Piano Journal 123

JOU R NAL EUROPEAN PIANO TEACHERS’ ASSOCIATION Murray McLachlan Handing over the reins An introduction to new editor Anthony Williams EPTA Forum: Belgium Wallonie-Bruxelles Widmann, Mussorgsky, Liszt & Thalberg A fond tribute to Dame Fanny Waterman NEWS & VIEWS - INTERVIEWS - REVIEWS THE EUROPEAN JOURNAL FOR PIANISTS AND PIANO TEACHERS ISSUE 123 APRIL 2021 £3

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Founder Carola Grindea JOU R NAL Editor Anthony Williams ISSUE 123 APRIL 2021 [email protected] Editorial Consultant Nadia Lasserson CONTENTS [email protected] Tel: 020 7274 6821 4 Welcome to our new editor by Nadia Lasserson Designer/proofreader Helen Tabor An introduction by Anthony Williams helentaborcreative.com Piano Journal – EPTA’s official organ 6 A 'new beginning' by Murray McLachlan – is published three times a year. 8 A tribute to Dame Fanny Waterman It includes interviews with great pianists of our time, important articles relevant by Murray McLachlan to piano performance and teaching, book and music reviews, and EPTA news of 9 Remembering Dr. Nelita True Laires activities in all EPTA Associations. by Nancy Lee Harper Available by subscription, from the EPTA website: epta-europe.org 1 0 Jörg Widmann's Idyll and Abyss As from now, Piano Journal will be available solely online at a rate of £3 per by Asher Ian Armstrong digital copy with special rates for bulk orders. 1 4 Mussorgsky: A reappraisal and overview A few hard copies are printed and rates by Kat Perdikomati are UK (2nd class) £21, EU £30, ROW £36 1 8 EPTA Forum: EPTA Belgium Wallonie-Bruxelles ISSN 0267 7253 by Diane Andersen with Nancy Lee Harper D. M. A. epta-europe.org 2 4 The “Norma” Fantasies of Thalberg and Liszt: The opinions expressed or implied, the methods A Comparison by Lisa Yui recommended or advice given in the Piano Journal are not necessarily representative of EPTA’s views 2 5 From the Archives by Nancy Litten and therefore EPTA takes no responsibility for 3 0 Reviews them. Appearance of an advertisement does 3 8 EPTA News not necessarily indicate EPTA’s approval of the product or service. The editor welcomes letters from members but reserves the right to edit them for publication. This product is copyright material and may not be copied in whole or in part for any purpose whatsoever without the permission of the copyright owner. Cover images: Murray McLachlan by Helen Tabor; Dame Fanny Waterman © Faber Music 3

WELCOME An introduction from the Editor EPTA Piano Journal was first published in 1980 It is with huge pride and enormous excitement that I and, at the time, was the first and only Journal take over as editor of EPTA’s Piano Journal. I realise the devoted entirely to the piano, not just in the UK but giant footsteps I have to fill. Murray’s tenure as editor internationally. Now in its 41st year of publication, it gives has seen the magazine go from strength to strength. He has me enormous pleasure to welcome Anthony Williams as its overseen fundamental change such as the transformation new Editor. He will be the fourth in a line of distinguished from hard copy to digital and interactive, and has drawn on musicians to undertake this work. his exceptional gifts of communication and deep interest Sidney Harrison was the first editor from 1980 to 1986, in and knowledge of performers and educators to attract followed by Anthony Hopkins who took over for four issues some of the most erudite writers and legendary pianists to before passing onto Malcolm Troup who held office for 26 contribute articles or interviews. As a relative newcomer to years until early 2014 when two guest editors, Leslie East EPTA, and upon being asked to take over the editorship, I of the Associated Board and Paul Merrick, musicologist in immediately embarked on a personal whistle stop tour of Budapest took charge of one each. some of the earlier copies of Piano Journal, and so often found Murray Mclachlan, who has just recently resigned from myself totally absorbed; so much so that I got no further than editorship, took over in December 2014 and has worked that edition. I soon realised this was going to be a far longer tirelessly on behalf of EPTA until now. Before opening doors job than I thought, for all the right reasons, and that it was to Anthony, it goes without saying that we all want to thank quickly distracting me from this next edition. Like good Murray from the bottom of our hearts for his wonderful books, they are better perhaps savoured over time. vision, not only of the piano world but for the Journal itself, My own background is initially as a pianist with a bringing it into the twenty-first century with the advent of significant performing career until my mid 30s: beginning digital publications EPTA Piano Journal prides itself in the with the inevitable competitions in my early 20s, then fact that only four regular editors have been at the helm in devoting my time to recital and concerto work. This was four decades and we wish Anthony every success in years to coupled with teaching at the Royal Academy of Music and come and hope for several decades together... Reading University until I was asked to take over as Head of Welcome Anthony Williams... Keyboard at Radley College, a public school near Oxford with a hugely impressive reputation for music and supporting the 4 arts. It was a role I initially intended to take for three years but which changed my life and drew me into a teaching and educational world into which I became so absorbed that I am still in the role some 30 years later. I had already discovered a strong interest in teaching. When I took on the Head of Keyboard role, I had an innate fascination with how young and adult pianists learn and how best to develop talent. I found myself becoming completely transfixed and absorbed in the relationship between human emotion, communication, expression and performing. Technique was important but, inspired by my legendary Professor and mentor Alexander Kelly (formerly Head of Keyboard at the RAM), I realised that technique had little value or context unless challenged by a desire to communicate something deeply personal through the notes and sound. And not necessarily in that order (a topic for discussion I suspect). My question to myself was, and has since always been, how to strengthen the umbilical cord that connects the emotions and personality of the performer and the understanding of the work with the technique to deliver this to the audience. The responsibility of guiding and inspiring young, enthusiastic and gifted students quickly demonstrated to me that without nurturing and prioritising this personal connection with the score and instrument, piano lessons could become little more than another maths lesson, and

my work as an educator, author, adjudicator, presenter and consultant as well as an examiner and moderator for ABRSM became my life blood. All of these form tributaries to a personal teaching river which continues ... I hope, to inspire and support other piano teachers in the profession Details at https://amzn.to/3t7oE3X technique nothing more than an athletic training session I would therefore warmly welcome proposals for the with a strong disconnect from the musical soul. In my broadest range of articles, but particularly those on new and many roles as a piano teaching mentor I have witnessed innovative teaching approaches either to specific works or many a natural young musician and pianist risk becoming based on new research or creative ideas. disillusioned, never making it past the earliest stages of their possible musical career, as a result of well-intentioned yet Times of change and challenge (and that couldn’t be truer notation-based and technically-centred teaching. of the present) are also opportunities. A chance to reflect and think about new approaches and exciting, innovative My passion for teaching soon took over my career and ideas whilst at the same time holding on to what is loved and became my vocation. My own playing continued, and is as treasured. If you have any thoughts about how you would like important for me today as then, but my work as an educator, to see EPTA’s Piano Journal develop over the next few years, author, adjudicator, presenter and consultant as well as an then please don’t hold back. It is a journal for you, and I want examiner and moderator for ABRSM became my life blood. you to feel it is both relevant and something you are inspired All of these form tributaries to a personal teaching river to read. You are welcome to email your thoughts at any time which continues to enrich and influence not just my own to [email protected] teaching and students but also, I hope, to inspire and support other piano teachers in the profession. Meanwhile I wish you all good health, and I hope that by the time of the next edition we may be beginning to enjoy Having taken over the editorship between editions, this the return of live music, of audiences, of fewer lessons on current edition of Piano Journal is unique in being a mix- Zoom or Teams and, of course, of raising a glass in a good and-match of Murray’s contributions, the work of the restaurant or pub. indefatigable and wonderful Nadia Lasserson with a little of me thrown in. I would like to thank them massively for their Anthony Williams support to make this edition possible while I find my feet. 5 It will probably come as no surprise, bearing in mind my background, that amidst the fabulous articles on individual works, pianists and composers you will expect, you will begin to find more articles on teaching at all levels. Teaching is, after all, written into the name of our organisation. HOME

