
whether you hear Levit in the transfiguring affection of his less critical listeners. the seventh variation is perfect and she finds
glow of his sonority in the central Adagio or Some self-conscious inflections may mar just the right pathos for Variation 21; most
find your pulse racing in his wild acceleration Ott’s way with the ‘Menuet’ from the Suite remarkable is the ‘full stop’ at the end of
– like a suddenly applied centrifugal force – bergamasque, but her ‘Passepied’ is full of Variation 24 before the exploratory No 25
you will hear an inclusive if Mephistophelian dancing lightness, a counter to the silvery gets underway, as if to emphasise stepping
virtuosity known to very few pianists. dream-world of ‘Clair de lune’. Here, her into new territory. Just occasionally there is a
Levit sees Brahms’ left-hand arrangement treble rides high above a brightly animated, slight sag in tension (the Ouverture,
of Bach’s Chaconne as far more than a slim chattering bass line before she continues, Variation 16) and moments when
alternative to Busoni’s necessarily more with the oasis of calm and mystery of Satie’s articulation could be a touch clearer, but this
opulent setting, and his choice of Schumann’s three Gnossiennes. remains a significant Goldberg Variations.
valedictory Ghost Variations reveals a world In extreme contrast these are followed by The Brahms Intermezzi receive a tender,
where all former exuberance is forgotten in Ravel’s ferocious and subtle demands in his intelligent performance. Tews is careful not
an engulfing darkness of the spirit. Busoni’s Gaspard de la nuit. Daringly true to the to over-pedal yet retains the essence of late
Berceuse is, again, an unsettling elegy in composer’s très lent in ‘Le Gibet’ she avoids Brahms; if Charles Owen (Avie AV2397)
memory of the composer’s mother, while self-defeat by her unwavering focus and penetrates deeper, it is a clever idea to
Rzewski’s A Mensch and Bill Evans’ Peace Piece concentration, creating an eerie atmosphere juxtapose three Intermezzi from thee
add a further shaft of light and novel of desolation. Her ‘Scarbo’ is precise rather different collections, although placing Op
dimension. Levit may confess to finding than frenzied. Admirably free from vague 118/6 centrally does rather rob it of its
Chopin ‘dumb’ yet Evans’ gently rocking approximation (compare Gieseking) it culminatory effect.
bassline supporting intermittent cascades misses the lightening and thrilling reflexes The Brahms Waltzes are an absolute
surely recalls Chopin’s Berceuse, as well as the of a Pogorelich, Thibaudet or Gavrilov. delight (as is her single Chopin Waltz), and
comfort and final optimism of Shakespeare’s Finally Ott returns us to her opening calm, Tews’ Chopin Nocturne Op 9/1 contains
Winter’s Tale: ‘Thou met’st with things dying, I playing Ravel’s Pavane pour une infante great beauty; her Berceuse, however, does sag
with things new born.’ défunte with a haunting sense of dignity and somewhat. The so-called ‘Cello’ Etude and a
Igor Levit’s Life is as awe-inspiring as it is beauty. DG’s sound is superb and their swift ‘Raindrop’ both have eloquence on
thought-provoking, crowned by Sony’s lavish promotion includes no fewer than six their side, while Mendelssohn’s contained
presentation and outstanding sound. pictures of their very photogenic pianist. expression in Op 62/1 suits Tews to a tee.
BM BM COLIN CLARKE
68 International Piano November/December 2018

REVIEWS | CDs
Mozart Piano Concertos: No 15 in B-flat major K450; Beethoven Piano Sonatas: No 30 in E major Chopin Nocturnes: Opp 9, 15, 27, 32, 37, Op 48,
No 16 in D major K451; Quintet in E-flat major for Op 109; No 31 in A-flat major Op 110; No 32 Op 55, Op 62, Op 72/1; Nocturne in C-sharp
piano and winds K452 in C minor Op 111 minor Op posth
Jean-Efflam Bavouzet (pf); Manchester Alexandre Tharaud (pf) Ingrid Fliter (pf)
Camerata/Gábor Takács-Nagy Erato 0190295633820 – CD plus bonus DVD Linn Records CKD 565 – 2 CDs
Chandos CHAN20035 lll llll
lllll
These three works were composed in the Alexandre Tharaud’s recordings range over Chopin’s Nocturnes were written at various
course of a single month in 1784. (Let that a wide expanse of repertoire, from Rameau, stages between about 1830 and the final
sink in for a moment…) The three Bach and Scarlatti, to Kagel and the brace (Op 62) in 1846. They are generally
manuscripts were dated respectively 15, 22 singer-songwriter Barbara. Generally, grouped together and often form pairs in
and 30 March, written primarily for the enlightenment and enjoyment follow in neighbouring keys (Op 15, F and F-sharp
composer to perform himself. They are full equal measure but it was risky for his first major; Op 27, C-sharp minor, D-flat major),
of the joys of youth and life, perhaps in Beethoven recording to go straight to the offering subtle differences in character; the
recognition of his wife Constanze’s second final three sonatas, one of the greatest tritonal opposition of C minor and F-sharp
pregnancy (she gave birth to their son Karl challenges to any pianist. I do not think it minor (Op 48) is as rare as Op 55’s
the following September). has entirely come off. conventional E and B major. Jim Samson’s
In K450 and K451, Mozart really started No 30, that deceptively simple-sounding booklet traces the Nocturnes’ history
to refine his ideal of the concerto form, masterpiece, encapsulates the problem. The chronologically, pair by pair, starting with the
with more emphasis on the woodwind opening Vivace ma non troppo is light and E minor Op 72/1 (c1830) and the three Op 9,
– adding a flute in the rondo finale – and airy, catching the feeling of improvisation completed the following year.
increasingly the difficulty of the work, that is one of the work’s hallmarks, but the It is curious, then, that Ingrid Fliter chose
especially in that final Allegro. Mozart ensuing Prestissimo feels like a technical to re-sequence the 20 works, omitting the late,
described both it and the more martial- exercise where the virtuosic challenge of posthumously published C minor. As a result,
sounding D major, with its trumpets and the notes is still being assimilated, this is not a complete survey, unlike Goerner’s
timpani, as ‘concertos which make one interpretation of the music pushed into the (Alpha) or Hewitt (Hyperion). Sometimes,
sweat’, while conceding that ‘the one in background. This gives his reading an pieces with similar keys follow one another,
B-flat is more difficult than the one in D’. unfinished quality, all the more apparent in such as the B major Opp 32/1 and 9/3 (Disc 1
Bavouzet concurs in his performer’s note the concluding Gesangvoll, mit innigster tracks 2-3), but not Op 62/1 (Disc 1, track 9,
in the booklet, though his scintillating Empfindung, which just does not take flight. sandwiched between Op 32/2 in A-flat major
performance masks any discomfiture. Matters are little different in No 31, a and Op 72/1 in E minor); or the two E-flat
The star of the show, however, is the shame as this is the one that should have major Nocturnes, Opp 9/2 and 55/2. While
Quintet in E-flat, the orchestral suited Tharaud’s playing style the best, but the connections, tonal and musical fascinate, I
accompaniment stripped away to oboe, the result is slightly pedestrian. In No 32, cannot help thinking that she should have
clarinet, horn and bassoon, a masterpiece Tharaud seems to be at the edge of his trusted Chopin’s judgment more.
of Classical poise and balance. Mozart expressive resources – though sometimes As to Fliter’s playing and the individual
himself regarded it at the time of its that is a good thing, prompting a white- interpretations, these are on the whole fluent
composition as ‘the best work I have knuckle-ride of inspired playing. and smooth. Fliter highlights the contrasts in
written in my life’. If the pianist is primus Harmonia Mundi’s sound is beautifully mood between the individual Nocturnes,
inter pares, each of the wind players has clear and resonant, and with a 64-minute which her chosen sequence was presumably
their share of the sunlight and the soloists bonus DVD of Tharaud performing these designed to do. It may also have determined
from the Manchester Camerata – oboist same pieces (is it my imagination but do some unusual interpretative decisions in
Rachael Clegg, clarinettist Fiona Cross, they flow slightly better?) in what looks like terms of tempi and dynamics, likely to divide
Naomi Anderson on horn and bassoonist an abandoned house, there is much to opinion. With lovely sound from Linn, this is
Ben Hudson – relish every note. The full commend this release. Nonetheless, it will a well-produced, well-thought-through
band is on fine form in the concertos, well not trouble the very best: Kovacevich survey, even if not displacing the finest
marshalled by Gábor Takács-Nagy. (Warner), Bavouzet (Chandos) or Tharaud’s interpreters such as Arrau (Philips), Pires
Excellent sound. label-mate, Paul Lewis. (DG) or Hewitt.
GUY RICKARDS GR GR