Moving forward with positivity and gratitude by Murray McLachlan Nadia has asked me to write appear in an amazing anthology stresses of international lockdown a ‘valedictory’ piece for published by Kahn and Averill. It have been devastating for so many. this new issue of Piano truly is a remarkable gathering of In addition to the mortalities and Journal. I am very touched by this internationally-renowned pianists and suffering, it has of course been thought but would rather write a ‘new pianist-pedagogues. Carola had the especially hard for freelance musicians. beginning’ message as it is my every piano world at her fingertips, and in Piano teachers have often had to intention to continue to support our her interviews she was able to bring learn completely new skills and adjust association, and to continue taking so many extraordinary figures into accordingly or face having no pupils as active an interest in activities as the EPTA world. Literally dozens of to work with. Hardly any of us had possible. There is always so much in remarkable pianists were interviewed, even heard of zoom last February! We EPTA that deserves attention and many for the first time in English, and are now working marathon hours by engagement, and I am thrilled and always with Carola’s unfailing patience, our computer screens and negotiating delighted to celebrate in the work that tact, and talent for drawing out the with online reception quality, trying so many talented pianist-pedagogues, remarkable, significant and potentially our best to offer as much advice performers, teachers and writers life-changing comments. and support as possible in new continue to do for the association. circumstances. So, this is very much a new ‘hello’ When thinking of the early years from me, smiling and remaining as a of EPTA, with the broad, evangelical Of course, the new approach we staunch and loyal colleague! vision and forward-thinking from have been forced to adopt has not For me, memories of EPTA and Piano Carola, Sydney Harrison, John Bigg been entirely negative. We have learnt Journal in particular are of the happiest, and many others, we should all to cope, and in the process of coping, most inspirational musical moments be grateful for the extraordinary have often found our dear pupils to and insights. Back in 1983, whilst I voluntary work that so many gave. be even more resilient and creative as was a schoolboy, the great Scottish Money may have been tight, but that a result. Recording lessons (naturally composer-pianist (and EPTA UK did not stop activities, as countless with full permission and consent as Patron) Ronald Stevenson kindly took musicians, teachers and performing appropriate) can lead to much more me under his considerable musical artists understood what EPTA was retention and assimilation from wing and mentored me as I had never about and were more than happy to students on a week-by-week basis. been mentored before. One of many offer concerts, lectures, masterclasses, Lesson planning, preparation and invaluable presents he graciously articles and support to Carola and follow-throughs are probably even offered me over many years was an her vision. As the years moved on more robust and meaningful now in early issue of Piano Journal containing and the EPTA family continuously lockdown than before, as the need for his visionary essay on Ferruccio expanded, we have not lost that sense administrative order and monitoring Busoni entitled ‘Doktor Faust of the of selfless crusade. We are more is probably even more essential now Keyboard’. The magazine was a treasure ‘professional’ and organised than than ever. trove of inspiration and insight. I ever before, but the friendliness and quickly became fascinated and grateful approachability of our international We can certainly take the lessons not only to my dear mentor, but also family remains. We are not into of lockdown forward when we do to Piano Journal, the very first magazine corporate political correctness. We do eventually return to ‘the new normal’. devoted to piano in the UK, and one not nurture exclusivity and elitism. The extraordinary, wonderful success which achieved a phenomenal amount EPTA welcomes all pianists, teachers of the EPTA International online under the remarkable eye of EPTA’s and lovers of the piano. We offer conference from Germany last October indefatigable, never-to-be-forgotten support, inspiration, camaraderie and showed that lockdown would not stand founder Carola Grindea. Many years a wonderfully open community who in the way of EPTA’s communication later, a collection of many featured share a common love. and delivery of inspiration. Meetings interviews from Piano Journal would via zoom are certainly more And what of the present and the concentrated and economical. Indeed, 6 immediate future? The suffering and they can happen online much more

it is my every intention to continue to support our association, and to continue taking as active an interest in activities as possible... easily and economically than live. As mentioned at the start, I look I am sure that when we do emerge forward to continuing to support EPTA from COVID-19, we will all adjust our as fully as possible. I would like to say approaches, but EPTA will be more an enormous thank you to everyone necessary than ever. It continues in the EPTA community for all the to provide a unique opportunity to support and encouragement received. bring us all together. The formats of Looking forward to continuing to keep communication may have changed in touch with you all. radically from the 1970s, but the vision and the motivations remain the same. Huge gratitude and warmest wishes I am certain it will always be so. dear EPTA, It has been an enormous pleasure Murray McLachlan and great privilege to be chairman of the EPTA International Executive Committee and Editor of Piano Journal for the past six years. EPTA is a wonderful musical family, and it has been so inspirational to attend international conferences, travel to EPTA events in many countries, work with colleagues, help with Piano Journal, and chair meetings. Sadly, all things must come to an end eventually as it is never possible to do everything all of the time! I know that EPTA remains in an extremely strong position, with huge reservoirs of warm support and good will. With Anthony Williams as new editor of Piano Journal, our special magazine is in the strongest and most talented of hands. Ant is multi- talented, extremely energised, and full of optimism and goodwill. He will be a vibrant presence and a fabulous new editor. HOME Image: Helen Tabor 7

Image © Faber Music A tribute to Dame Fanny Waterman (1920–2020) by Murray McLachlan session with her as he worked towards completing his cycle of Mozart sonatas. Benjamin Frith was her longest-standing Dame Fanny Waterman, legendary piano teacher, student, but earlier she had mentored Michael Roll, Allan bestselling author, and co-founder extraordinaire Schiller, Paul Crossley, Jonathan Dunsby, and numerous other of the Leeds International Piano Competition, musicians who went on to have highly successful careers. leaves a remarkable legacy. During her remarkable career Her success as an educator prompted Channel 4 in the 1980s she consistently showed superhuman energy and was to air a series of programmes featuring her teaching entitled affectionately referred to by friends and colleagues as ‘Field ‘Fanny’s Piano Progress’. Marshall Fanny’. Her indefatigable determination, evangelical zeal for musical values, her ground-breaking achievements Dame Fanny gave many masterclasses both in the UK and and her strong personality were unquestionably deeply on tours overseas. She frequently accepted invitations to be influential. Indeed, it is fair to say that Dame Fanny changed on juries of the most highly-regarded events, including the the landscape of the piano world forever and leaves a legacy Tchaikovsky, Chopin, Horowitz, Paloma O’Shea and Busoni which will never be forgotten. piano competitions. A student of Tobias Matthay and Cyril Smith, Fanny Waterman won the Chappell Gold Medal at the Royal College As an author and compiler of piano anthologies for of Music and performed at the Henry Wood Proms in 1940. educational progress, Dame Fanny knew extraordinary However, it was as a teacher that she chose to focus her success. Indeed, everyone in the piano world knows about considerable energies on, and her reputation rose through the colourful beginner’s guide ‘Me and My Piano’. Sales for the 1950s and 60s with a phenomenal number of outstanding Dame Fanny’s Faber Music books, including the successful young artists emerging from her ever buoyant private studio. co-authorship partnership with her friend and colleague Indeed, her private teaching continued well into the 21st Marion, Countess of Harewood (later known as Marion century, with Peter Donohoe recently taking a consultation Thorpe), exceeded 2 million units and they continue to be 8

Dame Fanny changed the Remembering landscape of the piano world forever and leaves Dr. Nelita True Laires a legacy which will never be forgotten (1936–2021) by Nancy Lee Harper extremely popular today. In 1990 she co-authored ‘Piano Word has come that Competition: The Story of Leeds’ with Wendy Thompson and the outstanding in 2015 her autobiography ‘My Life in Music’ was published American pianist- and serialised on BBC Radio 3. teacher, Nelita True (Laires), But it is unquestionably as the co-founder (with Marion has died. EPTA members and Thorpe and Roslyn Lyons) of the Leeds International Piano Competition that Dame Fanny is best known. From the pianists around the world early 1960s onwards, she showed indefatigable energy and passionate drive as she managed the direction and reputation will remember her radiant of this world-famous event. Her longevity and continued passion for everything the event stands for were beyond personality and brilliant comparison. She was appointed artistic director and Chair of the Jury in 1981 and continued in these posts for 34 years. teaching. Possessing a delightful sense of humour, she was Space forbids a detailed summary of the competition’s impressive reputation and success, but when one considers often stopped in New York City while a student at Juilliard just a few of the names who entered and were prize winners over the years, it certainly reads like a ‘Who’s Who’ list of and asked if she were the comedian Carol Burnett. the great and good in the piano Pantheon: Mitsuko Uchida, András Schiff, Louis Lortie, Lars Vogt, Leon McCawley, Nelita and her husband, the Kathryn Stott and Noriko Ogawa are some of the prize winners who took part over the years. Winners included Portuguese pianist Fernando Radu Lupu, Murray Perahia, Dmitri Alexeev, Artur Pizarro, Sumwook Kim, Federico Colli and (in 2018, at the most Laires, were interviewed together recent competition) Eric Lu. about their careers for Piano As joint vice-president of EPTA UK, Dame Fanny was a notable supporter of our association. Carola Grindea gained Journal by Carola Grindea in her support and encouragement from the very beginning back in the 1970s, and she remained interested and involved February 1991 (vol. 12, no. 34). in activities and developments thereafter. Dame Fanny gave a notable and inspiring lecture at Liverpool Hope University Details of her formation and in 2008 for the annual EPTA UK conference, encouraging young pianists to continue practising each day as she coached teaching approach may be read them particularly in sound quality and phrasing. Dame Fanny was Director of the Post Graduate Certificate in Advanced in Clavier Companion (March 2010) Performance at Leeds College of Music, a Patron of The Purcell School and honorary President of the Harrogate in an interview by Helen Smith International Festivals. She was vice-president of the British Society of Women Musicians. Tachalski. In addition, Nelita’s Dame Fanny was appointed OBE in 1971, CBR in 1999 and four-volume video set on aspects DBE in 2005, the year before she was awarded freedom of the City of Leeds. Additionally, she was a fellow of the Royal Nelita True and Fernando Laires of piano teaching, Nelita True at College of Music and was awarded honorary doctorates by three Universities. She was married to Geoffrey de Keyser in Graz, Austria, 1989. Eastman, is ground-breaking and for over sixty years and is survived by their two sons and six granddaughters. preserves for posterity aspects of her formidable legacy (Vol. 1 Dame Fanny Waterman DBE, born Leeds 22 March 1920, – “Portrait of a Pianist-Teacher”. Vol. 2 – “The Studio Lesson”. died Ilkley 20 December 2020. Vol. 3 – “Technique Through Listening”. Vol. 4 – “Principles HOME of Style for the Young Pianist”, SH Productions, 2010). She was a wonderful friend to all who were fortunate to know her. Nelita will be truly missed. The following tribute to Nelita was given by the Portuguese pianist, Artur Pizarro: “Nelita was a wonderful artist, a great teacher and a beautiful human being with a generous, caring soul. She was a fantastic pianist, and some of her wonderful performances, Stravinsky Tango, or Schubert duets with her husband Fernando, are available to listen to on YouTube. Music making of the highest order. Every time someone of this stature and quality passes away, the whole world is poorer. Nelita True will be missed and should not be forgotten!” (https://slippedisc.com/2021/01/mourning-for-international- piano-teacher/, 19 January 2021). Photos: https://www.claviercompanion.com/article-details/an- interview-with, accessed 7 February 2021. 9

Jörg Widmann's Idyll and Abyss: A look at his incandescent solo piano homage to Schubert by Asher Ian Armstrong Image: Marco Borggreve Jörg Widmann is still relatively young, but this German musical polymath has made a name for himself on an international stage as a performer, conductor, lecturer, mentor and, obviously, as a composer. In his expanding catalogue of works for solo piano the Schubert homage Idyll and Abyss stands out as an ideal introduction to his whole oeuvre, and as some of the important piano music of the last few decades. This essay is a brief exploration of this incredible work, drawing on a recent interview conducted with Widmann and from the author’s pedagogical experience of studying and teaching Idyll and Abyss. On 27 March 2020, the increasingly prolific figure Widmann has continued to grow into a highly influential of Jörg Widmann was meant to lead the Juilliard and seemingly unfettered role in the artistic milieu of the Orchestra at Alice Tully Hall in a performance of 21st Century. The “magnificently opulent” and “splintery Mendelssohn’s Hebrides Overture, Mozart’s 41st Symphony, and energy”2 in his ever-growing oeuvre are thoroughly of a 20th two of his own works: the Beethoven homage and popular Century mold, but his inspirations are often much older, (for a 21st Century work) orchestral canvas Con Brio, and the and Widmann might be the first to tell you of his love of American premiere of his Second Violin Concerto. Due to archetypical Germanic composers like Schubert, Schumann the unforeseen advent of a worldwide pandemic, the concert and Brahms. He is also refreshingly unbuttoned in describing was inevitably postponed, but would have represented a experiences he sees as significant turning points in his homecoming of sorts for Widmann, aged 46. Thomas May creative process: “In my life it was the poetry of Baudelaire wrote of the alumnus in advance of the concert: and the paintings of Francis Bacon which really changed my “Which Jörg Widmann (Advanced Certificate ’95, clarinet) mind – both aesthetics search for the beauty in the evil, dark would you like to meet? The prolific artist who appears on side of life. That really changed my whole way of thinking Bachtrack.com’s list of the top 10 most frequently performed about art and life, and suddenly I could not separate them living composers for 2019 (alongside figures like Philip Glass from each other anymore.”3 and John Adams)? The virtuoso clarinetist who has inspired numerous new compositions? The conductor of major Noteworthy of his output is a determination to release international orchestras? The erudite lecturer? The teacher the dark impulses and latent possibilities in much of the and mentor of young musicians?”1 designs of his Germanic forebears – at the same time the idea of “com-posing” (bringing to mind Boulez’s description of 1 Thomas May, ‘Widmann Conducts the Juilliard Orchestra,’ The Juilliard Journal (25 February 2020), https://www.juilliard.edu/ news/145921/widmann-conducts-juilliard-orchestra, accessed 9 May, 2020. Tom Service, ‘The Musical Double-agent,’ The Guardian (13 March 2009), http://www.guardian.co.uk/m usic/2009/mar/13/jorg- 2 widmann-clarinettist-wigmore-hall, accessed 9 May, 2020. Jörg Widmann, Interview by author, Toronto, ON, March 3, 2012. Subsequent material placed in quotation marks but lacking citation is taken from these unpublished notes. 3 10

\"...before Mahler, originally “conceived as a prelude to Schubert’s great Piano Schubert was the one Sonata in B flat Major, D.960”, suggesting that “Before Freud, who went the farthest to Schubert was the one who knew something about (the the most remote regions human psyche). Despair, and at the same time beauty [. . .] of our soul. It is scary to before Mahler, Schubert was the one who went the farthest be there, but he leads us to the most remote regions of our soul. It is scary to be there, with the utmost beauty but he leads us with the utmost beauty and idyllic character and idyllic character of of his music; with the abyss always present.”6 his music; with the abyss always present.\" Widmann Ex. 1. Widmann, Idyll and Abyss, I. Irreal, von fern, mm. 1–6. Messiaen’s compositional approach) is central to Widmann’s Immediately Widmann depicts the quintessential thinking: “I think it’s such a privilege for us, and it should be juxtaposition he suggests in his commentary on the work: a source of inspiration, that we have things happening at the the low clusters excavate a yawning cavern of bass, while an same time.” The wealth of possibility leaves, in Widmann’s “Obliquely familiar Schubertian phrase”7 seems stretched view, a great responsibility on the shoulders of the composer: across this chasm. Widmann’s lyrical gifts illuminate “Now, in a time where I can do really everything, I really have the “infinite sadness”8 of this terse opening movement, to choose – in a literal sense, that’s my image of composing. punctuated by clanging dissonances from the abyss: In a literal sense: com-posing – things which at first sight do not seem to belong together, but I put them together, maybe Ex. 2. Widmann, Idyll and Abyss, I. Irreal, von fern, mm. 18–24. I force them together, maybe they still don’t seem to belong together, but it’s com-posing.”4 This movement’s rhythms are well within reach of most advanced students (while not always “intuitive”, they will be To find this passionate and fascinating artistic mind at surmounted by careful subdivision combined with physical work in the world of solo piano is thrilling. His catalogue for choreography to navigate the wide leaps). Consideration of solo piano currently numbers 11 works, with the Schubert- tone colour is perhaps the greatest focal point: the pianist homage Idyll and Abyss (2009) standing in the middle. maintains a balancing act in navigating the poco yet violent Powerfully representative of Widmann’s compositional cluster-effects which threaten the idyll depicted. voice, it is also perhaps the most eminently playable and approachable of the larger works. It shares the designation Along with the 4th movement, the 2nd is the most of forming a kind of “triptych” with two earlier Schubert substantial, and can be recognised as a kind of rondo, not homages (his Lied and Octet) as well with two other solo piano dissimilar from the 2nd of Schubert’s Drei Klavierstücke. homages (the Schumann homage Humoresken and Brahms Widmann’s ingenious effects make the spectre of Schubert homage Intermezzi). almost corporeal: the Glockenspiel (mm. 12–18), sudden harmonic shifts (m. 62), as well as vocally-conceived Widmann himself quotes Adorno in the preface to the melodies buoyed by chordal pulsations – such moments work: “‘On hearing Schubert’s music, tears pour out of the instantly bring to mind the G-flat thematic statement in eyes without ever having moved the soul, so literally and real does his music enter us.’ Adorno’s statement from 1928 captures the essential phenomenon of Schubert’s music in a nutshell [. . .] My objective is to capture this constantly precarious fight between heaven and hell, paradise and the very depths of anxiety.”5 In a programme note on the work, Widmann has similarly noted that Idyll and Abyss was 4 Jörg Widmann, quoted in Asher Armstrong, ‘Jörg Widmann’s Jagdquartett,’ Tempo, Vol. 70, No. 276, Cambridge University Press, 2016, 25. Jörg Widmann, Foreword to Idyll and Abyss, Mainz: Schott Music GmbH & Co., 2009. 5 Jörg Widmann, ‘Widmann: Idyll and Abyss,’ https://www.yellowbarn.org/page/widmann-idyll-und-abgrund, accessed 9 May, 2020. 6 Sarah Batschelet, ‘Mindful mission, perfect poet: Leif Ove Andsnes in Lucerne,’ 26 November, 2017, https://bachtrack.com/review- 7 sibelius-leif-ove-andsnes-lucerne-november-2017, accessed 9 May, 2020. Markus Fein, Quoted in Jörg Widmann: Profile, Schott Music GmbH & Co. KG, https://en.schott-music.com/shop/autoren/joerg- 8 widmann, 9 May, 2020. HOME 11

the exposition of D. 960’s first movement, or the Trio of the “open-score” approach to great utility – disassembling each A-flat Impromptu, D. 899. thread of counterpoint, and learning these threads separately before combining them will assist in building an ironclad Following a brief introduction, Widmann introduces the memory. principal theme area: Widmann’s directive above the single-page 3rd movement Ex. 3. Widmann, Idyll and Abyss, II. Allegretto, un poco agitato, reads: “like a music box about to run down, quasi lullaby, mm. 4–7. very irregularly, very slowly, left and right never completely superimposed.” After the more rigorous textural layers of the This theme re-appears four more times, with alterations – second movement this may seem to come as something of including the following: a gift to the pianist; however, the “music-box” effect is more difficult to achieve than one might think. In some ways the most entertaining of Idyll, the Scherzando 4th movement is indeed full of jokes. The first is in Widmann’s subversively jocular harmonic sleight-of-hand – after a thoroughly Viennese opening phrase, Widmann abruptly threatens the dance-like atmosphere with a shadow of C minor. As the dialogue proceeds somewhat haltingly, this “serious” key gains a foothold, only to be laughed away in the blink of an eye: Ex. 4. Widmann, Idyll and Abyss, II. Allegretto, un poco agitato, mm. 46–49. Ex. 7. Widmann, Idyll and Abyss, IV. Scherzando, mm. 12–16. The hilarity of this moment is not lost on most students or audiences. Similarly, the lone instance of “extended” technique in the whole of the work seldom goes by without a few chortles: Ex. 5. Widmann, Idyll and Abyss, II. Allegretto, un poco agitato, mm. 74–76. The memorisation of these alterations is an area for focus, as are moments such as the following: Ex. 8. Widmann, Idyll and Abyss, IV. Scherzando, mm. 23–29. Ex. 6. Widmann, Idyll and Abyss, II. Allegretto, un poco agitato, While Widmann provides a safety net9, the best execution mm. 34–38. of this passage will surely be by a student who has practised her whistle! Also of note here – an effective companion work A pedagogical approach which crystallises the rhythmic for study might be found in the E-flat Impromptu (D. 899), underpinning into an explicit thread of notes will aid in from whose slightly dizzy scalar decorations the Scherzandos making this obscured passage more accessible. Similarly, seem derived, and whose deceptively blithe atmosphere is in each “rondo” theme appearance, pianists may utilise an subverted by a hell-bent two-step. In Widmann’s example the dance is abandoned for the pastoral image of a distant horn-call: 9 In a footnote in the score we read “pitch relations and not actual pitches are decisive.” 12