REVIEWS | CDs
Tchaikovsky Plus One – Volume1 Brahms Seven Fantasias Op 116; 3 Intermezzi Rachmaninov Piano Concertos 2 & 4 Bach/
Tchaikovsky The Seasons Op 37b Musorgsky Op 117; Six Pieces Op 118; Scherzo in E-flat Rachmaninov Partita for Violin in E major
Pictures from an Exhibition minor Op 4 Daniil Trifonov (pf); Philadelphia Orchestra/
Barry Douglas (pf) Garrick Ohlsson (pf) Yannick Nézet-Séguin
Chandos CHAN10991 Hyperion CDA68226 Deutsche Grammophon 4835335
llll lll lll
This is the first volume in a short series of Each of Brahms’ final four sets of piano Rachmaninov’s Suite from the Violin Partita
recordings, programmed by Barry Douglas as pieces, all composed in 1892 and published in E major (after J S Bach), familiarly known as
his personal homage to Russia. Each will pair as Opp 116-9, make a self-contained group, Bachmaninoff, is doubtless the most delectable
one of Tchaikovsky’s major piano works with and have mostly been performed and item in this new release. Unlike the dignified
a significant other. In his booklet note, recorded as such. However, the thematic and formal interpretation of this work by the
Douglas confirms Rachmaninov’s Moments and expressive interconnections between composer himself, Trifonov expresses
musicaux will figure in a future volume, but the 20 component capriccios, intermezzi light-hearted merriment, aptly bringing out
here he has chosen the most significant of all (of which there are 14 examples alone), a coy, coquettish dance influences in movements
19th-century keyboard works, Musorgsky’s ballade, a rhapsody and a romance – with a entitled ‘Gigue’ and ‘Gavotte’. The nostalgic,
Pictures from an Exhibition. (Note from an combined running time of around 75 flirty effect is akin to that of Monsieur Triquet,
Exhibition, not at – a literal translation of the minutes – make them an obvious and the elderly tutor in Tchaikovsky’s opera Eugene
Russian original rather than its typical cohesive collection for CD. There are Onegin, who evokes 18th-century ways in a
Anglicised form). several recordings of all four opus numbers quaintly Russified style. To be sure,
Despite the focus on Tchaikovsky, it is to confirm its viability, so I am bemused at Rachmaninov was a devotee of the joys of
Musorgsky’s epic suite – given here in its why Ohlsson replaces the culminating Four pre-Revolutionary Russian society.
original form, uncorrected by Rimsky- Pieces Op 119, with Brahms’ earliest As for the rest of this CD, after
Korsakov – that is the main event. Next to it, sanctioned published work, the Scherzo in Bachmaninoff, alas, comes the deluge. In
Tchaikovsky’s The Seasons (1876), miniature E-flat minor. This last’s inclusion Rachmaninov’s Second Concerto, Trifonov is
portraits of the 12 months of the year completely breaks the valedictory mood of tendentious, ineffectively counteracting
composed in instalments, is lightweight and the preceding hour’s music, especially in orchestral playing that is limp, sugary ooze,
charming, aimed at gifted amateur players. what is a somewhat heavy-handed and slow like a slow eruption in a toffee factory.
Musorgsky’s shorter version of Pictures is account: not the slowest, by any means, but Nézet-Séguin flails about stylistically, as if he
altogether more serious, a public statement compared with, for example, Melnikov on believed this music were by Saint-Saëns. It is
commemorating his dead friend, the artist Harmonia Mundi or Plowright on BIS, poignant to compare the majesty of the
Victor Hartman. Ohlsson seems leaden. Philadelphia Orchestra during the eras of
Douglas’ performance is excellent, but he Matters are better in the later pieces, yet Stokowski and Ormandy, with whom the
cannot disguise the fact that Tchaikovsky’s here again there is a want of subtlety and composer recorded these concertos, to its
concluding ‘Christmas Waltz’ for December finesse in the playing, especially when set reduced artistic impression today. Some
lacks the culminatory impact of ‘The Great against the finest exponents of late Brahms, orchestral passages which should bolster the
Gate of Kiev’. I suspect one could close of which there are quite a few. The set that pianist sound perfunctory, blunt and prosaic.
Tchaikovsky’s year at any month and it would comes off best is the Seven Fantasias, where All too often, the Second Concerto seems
be no more downbeat – indeed, August or the three Capriccios do at least sound pettish, without any exaltation.
September would make a more effective wilful. However, Ohlsson’s interpretations Even worse, the Fourth Concerto is
finale! Douglas is at least a match for Freddy are not very involving compared with lumbering and loud, conducted as if it were a
Kempf (BIS CD2140), which I welcomed Plowright’s; and there is little magic in the crass item of Soviet realism. At sea, Trifonov
back in 2016. With Pictures, competition is softer intermezzi, both here and in Opp sounds overstressed in the studio, possibly
keener; fine though this newcomer is, it does 117-8. Compare the latter with Arcadi reacting to the crushing decibel count of the
not lead the field. I marginally prefer Stephen Volodos (Sony Classical 8887513019) and orchestra. His nimble fingers languish in the
Osborne (Hyperion CDA67896, coupled with the difference in quality is marked, with mudslide accompaniment. One day, Trifonov
Prokofiev): a more powerful reading, with little of the cultured playing and insight will surely have the opportunity to record
greater variety of colour, on an instrument that the Russian brings to this music. these works again with a conductor and
with greater depth of tone. Hyperion’s sound is clear and resonant. orchestra better suited to the idiom.
GR GR BI
70 International Piano November/December 2018