Ex. 9. Widmann, Idyll and Abyss, IV. Scherzando, mm. 83–87. Revisiting Schubert’s “last journey”, Widmann creates a magical and concentrated closing chapter, similar in power The 5th movement is again a condensed single page of to the threnody which closed Schoenberg’s Sechs kleine music, but contains the most horrifying moment in the Klavierstücke. The technical aspects of the movement are cut whole set. A bleak, dreary landscape is painted right away, but from the same cloth as those seen in the first, but perhaps at m. 12 the abyss seems to open wide, “staring back” at the venture nearer to the original inspiration of Schubert listener: himself, specifically in the harmonic colourings, phrasings which invite a gentle rubato, and a melodic spirit. What are all Widmann’s own however, are the sepulchral pale of the abyss, screams and “limping”, and one deeply pessimistic harmonic turn at the very end. Ex. 10. Widmann, Idyll and Abyss, V. q ≈ 50, mm. 6-13. Ex. 12. Widmann, Idyll and Abyss, VI. Traurig, desolat, mm. 16-17. Widmann’s strategically controlled flashes of sound and Idyll and Abyss is beginning to find a receptive and generous release create the requisite dramatic pacing for this harrowing circle of admirers; Leif Ove Andsnes included it in a recent moment – to observe these to the letter is crucial in album featuring music of Sibelius, calling it “impressive” and rendering the horror of the music here. “fantastic”. It has elicited enthusiasm and poetry from critics, and deserves to be taken up by more of the next generation The final movement opens with a clear reference to the D. of pianists and students. 960 Sonata: All score excerpts used courtesy of Schott Music, with the following copyright information: Jörg Widmann IDYLL UND ABGRUND Six Schubert Reminiscences for Piano Copyright © 2013 Schott Music GmbH & Co. KG, Mainz, Germany All Rights Reserved Used by permission of European American Music Distributors Company, sole U.S. and Canadian agent for Schott Music GmbH & Co. KG, Mainz, Germany Ex. 11. Widmann, Idyll and Abyss, VI. Traurig, desolat, mm. 1–3. HOME A native of Knoxville, Tennessee, Asher Armstrong is an Assistant Professor of Piano at the University of Arkansas, and a member of the Royal Conservatory’s College of Examiners. Formerly, Asher served on the Piano Faculty of the University of Toronto as a lecturer of Piano and Piano Literature. An enthusiastic music scholar, Asher has been published by Cambridge University Press’s Tempo, Clavier, American Music Teacher and others, and has recently recorded a two-disc album of the last works of Brahms. He holds degrees from the Cincinnati College-Conservatory of Music (MM) and the University of Toronto (DMA), where he worked with renowned pianist-teacher Marietta Orlov. 13

Mussorgsky: A reappraisal and overview PART ONE by Kat Perdikomati Modest Petrovich Mussorgsky was born in 1839; his Portrait, 1881, by Ilya Repin (1844–1930) Mussorgsky’s life and lineage could be traced down to the work is the ‘zero to hero’ medieval princes of Smolensk. His composition in his first year as a cadet.4 paradigm, in reverse; his is a rather family were large landowners in North Mussorgsky, like Nikolai Rimsky- unique case of the fallen aristocrat Central Russia; the composer grew up whose tragic end can only be only preparing for a life in the army.2 Korsakov and Alexander Borodin matched by the series of misfortunes after him, sought tuition from Mily he encountered throughout his life. During his time at the Cadet School Balakirev, who had no textbook His lofty nature and honest artistic of the Imperial Guards, Mussorgsky knowledge of harmony, counterpoint ambition was shattered under the took piano lessons from established and composition but had adopted a continuous blows that life so unfairly music teacher Anton Herke who more tactile way of writing music.5 treated him. His share of the blame introduced him to the German piano The ‘few paid lessons’6 soon turned into lies in his lack of adaptability and school. Having started playing the friendly discussions over musical compromise in matters of conscience piano from a very early age, Mussorgsky form and performance of piano and principle. He was, simply put, turned out to be a superb improviser duets; there were working exercises too much of an idealist to handle and accompanist comparable to involved too, in which the student adversity; the victim of an unjust social Rubinstein with an unrivalled musical was asked to compose symphonic or and ethical system of values, which has memory.3 His theoretical knowledge sonata movements. The self-educated swallowed many a great artist.1 was, however, limited but didn’t seem Balakirev was at that point the only to deter him from trying his hand at living Russian composer of standing, This article will argue that in a in whose potential Mikhail Glinka had textbook art-imitates-life paradigm, foreseen his musical heir.7 Glinka’s his greatest instrumental work, Pictures at an Exhibition, follows the trail of a human odyssey with its unexpected twists and turns of fate. From the nonchalance of early childhood and the disappointment of young love; the toil of a hard day’s work and the respite of leisure; to the battling of inner demons and the acceptance of loss. It is a dense and intense voyage with little time for idleness. It is an adventure that concludes with life’s end. 1 Oskar von Riesemann, Moussorgsky, trans. Paul England (New York: Tudor Publishing, 1935), 54-55. 2 Richard Taruskin, Musorgsky: Eight Essays and an Epilogue (Princeton University Press, 1993), 384. 3 Musorgsky Remembered, ed. Alexandra Orlova (Indiana University Press, 1991), 2-4. 4 Donald Brook, Six Great Russian Composers – Their Lives and Works (London: Rockliff, Salisbury Square, 1947), 40. 5 Musorgsky, In Memoriam 1881-1981, ed. Malcolm Hamrick Brown (Ann Arbor, Michigan: UMI University Press, 1982), 12. In a letter to Musorgsky in 1867, Balakirev speaks of ‘all these foolish rules of harmony and melody’, addressing the divide between Russian and German music. 6 von Riesemann, O., Moussorgsky, 12. 7 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 11. Alexander Dargomyzhsky was another important composer of the same period, alongside Anton Rubinstein. However, Balakirev was the only nationalist composer of significance who belonged in the circle of the Mighty Handful. It was thanks to César Cui’s contagious enthusiasm that Musorgsky sought lessons from Balakirev. 14

endorsement ensured that Balakirev Mussorgsky to his hometown of Karevo taking became the ‘father figure’ of Russian turned out to care of family business, something composition to promising young talent. be a superb he loathed.15 Mussorgsky had to improviser and unwillingly seek employment and Balakirev’s principal contribution accompanist gradually forfeit the luxurious lifestyle to Russian music is the collection comparable to of his early youth. and creative use of folk songs, the Rubinstein with protiazhnaia (melismatic peasant an unrivalled Fate stroke once again in 1865, song). His collection of folk songs ‘was musical memory when the mother died; the estate in Karevo was auctioned, Modest was one of the great watersheds of nineteenth Despite their close friendship, grieving and it is little wonder that a century Russian music’, Richard Taruskin Mussorgsky’s faith in Balakirev soon nervous condition he suffered from says, and we can indeed find imitations began to fade;13 in his brief sojourn took a turn for the worse.16 For the of protiazhnaia in Mussorgsky’s operas in Moscow in 1861 we find hints next three years, Modest was under Boris Godunov and Khovanschina, as well of impatience toward Balakirev’s his brother’s wing who spoke of a as in all the rest of the great Russian admonitions, who was convinced ‘frightful illness’ in his correspondence composers.8 that his student was an ‘idiot’.14 with Stasov.17 It is possible that his Mussorgsky’s cantankerous musical alcoholism started to manifest in the Russian folk music is considered personality was beginning to take same time period, although this has a major influence in Mussorgsky’s shape. Unfortunately, upon his return not been clearly documented. In the musical universe. Music critic to Petersburg in February 1861, one next few years, Mussorgsky would and Mussorgsky authority Michel of the events that would irrevocably be forced to share lodgings with an Calvocoressi referred to it as the ‘fons alter the route of history took place. ever-changing stream of friends who et origo’ of his idiom.9 Mussorgsky Alexander II, the reformist Tsar in would marry and inevitably move out wrote in the folk-song idiom ‘as power, passed a measure by which of shared accommodation, leaving the naturally as Robert Burns wrote in the serfdom in Russia was abolished. embittered composer behind. Lowland Scottish dialect, and made it completely his own’.10 This affected the Mussorgskys As early as 1863 Mussorgsky showed deeply, as the decision spelt ruin for signs of appreciation of Alexander A historically charged point is the the smaller country estates; in 1862 Serov’s (Stasov’s arch-enemy) opera place he occupies within the Kuchka, they had to give up their grand St Judith and other output, which the otherwise known as the Mighty Five Petersburg house, the mother returned Kuchkists quickly noticed18 and joined (or Handful).11 Nationalism became to Karevo (the father had already in a commune of fellow artists who synonymous to the style of music died) and thriftiness in transactions despised making ‘art for art’s sake’.19 He produced by the group of composers ensued. Consequently, Modest moved shed light into this through his short gathered around Balakirev in the 1860s into his married brother’s home in autobiography, produced three years (namely the Kuchka or Mighty Five). Petersburg and his musical activities prior to his death. His artistic credo Vladimir Stasov, the group’s leader, paused as he was forced to commute was further illuminated when he considered nationalism to be the wrote: foremost musical value, confusing the term ‘popular’ with ‘national’ along “Musorgsky belongs to none of the the way. Stasov is inextricably linked existing music circles […] Art is a means with the evolution of Russian cultural identity; his motto was that ‘all good art of communicating with people, not an should have a moral effect on society’.12 He was end in itself. […] he sees the mission of indeed the first biographer of Glinka and later of Mussorgsky, with whom a the art of music to be the reproduction in deep bond had formed and lasted for the entirety of the composer’s life. musical sounds of not only the nuances of the emotions but, even more important, the nuances of human speech. […] he does 8 Taruskin, R., Musorgsky: Eight Essays and an Epilogue, 49. For two decades, protiazhnaia formed the basis of the Russian ‘nationalist’ style. 15 9 Calvocoressi, M. D., The Master Musicians: Mussorgsky (London: J. M. Dent & Sons Ltd., 1946), 186. 10 Gerald Abraham, Studies in Russian Music (London: William Reeves, 1935), 61-62. 11 Orlova, A. (ed), Musorgsky Remembered, 8. The Might Handful were: Alexander Borodin, Mily Balakirev, Nikolai Rimsky-Korsakov, Modest Musorgsky and César Cui. 12 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 308. 13 Zetlin, M. and Panin, G. (ed), The Five: The Evolution of the Russian School of Music, 156-157. 14 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 13. 15 von Riesemann, O., Moussorgsky, 64-65. Musorgsky writes of his distaste for his business activities to fellow Kuchkist César Cui: ‘It is all so tedious, dreary, annoying’[…] ‘what chance has music in such circumstances as these?’. 16 Orlova, A. (ed), Musorgsky Remembered, 6. Musorgsky may have suffered from a case of mania. 17 von Riesemann, O., Moussorgsky, 95. 18 Taruskin, R., Musorgsky: Eight Essays and an Epilogue, 106. 19 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 21. HOME

not consider the laws of art immutable, but Mussorgsky ’s Calvocoressi, remained the gospel; work provided consequently, their misrepresentations progressive and subject to change, like the a paradigm were recycled and accepted as canon.27 entire spiritual world of man.”20 of musical emancipation A biography that illuminates Even more poignant was his from formulas Mussorgsky from a very different angle proclamation ‘to unknown shores, to and meter, was written as an antidote to Stasov’s undiscovered countries!’, which indicated conventions of by Mussorgsky’s close collaborator his inner wish for the breaking of major-minor and friend Arseny Golenischev- boundaries in music and in between tonality Kutuzov in 1888; sadly, it remained art forms. “To depict the finest traits unpublished until it was accidentally was a sloppy, unpolished and inferior re-discovered in 1935 by a student of human nature and of the masses of artist. His oeuvre was thought to at the Moscow Conservatory. In it, be inundated with mistakes and Mussorgsky is presented as an idealist mankind, to delve insistently, tirelessly into harmonic errors, which he did not with a penchant for moodiness and care to correct, capriciously and it is explicitly stated that it was only these unknown lands and to conquer them blindly entrusting his output to his towards the end of his life that he inherent genius. Interestingly, we learn found his true voice, having remained – that is the genuine vocation of the artist. via resources that he was actually a under the warping influence of close Forward toward uncharted shores!”.21 From painstaking and fastidious artist, whose associates for the majority of his the start of his career as a composer, craftmanship and honing of his art in career. A vastly different personality Mussorgsky’s belief that he was set to now proven beyond doubt. emerges under this light and puts to explore new musical forms, beyond the the test all surviving allegations to the established norms, was obvious.22 It’s a proven fact that Stasov contrary.28 influenced Mussorgsky ideologically These statements were in stark as well as on a smaller level, in terms By the time he turned thirty, the opposition with Kuchkist axioms of the source material he employed composer was already starting to and strained their relationship. In a in his compositions.25 Mussorgsky distance himself creatively from bid to establish the truth regarding was his favorite in his close circle of the tight circle of nationalists Mussorgsky’s affiliations, Richard composers and the one he expected under the auspices of Balakirev Taruskin examines the Soviet-bred true greatness from. It was, however, and Stasov. For the larger musical truisms that have been fashioning a manufactured portrayal of the real community his work represented a the composer into a militant realist, composer that Stasov advocated during viable alternative to post-Wagnerism. emerging populist and later a committed Musorgky’s life and after his passing; Besides his innovations in the musical democrat by resolving the resulting he selectively promoted the output employment of human speech and tensions. The undeniable major shifts that was aligned with Stasov’s ideology especially opera, Mussorgsky’s work to his creative personality reveal a and downplayed aspects which clashed provided a paradigm of musical craftsman open to different influences.23 with it.26 Up until the Gorbachev- emancipation from formulas and induced glasnost in the late 1980s, meter, conventions of major-minor It transpires that if anything, Stasov’s biography of Mussorgsky tonality, harmonic restrictions, thus Mussorgsky protested vehemently and those of his disciples, such as serving as model for a modern style of against the theoretical aestheticism composition and expression. which negated beauty in its purest expression whilst looking to create In January 1874, Mussorgsky had beauty via a set mold of abstract his first – and only - taste of public laws; the composer never wished to recognition with his opera Boris improve upon reality but rather to Godunov, which boosted his self- communicate to others via his music confidence. The ebullience brought what he experienced in nature, to about by this success found its first see beauty in what exists.24 In that outlet in the composition of Pictures sense, he was a naturalist and not a at an Exhibition which happened in a nationalist/realist contrary to Soviet huge rush of inspiration.29 The same propaganda. Seldom has a composer been misunderstood even amongst his peers on so many levels: there was wide consensus that the composer 20 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 3. 21 Zetlin, M. and Panin, G. (ed), The Five: The Evolution of the Russian School of Music, 151. 22 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 31. 23 Taruskin, R., Musorgsky: Eight Essays and an Epilogue, xii-xiii. 24 von Riesemann, O., Moussorgsky, 100-101. 25 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 308. 26 Taruskin, R., Musorgsky: Eight Essays and an Epilogue, 6-7. 27 Taruskin, R., Musorgsky: Eight Essays and an Epilogue, 8. 28 Taruskin, R., Musorgsky: Eight Essays and an Epilogue, 18-19. 29 Taruskin, R., Musorgsky: Eight Essays and an Epilogue, 349. 16

year was thought to be the start of The composer’s task in Pictures was Kat Perdikomati is the founder and his decline, according to Rimsky- to preserve the ten images (four of owner of Hackney-based East London Korsakov, which continued until his which remain extant) from oblivion Piano (www.eastlondonpiano.co.uk), death.30 The downward spiral that his as only art is immortal.37 This was not a Corporate Member of EPTA UK. She drinking habit kick-started, peaked the first time Mussorgsky had written holds an MMus in Piano Performance with the loss of his employment, music for his good friend: the song from Goldsmiths College at University financial security and consequently his ‘In The Corner’ from ‘The Nursery’ was of London and a Recital Diploma from well-being and health. also dedicated to Hartman, who was the National Conservatoire of Athens enthralled by it. (Greece). She teaches piano to adults Amongst Mussorgsky’s circle and children of all ages and levels of friends was the architect and The objective external impulse and enjoys performing the classics, illustrator Victor Alexandrovich was varied and colorful enough to alongside contemporary classical Hartman31, originally a friend of provide Mussorgsky with the perfect music. Kat also has a background in Stasov’s, whose sudden death in 1873 at creative canvas. The feverish pace at Economics and Management, with age thirty nine had a profound impact which he composed demonstrates a BSc in International and European on the composer.32 It was a short but an epic attempt of concentrated Economics and Politics from the close friendship that lasted three years activity devoid of distractions.38 Athens University of Economics and and ended with Hartman’s passing ‘Hartman is bubbling over, just as Boris Business and an MSc in Management from an aneurysm. In an emotional did’,39 Mussorgsky wrote to Stasov, from the London School of Economics. outpouring to Stasov who was out of who was the dedicatee of Pictures; the the country at the time, Mussorgsky whole suite was completed in a record writes that the event will ‘haunt’33 him twenty days.40 It was a difficult time and holds himself accountable for not for Mussorgsky, who was devastated taking Hartman’s physical symptoms by three of his closest friends’ deaths more seriously while there was still in a short time and had, yet again, time.34 Upon returning to Russia, turned to heavy drinking to assuage Stasov sought to honor their common his sadness.41 It was also a time in friend’s memory with help from the the composer’s life that he was - by society of Architects, by holding an his own admission - ‘in no mood for exhibition of the artist’s water-colors small pieces’ and was contemplating and drawings during the summer of larger works.42 Pictures somehow 1874. seems to be both, with the individual movements providing an essential The exhibition provided Mussorgsky, rest from the toils of planning large– who was a visual composer through scale compositions, whilst essentially and through, with the inspiration to forming part of a bigger picture, a compose his piano suite Pictures at an piano suite that was destined to leave Exhibition, a homage of sorts to his a mark. deceased friend.35 It is a work of huge visual and rhythmic power operating on many creative and re-creative levels.36 30 Stephen Walsh, Musorgsky and His Circle: A Russian Musical Adventure (London: Faber and Faber, 2013), 312. 31 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 229-233. Hartman was born in St Petersburg in 1834; his talent in caricature drawing showed from a young age and resulted in him abandoning military school and entering the Academy of Fine Arts, where his love for genre-painting was replaced by a passion for architecture. With great distinctions during his studies, he secured financial support to travel around Europe, where he developed a deep affinity for French art and made Paris his home for many years. In 1969, he was summoned to assist in the All Russian Exhibition of Art and Industry in St Petersburg, where he made Stasov’s acquaintance. With Stasov’s connections, Hartman was enabled to work on stage productions praised by Balakirev for their liveliness and warmth. 32 von Riesemann, O., Moussorgsky, 287. 33 von Riesemann, O., Moussorgsky, 288. 34 Caryl Emerson, The life of Musorgsky (Cambridge University Press, 1999), 134. 35 Emerson, C., The life of Musorgsky, 117. 36 Emerson, C., The life of Musorgsky, 113. 37 Emerson, C., The life of Musorgsky, 122-123. 38 Russ, M., Musorgsky: Pictures at an Exhibition, (Cambridge University Press, 1992), 18. 39 von Riesemann, O., Moussorgsky, 290. 40 Emerson, C., The life of Musorgsky, 123. 41 Alexandra Orlova, Mussorgsky’s Days and Works: A biography in documents (Michigan: UMI Research Press, 1983), 333. 42 Orlova, A., Mussorgsky’s Days and Works: A biography in documents, 331. HOME 17