REVIEWS | CDS IN BRIEF
Seixas Sonatas Nos 8, 16, 50, 59 Rameau Twelve every turn, from the harmonic delights of overshadowed in the concert hall by
Pieces Couperin Six Pieces the first movement of No 29 to the sweet yet Schubert and Schumann. Carles & Sofia set
Mariko Terashi (pf) almost exploratory manner of CPE Bach in out to right that wrong, be it in the famous
Athene ATH23207 the Divertimento. Delightful. Wiegenlied or in the sheer loveliness of
llll CC Sapphische Ode (with its silvery decorations)
or Wie Melodien.
Purists might object to this repertoire on the The dark, rich side of Brahms surfaces in
piano, but the likes of Hewitt and Sokolov Schubert Drei Klavierstücke D946; Lieder (arr the Vier ernste Gesänge. No substitute for
have proved it can work. Mariko Terashi, a Liszt); Wanderer Fantasy D760 Hans Hotter and Gerald Moore, for sure, but
student of harpsichordist Huguette Dreyfus, Leon McCawley (pf) Carles & Sofia are poignant nonetheless.
offers a carefully chosen programme, Somm Recordings SOMMCD 0188 Beautiful arrangements in good sound.
including four sonatas by Portuguese llll CC
composer Carlos de Seixas (1704-1742).
Terashi’s account of the Adagio of the Perhaps because of its prosaic title (Three
Sonata No 8 proves there is real emotional Piano Pieces), Schubert’s D946 remains Belle Epoque Works by Chaminade, Koechlin,
weight here, while the A major (No 59) is under-recorded and performed for its Aubert, Hahn and Debussy
meltingly lovely. stature, despite the support of such Ludmilla Berlinskaya, Arthur Ancelle (pfs)
Helpfully, the booklet lists the later luminaries as Pollini. Yet these are Melodiya MELCD 1002563
operatic occurrences of the works from substantial and magnificent pieces. llll
Rameau’s Deuxième livre de pièces de clavecin. McCawley gives an impetuous, febrile
Although the Sarabandes from the Premier account of the first – tormented, even; plus, Here is a disc that is effervescent with joy
livre do not quite transfer to the piano, there he has the intelligence to think in the long from the off: Cécile Chaminade’s Valse
remains much to enjoy, particularly Terashi’s lines these works demand. carnavalesque Op 73 begins a journey through
limpid way with ‘L’entretien des Muses’ and Of the song selection of five Lieder the music of late 18th- to early 19th-century
her sense of space and exploration in the arranged by Liszt, which form a central panel Paris. Charles Koechlin’s Suite Op 6 breathes
François Couperin pieces from four Ordres. to the recital, Du bist di Ruh is most fragrantly and easily, Berlinskaya and Ancelle’s
CC remarkable for its interior expression. As to pianism fluent and sensitive.
the generally fast Wanderer Fantasy, it is full of There is a world premiere recording here
intelligent observation but doesn’t quite in the shape of Louis Aubert’s Suite brève, its
Haydn Piano Sonatas, Volume 1: Nos 29, 32, 36, sustain the argument across its span; here brief central ‘Berceuse’ suspended in the air;
52, 47; Divertimento in E-flat Hob XVI:16 McCawley’s impetuosity is somewhat while Hahn’s suite of 12 beautifully
Roman Rabinovich (pf) misplaced. An ambitious Schubert disc, proportioned waltzes entitled Le ruban
First Hand Records FHR 71 – 2 CDs creditably done. dénoué conjures string performances.
lllll CC Debussy’s En blanc et noir is the most famous
piece here, given a superbly intelligent
Spread over two generously filled discs, this reading that, while not dislodging Argerich/
first volume promises much. It is not too Brahms (arr Ewers) Lieder, including Vier ernste Kovacevich or the Labèques, breathes its
grand a claim that Rabinovich is up there Gesänge Op 121 own rarefied air. A most interesting release.
with Bavouzet in this repertoire. Sonata Carles & Sofia Piano Duo (pfs) CC
No 36 is exquisite; Rabinovich pitches the KNS Classical A/069
exploratory side of the central Adagio llll
perfectly. Decorations are consistently in Paderewski Piano Sonata in E-flat minor Op 21;
style throughout, yet it is in Rabinovich’s These arrangements by Christoph Ewers Toccata Op 15; Nine miniatures from Opp 14 and 16
understanding of structure that he triumphs. were requested by the present piano duo, Kevin Kenner (pf)
He also understands that Haydn’s fragile along with arrangements of Schubert and Fryderyk Chopin Institute NIFCCD 057
textures (often only two parts) have an Schumann (these latter apparently to follow; lllll
eloquence all of their own. on the strength of the Brahms arrangements,
The spread of invention in the Haydn they will be well worth hearing). The music of Ignacy Paderewski (1860-
sonatas presented here is remarkable, and Brahms’ Lieder output is one of the glories 1941) has fallen from grace somewhat in
Rabinovich seems to delight in each and of the Romantic era, yet they are often modern times, although there is no shortage