European Piano Teachers' Forum: EPTA Belgium Wallonie-Bruxelles by Diane Andersen with Nancy Lee Harper, D. M. A. Fig. 1. Diane Andersen, President pandemic which keep us all confined started working. EPTA Belgium Wallonie-Bruxelles and communicating mostly on NLH: That sounds amazingly easy, internet. For more than thirty years, the although I know that it was not. well-known and respected In the autumn of 1990, the Royal What were the goals of the new EPTA pianist Diane Andersen has Conservatoire of Brussels, where I was Belgium Wallonie-Bruxelles? been at the helm of EPTA Belgium teaching, invited a guest professor for Wallonie-Bruxelles. Here, she tells a piano master class (probably for the DA: Our goals were and still are: us about the development of this first time!). Strangely enough, it seems “Promoting piano playing and piano pedagogy association in the interview below and I was the only piano professor visiting and teaching, creating links worldwide some surprising details are revealed. the class given by my distinguished between pianists and piano teachers to get to For even more information about colleague, Sebastian Benda, professor know and accept each other through music, a Diane, please see her website: at Graz University. We empathised and universal language.” www.diane-andersen.org. had a great time together. He talked to NLH: Diane, you are known for your me about EPTA, which I didn’t know NLH: These are lofty and important brilliant performances and recordings at that time. I was completely unaware goals, and I can see why they have too numerous to recount here. How that there was already an association in remained throughout your history. is it that you decided to start EPTA Antwerp called EPTA-Vlaanderen. Did you organise any events in the Belgium Wallonie-Bruxelles? beginning, and if so, what? DA: EPTA-Belgium W-B was formed At the end of his stay, Sebastian in December 1990 and as such we asked me if I would be interested Fig. 2. Jean Luc Balthazar, Co- are celebrating our 30th anniversary in creating a similar association for founder and Treasurer of EPTA under strange circumstances during a the French-speaking part of the Belgium W-B country. Quite by chance when I left 18 Sebastian, I encountered Jean-Luc Balthazar, professor of counterpoint at the Royal Conservatory of Brussels (and a pianist!) on the sidewalk of the conservatory. We spontaneously talked about this master class and, I, more or less joking, asked him if creating an EPTA association for the French-speaking part of the country would make sense. To my amazement, Jean-Luc replied, “Of course, I’m ready, we do this together!” This is how it all started. Then I wrote to Sebastian telling him that there were already two of us to agree on the idea. From then, everything went very fast. Carola Grindea gave us her blessing and we

DA: Jean-Luc was a born organiser more about your programme for that our guests, like Charles Camilleri, and was always in search of interesting first Conference. President EPTA Malta; Jacques ideas to implement. When Carola Chapuis (who will later be especially created EPTA in 1978 it was very much DA: The guest speakers were all important for Belgian EPTA), president because piano teaching in her country prominent musicians and scholars, EPTA France; and Marcella Crudeli, was clearly in the hands of private whom we invited for the first time President of EPTA Italy, “the Paganini teachers. One should not necessarily to Belgium. Our grand lady, Carola of the piano” as Carola used to call her. prove by a diploma that he/she is a Grindea, introduced the conference confirmed pianist AND, as such, be and the new member, EPTA-Belgium One of the highlights of the considered a pedagogue who is allowed W-B, to the audience. She later gave conference was the extraordinary to teach piano. an extensive lecture on “Tension in Edith Picht-Axenfeld, who delivered Performance”, a subject which then a fascinating lecture on Schumann’s In 1990, in Belgium, the situation was new to many pianists. It was Scenes from Childhood. Quoting was completely different. A large amazing to watch how Carola managed Schumann from his diary: “Music network of Music Academies, to subjugate her audience, making is the higher potency of poetry; the which they are called, open to pre- the people stand up to carry out the angels have to speak in sounds, spirits professionals and amateurs – young exercises led by this energetic and in words of poetry”, these words can and old – existed and still exists, fascinating woman. without a doubt describe this immense with excellent teachers. The level of musician that was Edith. these graduated young pianists in Fig. 3. Carola Grindea, Founder of the nineties was high enough to pass EPTA Fig. 5. Edith Picht-Axenfeld, successfully the difficult entrance Lecture-recital on Schumann’s exam at the royal conservatories. NLH: That’s important that Carola Scenes from Childhood, first EPTA Unfortunately since then, successive was present from the beginning. Belgium Wallonie-Bruxelles reforms – one for example strongly Her catchphrase, “Bosoms up!”, still Conference, 1992 advocating group teaching – have resounds. Who else was invited? contributed to change the aspect of We also had the pleasure to welcome piano teaching. Fig. 4. Charles Camilleri, Frédéric Gevers, an incredible Bach President EPTA Malta, and Diane interpreter and famous Belgian pianist For our first Conference, we decided Andersen, Namur Theatre, 1992 of his generation. then to focus on very special subjects in order to draw people’s attention to DA: Important figures of that time Fig. 6. Frédéric Gevers, Bach our newly-created EPTA association. from the EPTA associations were also Preludes & Fugues, Namur Theatre, The first event we organised at the 1992 Theatre in Namur was an international three-day conference in May 1992, whose theme was Pedagogy, childhood, music. The title was not very original, I admit, but the content was great. Simultaneously, we organised a composition competition focusing on pieces for young pianists of all levels and in four categories. The competing pieces were performed by five high- level students from our conservatoires who were interested in spending time learning all this music. Twelve pieces were chosen to be performed during the Conference, with four of these receiving a substantial monetary prize and being elected to SABAM (Belgian copyright society). This big event was made possible by a sponsorship from a then well-known bank! NLH: Yes, times have changed and now it seems like a constant search for financial support. And it is wonderful that EPTA supported new music right from the beginning! Please tell us HOME 19

Founding members of EPTA Belgium NLH: My, what an amazing kick- conference! This is difficult to believe – Dominique Cornil and François off event! No doubt, everyone was nowadays! Thiry – played a brilliant duet recital impressed and ready for more! What with pieces for youth by Georges Bizet else stands out in your EPTA’s history? Fig. 10. Conference à la Marlagne, and Joseph Jongen. Anne Verschoore, 1995 - voting at Annual General pianist and sophrologist, presented DA: Well, the 17th European Meeting a lecture on “Sophrology in Pianistic Conference of 1995 does. This is Learning” which was rather unusual at because, at the last minute, we My dearest memory of the the time. Sophrology, or the mind- accepted to host it after a sudden conference was Carola’s completely body connection, with regard to the cancellation by one of our other unexpected arrival the second day of piano was something new. EPTA associations. We had three the conference. Miron, her husband, weeks to make it work and it was a had just passed away four days earlier, Fig. 7. Dominique Cornil and big adventure, never having organised so to us it was inconceivable that François Thiry, Namur 1992, playing such an event. Thanks to Jean-Luc – he she should come. But this was not Bizet and Jongen was just amazing – everything went knowing Carola! This fantastic woman very well. just put her own problems away and EPTA Russia was represented by its headed for Belgium! It was wonderful president, the remarkable pianist Lev The dates suggested for the to have both her and Nadia with us, Vlassenko, who gave the final concert. Conference were close to the date of two unbelievably courageous women! I Listening to him playing the third the finals of our EPTA-CERA piano will never forget. Scriabin sonata and Brahms Paganini- competition for two pianos, which I Variations was something unforgettable. will get back to later. So, logically, the subject of the conference became Music for two pianos. Participants were invited to present compositions for two pianos by their national composers. 150 participants joined the conference and twenty-eight countries were represented, sometimes with four or five pianists. We had the pleasure of welcoming colleagues from Eastern Europe: Albania, Macedonia, Hungary, Romania, Poland, Ukraine and Croatia, which was a wonderful experience for all of us. Fig. 8. Russian pianist Lev Fig. 9. Conference à la Marlagne, Fig. 11. Conference à la Marlagne, Vlassenko, Namur, 1992 1995. Duo pianists Erik Tawastjerna 1995, “Piano needn’t be lonely” with and wife, Hui-Ying Liu, at the piano Nadia Lasserson & Erik Tawastjerna 20 Thirty years ago, the EPTA A round table chaired by Sebastian associations from Eastern Europe had Benda, at that time EPTA International great financial difficulties. At Carola’s President, closed this memorable event. suggestion, financial subsidies were granted to these countries in order to make it possible for them to join the EPTA Annual General Meeting (AGM). Moreover, at that time and thanks to our sponsors, EPTA Belgium W-B could offer lodging and boarding to all EPTA presidents during the