REVIEWS | CDS IN BRIEF
of historical recordings available. Kevin Stockhausen Klavierstücke I-VIII (VI in the March pieces hangs hauntingly in the air, the
Kenner redresses the balance with the finest 1955 version) & XI (four versions) temporal distance between the two
modern performance of the 1903 Sonata, a David Tudor (pf) composers subsidiary to their shared
staggering piece, recorded like the rest of the hat[now]ART 172 fundamentals.
album on Paderewski’s own 1925 Steinway. lllll Williams has the ability to mesmerise in
For the first movement, think Liszt but with Pärt, creating stillness, even timelessness.
more block chords; Paderewski counters The documentary value of this historic first Caught in a fine recording, this is a
this muscularity with a tender slow recording is huge: Stockhausen’s magnificently stimulating concept,
movement, while Kenner crowns the Klavierstücke V-XI were all dedicated to brilliantly realised.
performance with a magnificently Tudor (the first four to Marcelle Mercenier). CC
impassioned yet fizzing finale. Although recorded in 1958, the sound is
Preceding the Sonata are nine miniatures clear and full. These are seminal works,
beginning with a daringly slow Sarabande spawning a forest of music, a repertoire Sixteen Contemporary Love Songs for Piano
Op 14/2, which begins a crescendo of energy reserved only for the bravest. Works by Howard Skempton, Elena Kats-Chernin,
over the free-flowing Intermezzo polacca to Tudor was a pianist closely allied to Richard Reed Parry, Judith Weir, Nico Muhly,
the Cracovienne fantastique. Kenner sparkles postwar avant-garde composers, yet his Joby Talbot, David Knotts, Frederick Viner, Robert
in the Scarlatti-like Caprice. An eye-opening performance career was infuriatingly short. Saxton, Michael Zev Gordon, Pavel Zemek,
winner of a disc. He captures perfectly the crystalline Bernard Hughes, Piers Hellawell, Chia-Ying Lin,
CC pointillism of Stockhausen’s magnificent David Matthews and Cheryl Frances-Hoad
sound-world (particularly Nos I-IV). William Howard (pf)
Silences resonate with post-Webernian Orchid Classics ORC100083
Anthology of American Piano Music, Vol frisson as we enter previously unexplored lll
3: American Landscapes Works by Copland, territory. The pliable, flexible form of
Heinrich, Grainger, Mason, MacDowell, Farwell, Klavierstück XI results in no fewer than four The English pianist William Howard has
Ornstein, Still, Harris and Cadman performances (the gap in numbering is received acclaim for his albums of Dvořák,
Cecile Licad (pf) because IX and X were completed in 1961). Fibich and Schumann. Following an
Danacord DACOCD 800 Required listening. Orchid Classics release of Sixteen Love
llll CC Songs for Piano by Romantic-era musicians
(ORC100056), Howard had the good idea
Here, well-known names such as Copland to ask composers of today to exude
(who kicks things off with a ruminative Pärt Für Anna Maria; Für Alina; Variations for affection in brief works. A competition in
stroll Down a Country Lane that could only the Recovery of Annushka Bach Inventions and 2016 drew 526 entrants from 61 countries.
be by him) rub shoulders with the likes of Sinfonias BWV 772-801; Praeambulum in C major Love must be overflowing among piano
Anthony Heinrich, whose Minstrel’s March BWV 924 composers of our time.
(an autobiographical journey from Cordelia Williams (pf) Results include an alluringly obstinate,
Philadelphia to Kentucky) is an exercise in Somm Recordings SOMMCD 0186 sinuous melody from the Tashkent-born
high vacuity. lllll Elena Kats-Chernin. From Taiwan’s
Variety is this disc’s strength, and Licad Chia-Ying Lin, one of the competition
plays with a chameleon-like ability to adjust This is a superb concept, enhanced by prizewinners, comes a willful-sounding,
to vernaculars. She finds the sweet, Michael Quinn’s fascinating notes. Both domineering expression of all-conquering,
ruminative heart of MacDowell’s Woodland Bach and Pärt share a religious aspect and if undomesticated, affection. From
Sketches, her perfect reading taking top slot concision of expression. English composers, propulsive Latinate
in the catalogue. While Roy Harris’ Streets of The sheer clarity of Williams’ Bach – two rhythms by Robert Saxton and an
Laredo seems low on inspiration, it is clear absolutely equal hands, voices chasing each intriguing collage of Fauré and JS Bach by
that we need to hear more of Minnesotan other playfully – lends qualities of purity Bernard Hughes are featured. Howard
composer Arthur Farwell – the movements and truthfulness to her readings. The order plays all of these sympathetically. While
excerpted from From Mesa and Plain are of the Bach sets (both dedicated to his son, more dismal selections portray love
miraculous. A voyage of discovery, expertly Wilhelm Friedemann) is not the traditional wiltingly, there is enough talent here to
navigated by Licad. one, ascending from C to B and then down validate the project.
CC again. The consoling nature of the Pärt BI

REVIEWS | SHEET MUSIC
Hinton Après un autre rêve Op 49 Connesson The Shining One In Concert

Muse Press Concerto for piano and orchestra – Selected works from the Diploma of the
ISBN 978-4-909668-11-0 reduction for two pianos London College of Music Piano Syllabus
Gérard Billaudot Éditeur London College of Music (LCM)
ISMN 979-0-043-09528-6 ISMN 979-0-5701-2155-7
Alistair Hinton (b 1950) is a prolific commissioned and premiered by the Royal (perhaps a sensible omission when one
composer perhaps best known for his Scottish National Orchestra with Thibaudet considers how varied and diverse hand size
advocacy of Kaikhosru Shapurji Sorabji’s as soloist back in 2009, and is immediately and span can be from player to player), the
fascinating, complex and often beautiful accessible, vibrant, colourful, exciting and introductory comments on each piece are
music (see www.sorabji-archive.co.uk). The virtuosic. Inspired by the terrifying creature extremely helpful in different ways. Even
title of this exquisite but challenging in Abraham Merritt’s novel The Moon Pool though these performance notes in
miniature by Hinton may refer to Gabriel the concerto reflects on the conflicting themselves are extremely brief, they are full
Fauré’s famous song, but in fact the piece is a feelings of the monster’s human victims, of interest and excellent advice, whether on
musical commentary on another song – the who feel both horror and ecstasy as they die. arpeggiating chords in Baroque music,
fifth from Rachmaninov’s Six Romances Op As one may well imagine, the worlds of interpreting ornaments in Beethoven’s
58. What we have here is far from the literal, Messiaen and Scriabin can be seen in celebrated Pathétique Sonata, or using the
carefully crafted Earl Wild transcription. In Connesson’s luminous and iridescent scoring. metronome to perfect co-ordination and
contrast, Hinton uses the Rachmaninov as a The virtuoso piano part does not enter cope with off-beat harmonies in No 145
starting point for extraordinary colours, immediately but is significant and (Ostinato) from Bartók’s Mikrokosmos.
polyrhythms, filigree textures and exotic pitch challengingly flamboyant – befitting the Five of the nine pieces are rarities, including
formations that perhaps owe more to the pianism of Thibaudet. With a first movement three items by women composers: Cécile
florid writing of certain scores by Godowsky inspired by the beast’s aura, a second reflecting Chaminade (‘Automne’, the second and most
and Sorabji than to Fauré or Rachmaninov. the voices of the human sacrifice victims and a famous study from her collection Six études de
Using a three-stave layout, this 64-bar finale accelerating into a Bacchanal-like frenzy Concert), Amy Beach (Cradle Song of the Lonely
miniature is not for the fainthearted – the of a dance, the whole piece is extremely Mother) and Mel Bonis (Carillon Mystique). Of
challenges are considerable. Indeed, in places cinematographic and persuasive on a populist these three, the Chaminade is perhaps most
it seems as though two performers would be level. Inevitably much of the colour and frequently heard – a bravura piece with a
needed to cope with the demands (the effectiveness of the scoring is lost in a ‘black memorable melodic line that deserves to be
climax, which briefly reaches triple fortissimo and white’ version for two pianos, but this recognised and performed much more
in bar 42, is especially challenging). The vast reduction makes the music accessible and is frequently. This is music that many post-Grade
majority of the piece is sketched at a excellent for those who wish to follow the 8 students could pick up and attempt with
sub-piano dynamic level, with lots of score whilst listening to the original orchestral enthusiasm and relish.
tactile-friendly albeit virtuosic double-note version, which can be accessed online via Equally persuasive but darker and more
writing in 16th and 32nd notes. But the broad YouTube and elsewhere. subdued is Beach’s attractive and post-
melodic line remains intact throughout, Brahmsian Lullaby, written in 1924 in verse
providing a musical thread for both listener In Concert, an eclectic collection of nine form with some poignant and striking
and performer alike. This is a notable contrasted pieces, may be primarily for use chromatic harmonies (turn to this month’s
contribution to the repertoire in the tradition by diploma candidates of the London Sheet Music on page 49). Most exquisite of all
of Busoni, Godowsky and Ronald Stevenson. College of Music, but is certainly inspiring is the Bonis miniature, written in 1899 – one of
Fascinating, ravishing and innovatively and intriguing for non-examination pianists some 300 works which this much under-rated
pianistic writing for connoisseurs to savour. too. With a thought-provoking introduction protégé of César Franck left to posterity.
on the art of programme-building from The collection is completed with
Multi-award winning French composer pianist Joanna MacGregor, the range of celebrated contemporary studies from Philip
Guillaume Connesson (b 1970) wrote his material on offer covers some 300 years from Glass and Ligeti, as well as a meditative,
10-minute, three-movement piano concerto Bach (Prelude and Fugue in D major from quasi orchestral and hypnotically charged
The Shining One after hearing Jean-Yves Book I of the Well-Tempered Clavier) to the tone poem (Dream Sequences) from LCM’s
Thibaudet’s performance of Ravel’s present day. Though fingering is not director of examinations, John Howard.
Concerto in G major. The work was included in the pre-20th century items MURRAY MCLACHLAN

REVIEWS | BOOKS
in corpses’. A somewhat perfunctory The story is the starting-point of Chopin’s

foreword by Vladimir Ashkenazy, a much- Piano, Paul Kildea’s riveting new book that
praised interpreter of Scriabin’s works, traces the extraordinary history of Bauza’s
bafflingly asserts that the composer instrument and the Préludes, the pianos
believed that ‘once he ceased to exist, the on which they were played and the great
world would also come to an end’. interpreters who performed them, from
BENJAMIN IVRY Chopin himself to the present day. What
you have in effect is a powerful assessment
Chopin’s Piano: A path through the of Chopin’s legacy and the extent of his
Romantic century
By Paul Kildea influence.
Allen Lane In 1839, the couple returned to Paris where
368 pages their life was dominated by Chopin’s debut at
The Notebooks of Alexander Skryabin the recently inaugurated Salle Pleyel, where
Translated by Simon Nicholls and Michael he played a selection of Préludes. Kildea paints
Pushkin; annotated by Simon Nicholls a vivid picture of the events leading up to the
Oxford University Press
concert (Chopin suffered stage-fright and
263 pages
wanted to keep it quiet) as well as the private
This lucid translation helps piano lovers ‘salons’ that formed around the couple
to understand the literary expression of during those tumultuous years of their
a major keyboard composer. Scriabin imminent breakup.
(1871-1915) was to some extent a wounded Kildea’s research into Chopin’s
soul, partly due to an injury to his right interpretations and how his style of playing
hand when he was aged 20. The English has been adapted (or corrupted) by the
pianist Nicholls notes in an introduction likes of Liszt, Thalberg and a slew of
that some of Scriabin’s subsequent Russians beginning with Anton Rubinstein
compositions reflect this trauma, makes fascinating reading. What emerges
including the Prélude et nocturne pour la Pianos in Paris in the 1830s were big is a portrait of a genius who remains very
main gauche seule Op 9 and the Prelude business. The Second Arrondissement enigmatic.
in A minor Op 51/1, entitled ‘Fragilité’. studios of Pleyel and Erard manufactured Kildea also evaluates how the Préludes
In the latter, Nicholls points out, the ‘left on average 1,000 every month, 300 or 400 fared in the hands of its most famous
hand carries both a melodic line and an men working with every conceivable type postwar interpreters, at a time when
accompaniment, as in Op 9’. of wood and metal to furnish the finest countries fought over the composer’s
Scriabin adopted writing as a form bourgeois homes on the Rue du Faubourg very identity. Alfred Cortot considered
of therapy to help himself and others. Saint-Honoré and beyond. him French and ‘sickly’, as opposed to
His favoured format was windy verse, However, when Frédéric Chopin and Rubinstein’s more muscular approach.
possibly influenced by Nietzsche, a French George Sand arrived in the Spanish Then there was Richter, who refused to
translation of Walt Whitman, or ancient island of Majorca in 1838, the Pleyel play the complete cycle and cherry-picked
Sanskrit texts known as the Upanishads: he had ordered from the same Parisian the ones he liked.
‘I am God!/ I am nothing, I am play, I am company was held up in customs. With ROBERT TURNBULL
freedom, I am life.’ Although Scriabin great music raging in his head, the
Chopin in 1849
praised the Russian occultist Helena composer needed a piano! Chopin had
Blavatsky, he avoided her tendentious little choice but to buy a simple four-foot-
didactic style. Scriabin wrote of himself high piano from a local artisan named
as piano composer and performer: ‘I have Juan Bauza, who couldn’t have had any
come not to teach but to caress (but to idea of its future symbolic value.
torment). I bring not truth but freedom.’ Settling into the freezing abandoned
If music indeed is uneducational, monastery of Valldemossa and already
Scriabin makes up by offering advice weak from tuberculosis, Chopin loved the
to encourage his readers, presumed to rugged terrain of twisted wild trees but was
include legions of ungifted people: ‘If altogether dismissive of the locals and their
a lack of talent torments and depresses customs. Those feelings were mutual: it
you, this is a sign of a seed of talent; was considered scandalous that the couple
cultivate it and do not despair.’ His Poem was never seen at church. Yet out of this
of Ecstasy (1906) uncannily prefigures the unenviable situation emerged perhaps
trench warfare of the First World War, the greatest masterpiece of piano music,
with mention of ‘pitted/ Paths covered the 24 Préludes.

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IN R ET ROSPECT
ODD MAN OUT

Wayward, iery and unpredictable, Heinrich Neuhaus approached
his playing and teaching with the air of an eccentric and
intemperate philosopher. Benjamin Ivry explores the unique legacy
of a life and career that remains elusive and full of contradictions
T HE LIFE AND CAREER OF