DA: We did not realise how easy such support and such success! For life was back then compared to today, how long? for our main sponsor was the CERA bank company. They sponsored our DA: Two more competitions took first Conference in 1992 and were place, in 1994 and 1995: one for piano enthusiastic about it!!!! So they wanted us trio held at the beautiful concert hall to organise a national piano competition of the Royal Conservatoire in Liège plus a competition for concert organisers and the other for two-piano duo. (!!), which we did in 1993. Fig. 12. Conference à la Marlagne, Fig. 13. EPTA Belgium CERA Fig. 15. Liege Royal Conservatoire 1995: Carola (left), Sebastian Benda competition jury Concert Hall (1994 EPTA-CERA (centre), Diane Andersen (right) competition) The final round of the piano NLH: How astonishing that EPTA competition was with the Belgian The final of the two piano Belgium W-B could pull off such an National Orchestra and took place in competition was held in the concert amazing event in only three weeks! the most famous venue in Brussels: hall of “la Marlagne” with the National I am sure that you never wanted to the Palais des Beaux-Arts. It was a big Orchestra conducted by Peter Hirsch repeat those circumstances. success. The hall was packed (1800 on the closing day of the 17th EPTA seats). The First Prize winner was conference. DA: Oh, but we did. In 2002, we were 16-year old Eliane Reyes. She is now asked to organise the 24th European professor at the Royal Conservatoire in After these glorious years, something conference, again because the EPTA Brussels and has a flourishing career. happened to the bank and our association who had offered to host it generous sponsor disappeared. It was had problems. The late Queen Fabiola was thrilled the ending of our easy-going life! with the idea and offered a medal to The chosen theme of the conference the prize-winners. NLH: What did you do then? was “The evolution of Piano technique and DA: In the year 2000, on the 10th Fig. 14. Queen Fabiola medal EPTA Belgium W-B anniversary, pedagogy through XXth Century composers”. we started a new competition: Les Two hundred participants attended the NLH: Of course, the Queen conference at the Theatre in Namur Elisabeth Competition in Brussels is Rencontres Internationales des Jeunes and more than 30 EPTA countries very well known. So, it is wonderful Pianistes for solo piano and piano were represented as well as colleagues that there would be such interest for a duet for pianists up to 18 years of representing Israel and Canada. potentially new competitor to it. You age divided in three categories. This Extremely interesting subjects were were indeed fortunate to have had time, it became an international dealt with, some probably quite new to event. Twenty years ago there were many of us. not that many piano competitions in Belgium and EPTA Belgium W-B was Just to quote a few outstanding the first to organise an international presentations: Malcolm Troup competition of this kind. The existing presented a lecture-recital on ones were national competitions. From “Entartete Musik”, which then was 2000–2010, the competition was held not a very well known subject; Walter annually. From 2010 onwards, the Groppenberger brought to life the competition became biennial. music of “Joseph Matthias Hauer, first twelve tone technique composer”; 21 Nancy Lee Harper “The folk idiom in 20th century Portuguese Piano music”; Nina Kazymirova “Ukrainian composers Gennadi Sasko and Levko Kolodub”; and Radoslav Kvapil made a “hyper” interesting lecture on the interpretation of Janáček’s piano works. NLH: EPTA Belgium W-B is well known for its piano competitions and attracting amazing young talented pianists. No doubt, these competitions have enhanced many a budding career. What can you tell us about these competitions? HOME

We were also pioneers having former EPTA presidents like Walter Belgium W-B because it allowed us to already in 2003 offered a master class Groppenberger, Nancy Lee Harper, bring this excellent music-teaching given by the guest jury members to Jussi Siirala, Murray McLachlan, method to Belgium where it is still the candidates who didn’t make it to Dorian Leljak, Anton Voigt, and others taught now by a second generation the final. The feedback and personal who helped so very much to build the of pedagogues formed by Pierre-Yves contact with the members of the jury are reputation of the competition. Cuvelier, himself a very inspiring sometimes more important for young teacher, one of the Jacques Chapuis people than the competition itself. I want also to point out the graduates from 25 years ago and active importance of the “inner wheel” of that member of EPTA Belgium W-B. The level of the competition was kind of organisation. By that, I mean very high from the beginning and the volunteer team who took care of NLH: This effort is surprising for a we can observe that very many the catering, the candidates, the jury piano teachers’ association and shows of today’s quite succesful young members, and so many other necessary the understanding and broad-minded pianists were prize-winners in our things. We have been fortunate to have goals of EPTA Belgium W-B. It is also a competition as children or teenagers. wonderful people helping us under the very collaborative and comprehensive This high level was due mainly to expert stewardship of Mrs. Laurence approach that must have reached our distinguished EPTA colleagues, Eggermont. many future teachers of piano. Were like Sigrid Lehmstedt, Elsa Kolodin, there any other pedagogical events Prof. Karosaite, Prof. W. Wojtal, Prof. NLH: When will the next undertaken by the association? M. Markov, just to name just a few, competition occur, given the who during the years sent their best COVID-19 pandemic? DA: Yes. From 1996 on, our students to the competition. It was numerous pedagogical weekends and always a true listening pleasure! DA: Pandemic or not, we have “P-days” were dedicated very often planned that the next competition will to the research on teaching young After a few years, the piano duet go forward. The dates we have secured pianists and beginners, exploring seemed to attract fewer participants. are 23–28 November 2021. different methods from Kurtág to The preparation of these candidates is Suzuki, Dalcroze and Willems, Fritz very demanding and requires a lot of NLH: These are marvellous events Emonts among others. In 1999, Carola energy from the teachers and the duets that EPTA Belgium W-B has sponsored. and Dr. Winn Parry, J. Quoidbach very seldom persist. So we decided to They all have their place in the world and F. Denayer, physiotherapists, and cancel this part of the competition. of piano and piano pedagogy. Did Dr. Vanoverstraeten, hand surgeon, you have any specific events just for lectured on “Does one need to suffer to In 2006, the fourth age category, pedagogy? be a musician?”. from age 18–24, was added in order to offer the conservatoire students an Fig. 16. Jacques Chapuis, President NLH: Carola was then very much interesting on-stage experience. The EPTA France, La Marlagne, 1995 involved in her ISSTIP (International competition is still running with all Society for the Study of Tension in four categories. DA: Following our goals, in 1994, Performance) work and brought we developed a three-year course for leading experts in different fields to NLH: The success of an endeavour future teachers of the Edgar Willems look at the problems of performing is a team effort. To what else do you teaching method under the guidance of musicians. She brought “Music- attribute the competition’s enduring Jacques Chapuis, at that time President Medicine” to the forefront, just as success? of the Edgar Willems foundation and “Sports-Medicine” had been thirty President of EPTA France. This was years earlier. What else? DA: The success of such a a very important period for EPTA competition is due to many factors, DA: During its lifetime, our EPTA one for example being the venue. The team has been enriched with new last four sessions had been supported colleagues joining us, like Marie- by the Province of the Wallonian Dominique Gilles as secretary and Brabant and the Municipality of Grez- Jacqueline Lecarte, both former Doiceau, an adorable small town, who professors at the Liège Royal has been the generous and welcoming Conservatoire. This woud be important hosts of this important event. for our pedagogical activity. We also were happy to welcome Antonio Sena Another aspect is the choice of the as treasurer. He is truly a great help. jury. Famous pianists and teachers Marie-Dominique Gilles, a magnificant accepted our invitation. We can look pianist focusing mainly on XXth back with satisfaction on the decisions made, most often with unanimous and XXIst century music and also a agreement and in an atmosphere of remarkable pedagogue, took in hand respect and friendship. the EPTA Belgium ‘Pedagogical Day’. Of course many of our EPTA So to answer your question, we colleagues were part of the jury. worked also on group education, My thoughts and thanks go to 22

an important subject, as this way of opportunities for young pianists to Fig. 18. Diane Andersen (left), teaching was imposed by the ministery perform, to learn, and improve their President of the jury Arie Van when people were not at all trained professional skills. The competition Lysebeth (centre), and Queen to do that. Much time was also spent can surely be considered as a quality Mathilde (right). Copyright Bruno on expanding the piano repertoire for reference. Pianists, having participated Vessiez. different levels, which is an important in and/or being prize-winners at the aspect of piano teaching. “R.I.J.P.”, later on became laureates in NLH: What is the future of EPTA more important competitions like the Belgium W-B? NLH: That’s always a challenge – Queen Elisabeth International Piano to teach in groups. I think that the Competition in Belgium, the Busoni DA: Regarding the future of the Americans have made it more palatable competition in Italy, the Hamamatsu association, nobody can tell what is by taking a “fun” approach and creating in Japan, the Chopin competition in going to happen during the months some interesting multiple piano Germany, etc. to come, with everything being repertoire for less advanced pianists. dependent on the evolution of Did your association ever get involved Fig. 17. Prize-winners 2018: the COVID pandemic. Since EPTA in the problem of “historically from left to right: CHEN Daniel, activities are also very much based on informed performances”, or rather Costa Rica; ILGEN Emir, Turkey; travelling and if travelling safely is not understanding the early keyboard FEDIURKO Roman, Ukraina; possible in the near future, I am afraid instruments and practices so as to be LISITSKAYA Adriana, The we will have to reconsider our way of able to give a reasonable interpretation Netherlands; HE Houyue, China; working and acting together. on the modern piano? TOWNSEND Patrick Hideomi, UK; VERMEULEN Klaus, Belgium; The presidency of EPTA Belgium DA: Yes, we did. The last “P-day”, HAKOBIAN Edita, Armenia; W-B will be renewed very soon. The in 2019, was a trip “From Pianoforte KAJENJERI Mirabelle, France; new President will guide us to new to modern piano” that pointed out Jury: Diane ANDERSEN, Wolfgang adventures yet to be recorded in the the difference of touch, articulation MANZ, Dominique CORNIL, diary of our association. and mechanism on different period Boyan VODENITCHAROV; prize- instruments. Famous fortepianists and winner: LINKOVA Anna, Russia; pianists, such as Claire Chevallier, Piet Jury: François THIRY; prize- Kuijken and Boyan Vodenitcharov, winners: PECNIK Mia, Croatia; were the enlightened guides in this WANG Chong, China; Jury: Murray world of multiple facets and colours. McLACHLAN, Marie-Dominique And the company, Pianos Maene, who GILLES. has been supporting all our efforts for many years, made wonderful Still in connection to EPTA, I instruments from different eras would like to tell a lovely anecdote, available to us – a Walter from 1795, a something that happened to me. Konrad Graf from 1835, an Erard from While I was a jury member of the 1836 and the newest straight-strung Queen Elisabeth International Piano grand piano from Chris Maene. The Competition in 2016, Queen Mathilde, enthusiasm of the audience was very the patron of the competition, came encouraging! often to listen to the candidates. She wanted also to greet the jury NLH: How fortunate indeed – a members. The president of the Walter, Graf and Erard all in the same competition, Baron Jan Huygebaert, room to experiment, not to mention introduced me as: “Madame Diane a new straight-strung piano by a Andersen, President of EPTA Belgium local builder! That’s a huge education Wallonie-Bruxelles!!!” So you see, even in itself. This brings me to the the Queen of Belgium knows the penultimate question: what impact has importance of EPTA. EPTA Belgium W-B had? DA: EPTA Belgium W-B has surely been a reference pole in the world of music education in Belgium. We have tried to provide significant aid and information to those involved in pianistic education at the right time and have allowed access to valuable information that young teachers may have had trouble finding without our help. We have also provided HOME 23