Heinrich Neuhaus (1888-1964)
illustrate the paradoxical nature of fame
Neuhaus, studying instead with Alexander
Goldenweiser and Konstantin Igumnov.
She may also have inluenced Gilels to
conservatory activity as being ‘stuck in
pedagogical mud … During the course
of my life I have sufered too much
as a piano soloist and pedagogue in the shun Neuhaus’ peculiarities. Whatever from pedagogy to consider myself a
Soviet Union. In a dictatorship built on the ultimate cause, feeling that he had real pedagogue.’
propaganda, national heroes with feet of beneited little from Neuhaus’ class, Gilels Pupils who put up with Neuhaus’
clay are common. wrote to his former instructor, asking not eccentricities and attitude to his own
For four decades (1922 to 1964) Neuhaus to be mentioned among Neuhaus’ pupils. occupation strove to deduce a coherent
was a teacher at the Moscow Conservatory, This request was apparently ignored. teaching strategy from them. None was
notably of such stars as Sviatoslav Richter The young Richter had the opposite more diligent than Tatyana Khludova,
and Emil Gilels. His approach to keyboard reaction, revelling during lessons when author of Professor Heinrich Gustavovich
instruction was peculiar, to put it mildly. Neuhaus asked him to play Beethoven Neuhaus (Moscow, 1955). Yet as a recent
During a lesson, he might shriek at pupils, ‘in the voice of Diogenes in a barrel’, study by Maria Razumovskaya concludes,
accusing them of not having read the referring to Diogenes the Cynic, the Neuhaus’ harping on Richter and Gilels
philosophy of Immanuel Kant. Neuhaus Greek philosopher who reportedly slept as heirs of his teaching legacy was
prized an integral approach to the arts: in a ceramic jar in the marketplace. ‘problematic’. Richter shunned the very
instead of ofering technical advice in Interpreting a high-lown literary allusion notion of piano instruction, chiding
lessons, he read poetry aloud to Gilels at the keyboard as if it were a party trick Neuhaus that his students would surely
and ofered to take him to art galleries. was just Richter’s cup of chai. never improve. By repeatedly citing Richter
Gilels, cultured enough by any reasonable Neuhaus’ classroom oddities may as his educational successor, Neuhaus
standard, disliked this style of mentorship. have been partly motivated by his own overlooked many students who genuinely
Gilels was married at a young age to the fraught educational experience. In his did devote their lives to instruction.
short-lived but miraculously gited Rosa memoir My Many Years (Knopf, 1980), Among them was Eliso Virsaladze
Tamarkina (1920-1950), who steered clear of Arthur Rubinstein recalled that he and (b 1942), a Georgian pianist who has taught
Neuhaus were students of the German at Moscow Conservatory since 1967 and the
Heinrich Neuhaus (1888-1964) pianist Karl Heinrich Barth (1847-1922) at University of Music and Performing Arts
the Berlin Hochschule für Musik, along in Munich since 1995. Anatoly Vedernikov
with Wilhelm Kempf and other future (1920-1993), another Neuhaus pupil, spent
eminences. In 1912, friction between decades teaching at the Gnessin Institute
Neuhaus and Barth aggravated emotional and Moscow Conservatory. And Vladimir
upsets, leading the former to attempt Krainev (1944-2011) was long-time
suicide by slitting his wrists. Neuhaus professor at the Hochschule für Musik in
jotted a note at the time: ‘I am endowed Hanover, Germany.
with that unhappy German trait – I ind
it necessary to ind a [mentor] that I may
N EUHAUS’ ABUNDANT RECORDINGS
passionately love in an intellectual sense.’ form an alternative, albeit uneven,

The thwarted student returned to a former posterity. In some repertoire, especially
teacher, Leopold Godowsky, and his Brahms, he sounds wilful and strident,
suicidal urges were suppressed. lacking inner balance; but Mozart usually
In later years, Neuhaus would complain reveals him in a sovereign mood. In
about the energy and efort routinely Mozart’s Rondo in A minor K511, Neuhaus ⌂
expended by instructors, describing his relishes a mezza-voce statement. His sense

IN R ET ROSPECT
the poet Osip Mandelstam sang his

take, overtly envying the comparative

privileges of Sergei Rachmaninov: ‘What praises: ‘Not preludes, not waltzes nor
I ind very diicult, to come at two in Liszt were on pages [Neuhaus] turned/ In
the morning to the studio and play for a him lowed and shimmered waves of inner
recording. Rachmaninov had a machine righteousness.’
at home for recording; he could record 15 Indeed, Neuhaus let a righteous pianistic
or 20 times and leave the good takes. I too legacy, even if it was sometimes obscured by
could [go through the recording process] if mood swings and diva-like whinging. e
it was at home or on the stage. Rachmaninov
does not have bad recordings, and that is
because he destroyed many of the records
and re-did them many times.’
Neuhaus’ wayward, querulous nature
was fully expressed in his book, The Art
of Piano Playing (1958, reprinted by Kahn
& Averill in 2016). Some readers were
dismayed by a lack of scholarly approach
‘I have suffered too much from pedagogy to and relentless puing of Richter, to the
consider myself a real pedagogue’ point where Vladimir Sofronitsky, a
Neuhaus friend and Richter rival, refused
of musical line may be a trile obstinate and to discuss the book. About his pompous,
didactic, but this adds an interesting edge to multilingual writing style, Neuhaus was
his rendition. By contrast, in a duo with his entirely unapologetic.
son Stanislav Neuhaus, Mozart’s Sonata for In fact, Neuhaus was relished by
Two Pianos in D major K448 is clangorous, contemporaries speciically for his
inferior to empyrean statements by Radu waywardness and quasi-hysterical Slavic Heinrich Neuhaus: A Life beyond Music
Lupu (another Neuhaus protégé) and Murray temperament. In 1931, when Neuhaus by Maria Razumovskaya is now available
Perahia (Sony 88697858112), or Richter and ended one disappointing Chopin recital from the University of Rochester Press (ISBN:
Benjamin Britten (Decca 4668212). prematurely ater his ingers misbehaved, 9781580469326). www.boydellandbrewer.com
Neuhaus’ Chopin Berceuse Op 57,
retains the character of an intimate
conversation, carried on sotto voce. Insofar HEINRICH NEUHAUS ON DISC
as solo instrumentalists aspire to the
communicative power of human speech, Heinrich Neuhaus – The Neuhaus Heinrich Neuhaus plays works by
Neuhaus achieved this goal masterfully. He School Beethoven
played Chopin’s Sonata No 3 in B minor Heinrich Neuhaus (pf) Heinrich Neuhaus (pf)
Moscow Radio Orchestra/ Russian Compact Disc RCD16245
Op 58 as if telling an audience verbally
Alexander Gauk
how the work should sound and what
Appian APR5660 Heinrich Neuhaus Plays Works by
its message should be. This illustrative, Scriabin
didactic approach was avoided by other Heinrich Neuhaus: Anniversary Heinrich Neuhaus (pf)
pianist-instructors, such as Alfred Cortot. Edition Russian Compact Disc RCD16247
In Prokoiev and other contemporary Heinrich Neuhaus (pf), Stanislav
music, Neuhaus was intriguingly objective Neuhaus (pf), Dmitri Tsyganov Heinrich Neuhaus plays works by
and abstract, as if conveying the results of a (vln), Vadim Borisovsky, Sergei Chopin
scientiic experiment. Neuhaus’ Beethoven Shirinsky (vcl) Heinrich Neuhaus (pf)
expresses a universe of ursine grufness. In Moscow Radio Symphony Russian Compact Disc RCD16248
Beethoven, Neuhaus is perhaps closest in Orchestra/Alexander Gauk, Nikolai
Golovanov Heinrich Neuhaus plays works by
temperament and tone to his pupil Richter.
Melodiya MELCD1002539 – 5 CDs Schumann and Brahms
Along with others, they created a blueprint
Heinrich Neuhaus (pf)
for Soviet-era performances of Beethoven, Heinrich Neuhaus plays works by Russian Compact Disc RCD16246
ininitely weighty and more Teutonic than Beethoven, Bach, and Mozart
most postwar German or Austrian pianists Heinrich Neuhaus (pf) Scriabin: Complete Piano Sonatas
would essay. Russian Compact Disc RCD16244 Vladimir Sofronitsky (pf), Heinrich
Despite these achievements, Neuhaus Neuhaus (pf)
griped to friends about late-night recording Proil Medien PH15007
sessions where he was granted only a single

Next issue
MARCH/APRIL 2019
EAN-BAPTISTE MILLOT
Nikolai Lugansky
FRENCH CONNECTION
Search for a job... Nikolai Lugansky is a true Russian artist
whose playing combines power, poetry and
passion. Best known for his performances of
core Romantic repertoire, particularly Chopin
and Rachmaninov, Lugansky’s next project will
Search a wide range of music explore the affinities between Debussy and
and performing arts jobs, from Scriabin. We meet him in Paris to find out more
performing contracts to teaching SOULFUL STAR

Pianist, composer, teacher, mother, wife and
positions, and administration lover, Clara Schumann was a leading figure in
the Romantic era, celebrated in her lifetime
roles to conducting vacancies. as a performer and recognised today for her
considerable output of songs, chamber music
and piano pieces. IP celebrates Schumann’s
birth bicentenary in 2019
Keep an eye on our website
HIGH TECH MEETS HIGH ART
as well as our Twitter and Steinway & Sons unveil the latest version of
Facebook feeds for the their self-playing Spirio piano
most up-to-date list of FESTIVAL FOCUS
job vacancies! This year’s top destinations worldwide for
pianophiles
ON SALE 21 FEBRUARY 2019

TA K E FI V E
P
IANIST, ORGANIST AND HARPIST ALICE COLTRANE
is best known for her partnership, musical and personal,
with legendary saxophonist John Coltrane. They shared a
commitment to avant-garde jazz and Eastern spirituality, which
they saw as involving a search for self-realisation. Many musicians
were influenced by that search, which has one other unusual legacy
– the Coltrane African Church, whose services at Fillmore Street,
San Francisco, celebrate the Coltranes’ music and spirituality.
The pianist was born Alice McLeod, in Detroit in 1937. Her
mother played piano in the local church, and at the age of seven
Alice started piano lessons: ‘I was taught European classical music,
theory and harmony,’ she commented in an interview with Edwin
Pouncey in The Wire magazine. ‘I still admire classical music today,
and I feel every pianist should have some classical background,’
she added. Her older half-brother Ernie Farrow, bassist with Yusef
Lateef and Terry Gibbs, encouraged her to play jazz, and while
studying in Paris, she met bebop master Bud Powell, a decisive
influence on her musical development.
Her career break came when she joined Terry Gibbs’ Quintet.
She met John Coltrane in 1963, and began touring with him. In
1966, after he divorced his first wife Naima, they married; later that
year, Alice replaced McCoy Tyner as pianist in the saxophonist’s
new quartet – at that time, the most prestigious ensemble in jazz.
Encouraged by Coltrane, she also focused on harp, which she’d
played from her early days in Detroit. She appeared on studio
ALICE sessions with Coltrane, including the final album released during
his lifetime, Expression, and the posthumously released Stellar
Regions. She also appeared on several live recordings, including Live
COLTRANE in Japan, Olatunji and Offering: Live At Temple University, recorded in

Philadelphia in 1966 and released in 2015. Alice’s piano playing on
these albums is less exuberantly virtuosic than McCoy Tyner’s, but
highly distinctive nonetheless. A particularly fine trio track from
Classically trained and driven by this period is the ad lib tempo ‘Lord, Help Me To Be’, released on
Cosmic Music in 1968. After John’s untimely death from liver cancer
alternative spiritual pursuits, in July 1967, Alice continued their spiritual search.
She recorded seven albums for Impulse!, her husband’s later
Alice Coltrane’s jazz career took label. A Monastic Trio (1968) was her first as bandleader, and one of
her finest, combining Eastern modes with blues and gospel. The
her down musical pathways that following year’s Huntington Ashram Monastery is an equally fine
were at best unconventional and trio outing, with Ron Carter on bass and Rashied Ali on drums.
Ptah, the El Daoud (1970) is a classic, featuring tenor-saxophonists
at worst ill-advised. Nevertheless, Pharoah Sanders and Joe Henderson, with Ben Riley in place
of Rashied Ali. Alice increasingly focused on organ – a 1971
explains Andy Hamilton, she was Wurlitzer 805 Centura with Orbit III analogue synthesiser with
pitch-bending ability, its drone echoing the harmonium from
a very fine exponent of modal Indian music.
Universal Consciousness is one of her finest releases. The title-
jazz piano and the eclectic track has slashing strings – co-arranged with Ornette Coleman –
over Jack DeJohnette and Rashied Ali’s twin drum barrage. On
musical influences that informed Wurlitzer, Alice imitates the swoops and bends of her husband’s
soprano saxophone, touching on Indian classical music, gospel and
her work make her a unique Terry Riley-style minimalism. On Joe Henderson’s The Elements
(1974) ‘Earth’ is the highlight, with Coltrane laying a tanpura
figure in the annals of avant- drone over a compelling groove.
In 1972, Alice and her children moved to San Francisco, where
garde music she established the Vedantic Center; a few years later she moved it,

TA K E FI V E
‘I still admire classical music today, I’m not the only listener with reservations about the counter-
cultural spirituality that increasingly enveloped Alice Coltrane’s
and I feel every pianist should have music. Her greatest work – with John Coltrane, Pharoah Sanders
and Joe Henderson – avoids this kitschy ethos, and presents modal
some classical background’ jazz of high quality. Among the critical fraternity, Stewart Smith
describes her as ‘one of the greatest artists of the 20th century,
with a sublime musical vision that encompasses jazz, blues, gospel,
Indian classical, North African music and European modernism’.
Richard Cook, in contrast, writes, ‘Her albums of her own music
and her family, to Los Angeles. In 1975 she signed to the Warner often come across as soft-headed and incoherent rambling’. I think
label. Eternity (1975) featured Charlie Haden, Ben Riley and the truth lies somewhere in between. e
Hubert Laws, and is the most interesting of these. Radha-Krsna
Nama Sankirtana (1977) featured members of Coltrane’s ashram
singing and clapping (an acquired taste, I’d say). Transfiguration
(1978) with Reggie Workman on bass and Roy Haynes on drums
Take Five: Alice Coltrane
featured her organ-driven version of John Coltrane’s ‘Leo’. After 1. ‘Lord, Help Me To Be’, from Cosmic Music (Impulse!)
her contract with Warner expired, Coltrane focused on her 2. ‘Something About John Coltrane’, from Journey in
Vedantic Center. Satchidananda (Impulse!)
Coltrane came out of semi-retirement for one final studio 3. ‘Ptah, the El Daoud’ from Alice Coltrane & Pharoah Sanders,
album, with her son Ravi, Translinear Light (2004) – a return to Ptah, the El Daoud (Impulse!)
her finest form. She revisits her classics ‘Blue Nile’ and ‘Sita Ram’, 4. ‘The Sun’, from Reflection on Creation and Space (A Five
while her husband’s music is represented by ‘Crescent’, ‘Leo’ and Year View), (Impulse!)
‘Impressions’, an organ track with DeJohnette. Alice Coltrane died 5. ‘Los Caballos’ from Eternity (Warner)
in 2007.
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Oficial Competition Piano

MUSIC OF MY LIFE
JOH N LA ND OL FI
Music of my life
American pianist Jerome Rose, founder of the
International Keyboard Institute & Festival
in New York, recalls his influences as a
‘grand-pupil’ of Artur Schnabel and protégé
of Rudolf Serkin
L
ET’S START WITH THE Music is a series of phrases strung together standard’. The solidity, the musicality, the
transcendental desire of Beethoven one after another. Shure showed me how to simplicity of the performance. There’s
in writing his Late Quartets, in create what is known as ‘the perfect phrase’. no affectation, nothing rhythmically
which he goes beyond anything that His personal life was a bit of a shambles – exaggerated – it’s so meaningful. All his
had been imagined before. Every pianist four wives and a child from each marriage performances are just beautiful.
should know them. They teach you how – and, you know, that affects the focus and Now I’m struggling performing the
to voice the piano. Everyone thinks the consistency you need for a career. He was Chopin Préludes, and of course we have
piano is one instrument. It’s not. It’s many in emotional turmoil from an early age. Cortot’s 1933 recording. I don’t know if he
instruments: you have 10 fingers, 88 keys. Inconsistency is deadly for any pianist. But was ever that good again after becoming
I went to Aspen when I was 19, when the listen to his recording of the Schubert C Commissioner for the Arts under the
Juilliard Quartet was in residence. I became minor. What a sound! He was a great pianist. Vichy government. I don’t know how he
very close to them, especially the cellist at Adolph Baller was a real friend. He ever got involved in that after the conquest
that time, Claus Adam. He was one of my was Menuhin’s accompanist for years of his country – even though he was
mentors when I was studying at the Juilliard. and I studied with him in San Francisco. Swiss-French. Casals would never talk to
They made me a chamber musician major Baller thought it was time for me to study him again. But this is one of the greatest
assigned to the Juilliard Quartet. A brilliant in Europe (I was 17) and Rudolf Serkin recordings of any repertoire by any artist
musician can teach any instrument. I think was playing both the Brahms concertos at any time. When you hear a really great
anyone who aspires to be a great pianist in San Francisco, so it was arranged that performance you feel that this is the
has to be a frustrated singer. My frustration I should play for him. I went to Serkin’s way this piece should be played. Even if
with music today is that it bears so little hotel and, believe it or not, played the you don’t agree with everything, you are
relation to the human voice. whole of Beethoven’s Op 101. Serkin was convinced at that moment. Cortot was a
I would never have been the pianist I am very complimentary, then said, ‘But I don’t composer, he was a conductor – and he
without the parental support I received. think you know what you’re doing!’ He knew how to voice the piano. e
My father was a Polish emigré. He was a invited me to his music festival in Marlboro,
designer-tailor, as was Schnabel’s father and which was a cathartic experience. I got to Beethoven
Janos Starker’s father. He was an artisan. He know him well. Serkin’s Beethoven – well, Late Quartets
could take a cloth and do anything with it: it was like Myra Hess, Curzon, Solomon, Guarneri Quartet
Decca 4429402
top of the schmutter trade! He dropped out all those great Beethoven players. It was
of school at 12. One of my sons is a Harvard in their blood. It’s like they got up every Schubert
Sonata in C minor D958
graduate, the other a doctor. My daughter is morning and there was a bottle of Rhine Leonard Shure
an engineer. That’s the beauty of America – water that they drank! They identified Audiophon CD-72012
because none of this would have happened their existence with Beethoven. There’s a Beethoven
in the ‘Old Country’. video of Serkin playing the Emperor with Concertos, Sonatas & Variations
Now, let me tell you about Leonard Zubin Mehta on YouTube. It’s one of the Rudolf Serkin
Sony 88691988302
Shure: he was 14 when he went to Artur great performances of the work.
Schnabel. Like me, he was trained in the Grigory Ginsburg: Oh my God. Oh – Liszt
Operatic Paraphrases
Russian school before he became involved My – God! I’m happy to say I just recently Grigory Ginsburg
in the German school. He was Schnabel’s heard his F minor Ballade, which I’d never Melodiya/BMG 74321-33210-2
assistant before he migrated to the States, encountered before, and mine is not Chopin
where he had a brilliant career and became so far away from his. Before I recorded Preludes
a formidable teacher. So I am one of the Liszt’s Réminiscences de Don Juan I heard Alfred Cortot – recorded 1933
Warner Classics 7610502
‘grand-pupils’ of Schnabel. Ginsburg, and I said, ‘My God, that’s the

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NO.

INSIDE FREE ISM FULL

“This piano has qualities that I can also find in historic

“I’ve fallen in love with this piano. I want to spend as

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Chris Maene Factory - Industriestraat 42 - 8755 Ruiselede - Belgium

TULLY POTTER COLLECTION

January/February 2019 International Piano 3

© Copyright Mark Allen Group 2019

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January/February 2019 International Piano 5

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STEINWAY UNVEILS ELBPHILHARMONIE PIANO

January/February 2019 International Piano 9

BIRMINGHAM CHAMBER MUSIC COMPETITION WINNERS ANNOUNCED

HASTINGS COMPETITION TO BECOME BIENNIAL

Hastings Competition 2017

10 International Piano January/February 2019

HOW TO JOIN THE ISM

What makes ISM membership essential

Consummate poet of the piano: Eric Lu

was interesting to hear him mention

such spirituality. It is deeply touching

12 International Piano January/February 2019

Calgary Philharmonic Orchestra presents

Cello | Piano | Viola | Violin

January/February 2019 International Piano 13

promote pianists for the theme to re-enter in the dominant, and

their physical I fly off every minute…’

S DEUTSCHE GRAMMOPHON he is very much in the tradition of such

14 International Piano January/February 2019

For sensitive, considerate concertgoers such as the long-suffering

16 International Piano January/February 2019

lady who spends most of the entire second

January/February 2019 International Piano 17

18 International Piano January/February 2019

January/February 2019 International Piano 19

DANIEL GARCÍA BRUNO

‘I like talking to an audience when I have something special to say’

eight after being introduced to the piano

As soon as I got back home, I told my

Spanish flavour: Javier Perianes

January/February 2019 International Piano 21

‘Beethoven requires a very substantial sound’

22 International Piano January/February 2019

Jazz, Latin and Modern Collection

and classical music Seven-League Boots u TRACK 3

to expand their musical horizons C G7 C G7

Thelonious Monk and Duke Ellington          

          

Suitable for intermediate to advanced players

Improvise for two bars on repeat,