comparison, despite brilliant virtuosity, Thalberg's introduction seems superficial and disconnected to the spirit of the story. comparison, despite brilliant virtuosity, Thalberg's introduction seems superficial and disconnected to the spirit of the story. VI “Dell’aura tua profetica” Immediately following the dramatic close toVIFantasia II, Thalberg presents the theme from The “Norma” Fantasies of Thalberg and Liszt:“Dell’aura tua profetica,” increasin“gDethlle’auorriagtiunaalpdroyfneatimcaic”s from piano to forte. After the main meIlmodmyedisiapterleysefnotlleodw, ianng athberudprtacmaadtiecncceloisse ftoollFowanetdasbiay ItIh, rTeehaclobenrtgrapstriensgenvtsartihaetiothnesm(eeafcrhomclearly A Comparison Par t Twolab“eDleedll)’:aounraetjuaaunptryo,featnicoat,h”eirnsclroeaws,inagndthteheorfigininaallbdriylnliaamnitc.s from piano to forte. After the main melody is presented, an abrupt cadence is followed by three contrasting variations (each clearly (Thlaalbbeerlge,dm):mo.n9e8j-a1u0n1t)y, another slow, and the final brilliant. (Thalberg, mm. 98-101) by Lisa Yuicomparison, despite brilliant virtuosity, Thalberg's introduction seems superficial and disconnected to the spirit of the story. (Thalberg, mm. 114–17) VI (Thalberg, mm. 114–17) VI “Dell’aura tua profet“iDceall”’aura tua profetica” ImmediIamtelymfoeldloiwaitneglythefodlrlaomwatiicngclotshe etodFraanmtaasitaicII,clTohsalebetrog pFraensetnatsiathIeI,theme from “DelTl’ahuaralbtueargpropferteicsae,”nitnscrtehaseingththeemoreigifnraol mdyn“aDmiecsllf’raoumrapiatunoatoprfoorftee.tAicftaer,”the main meloitdnhyceirsmepareassiiennntgemdt, ehalneoadobryruipgitsicnpadarelensdceeyninstafeomdllo,iwcaesndfbarybortmhureppeticaocnnaotdratesotninfcgoervtaiersi.afAtioofnltlseo(rweacehdclearly labelbedy):tohnreejaeunctoy,nantortahsetrisnlogw,vaanrditahteifoinnalsb(riellaiacnht. clearly labelled): one (Thaljbaerug,nmtmy.,98a-n10o1)ther slow, and the final brilliant. (Th(aTlbhealrbge,rmg,m(mT.m1h.31a03–l0b3–33e)3r)g, mm. 114–17) (Thalberg(,Tmhm.a1l1b4–e1r7g) , mm. 98-101) 1313 (Thalberg, mm. 130–33) Above left: Franz Liszt, portrait by Herman Blow, 1843; right: Sigismund Thalberg, lithograph by Andreas Staub, c.1830. 24(Thalberg, mm. 130–33)

(Thalberg, mm. 146–49) // (Thalberg, mm. 146–49) (Thalberg, mm. 146–49) // WbeWbgheiibWnlgheeniihgnliepiinnlnregienpnsirtpgnheertgnseteehetstmxin(WehenTtnteegmiutnhlhmiornegtaidheelglollyeestbodhtdfheayespfyeafsrrfmsgtffespoaff,afesmtrcmmetoeoaeanescprmceitaataaauipnrpr,.nirtitateu1auLge,4,rrtiedhetL6sLheztti–iihhtssedn4ezezcett9sddlntoacc)eehssmllnnioeoetssyslsiieyeotetoyyllpayfyfooroetffihflfrolatoeatohl,hll,weoloeLobrwoswcioersshrctsgzchehtihtsehtenhtesecrsettnalerttoarixeatanesxtnauxetangdurtnldeuryctdesrchhsehfcoaesooharsruolsmaulsrpsospu.r.ewrsepel.srosseeednstnetyhtenededtfeffdiinnintthheeth1oeo5ppoeerpraae,,ra, (Liszt, mm. 89t–o92c) apture the density of the orchestra and chorus. (L(iLszist,ztm, mmm. 8.98–99–29)2) d EsseEnstsiaenlltyiaElLlsyissLzetin,szltti,ikaelilklTeyhTaLhlbaieslbrzegtr,g,p,lripekrseeesneTntsthsaaaslsebetteoorfgv, apriiraaettiiosonensns..tBBsuutatusnuelnikltiekoehfihsvirsaivrraiivla,athli,eohsneassm.elaemsslleyssly transtriatinosnBitsiuofntrsoumfrnoomlinkeoenveahrviiaasrtiiarotiniovntaolto,thhteheennesexextatwmwiittlhheoosuusttlaaynnyytrccalleneaarsribbtrieroeaaknks ssorofrrinoitnimmtiamtoiaontnio.enL.isLztismztanmaagnesages mnWtv(Lhaei(tvWhrsLhizaipa(WtveitlhrLhs,oteaiziieipmairhostlni,Tozteipmnaitlmtio,hote,n.Tiimmniaon1tLnThl,m0n.ibtitacpeth1n1,Ls.heihl–aan0zrn1Lberit01ldtW(0eseghtebi4t–L1ozscehecere)0–mtzpgaoieirhrn40otgssebcns)4oipcazorecor.)tlapuaeboietlnemnebyr,prnwtaurubritTtmaenuliaehpweynhpunstwetumfltehratoylcttehesyehulhuser.rbeOcttrmee8ecthseeuhurme9ObtreopOtosags–oevrmformnofmo9eogoaiovsofdv2inftbefmoefnhme)ntrs,spetenteouohauinrn,,icnepmebttnahauutsacotgmmbblseahhyrsaannuotsseaardhrscstsnonusuoerdlpsrtdsoehotptrf,lpsteelphteiheehermsrr,oeee,rneeesemseaenfmsttnemefnetentwrwsevntetsteetrawsh.tihrwsshtlrsh.tioeeeiht.tihhtadrehcameetyhamiceamoOoaalcenocnedalrrodaldue,oodydenoLsdvyneccayiencteastnhescnazabeoevontbeo,cmeebfccotafoeatooclaerfvobtrnevoaeewwaervtbeslibeelioesnoetbrgwlgwhu,roeiieonegwenarnrinls,,eneiirpnpn,,IttrgrgihoneepneccrgrttthhehiiestIItssfcceeohentteelheieelolristnfyfesychesepiieV“cvLftcerrlelaa.sfeaPyasaeBiorIittnttcasprrpcaeIetas,zaiel.tdttBalt“rtuihaPtnera,mrilairel“o’itidsPinn,acrnaioe,tg’nds,rotercatotemouhg,hrpecotpetuehstiihitseaaorpsmaneninttalrgaoangolncilg?oirmmeci”l??eooxo”f”lferomotlfanlroetelawiloncttoliowtutoin“.wtn“PsmBThwPsawNheaNhodehoadilourillrrnlemermieetm,nd,caVcatVaatnaiao'o'nIsnepIs’psIIeptptxhyhuuriioeehraraaaciiirnnnnnrirlctggltggebbaiwhir?tar?trehh”eher”aaeiaeskctkbmhitimnirnrnogTaoemgghamlaeraakscinelrabpitnos,uaeti“,lmruoroDg“mirDaretanhanaied!otnndhNifed!toxLoiNtehninmhsxiolzvhaenwtaoirlatlvosahetioricrrognilaleiaelgtnneivrnnsli.iizptgeteivi.rmsiitptthetioi.irm”sfiteo.”f y pItasisspaagasescahcrageateevhtIaerahnearrvlattsietbrcaht,trhliseeeectmah,dokeioepfditfmineeiofrrfgneoeaanrt,aelcinr“eomcPisenaoisa,nmadi“nlterhDtnmeehteie,.roihtrTimuni!hndNedpievivniomiaiddntanuu.naagTvnllieohaa?rppl”epepirfnrrmooolaaiwlcaclhvhhoneiiewscntshttoestiomTrtNhthhieeanoegl”bre.gwmeneIrrntgeharoeii’assfconthafdhetThLoehpisoeazrptalebtiorceargtfriaacgnntfiaazsneyt.atshyi.s ThalabenrgduLseissBzetlloinri'gsamneliosdeietshsoilselpy aasssaamgeeanrsetvo edaislpslatyhheis pdiiafnfisetricebnriclleiasncien. Itmhmeeidriately ThalfboellrogiwnuinsdegisvthBiedelaulbinaruil'psatmpVep7lorindotiaeercsruhspoetliesolnytoiansttahhemedegaazenzsnlintrogedtohisifprdltaahynedhiofsinppaielanrvaiasrttiiiacctibofrnailnolintaan“csDeye..lIl’maumraedtuiately follopwroifnegtictTah,eh” haabelbriuneptrrtogdVuu7cesisenttsheerBrtuehpeltmliioennoifi’ns“Pmthadeeredl,oatzduzipleiinasgngstioh?”ilredalcyacnoadmsfpiaannamiledveabaryniartsoiloltinongod,nnio“scDptuelralnly’ea-ulirkae tua profaertpiceagh,g”iisahteepdiinfaitgnrouidrseustciiecnstbhthereileltlfhtieahmannecdoe:f. “IPmadmre,etduipaitaenlgyi?f”oallcocowmipnagnitehd ebyarborlluinpgt, nocturne-like arpeggiaVte7d ifingtuerersriunpthteiolenftihnantdh: e dazzling third and final variation on (Liszt, mm. 101–04) (Thal“beDrge, mllm’a. 1u6r8–a72t)ua profetica”, he introduces the theme of “Padre, 14 14 oo(ffThtthhaeelberg,tfimugmup.ri1ae68ns–g7i2ni)?”thaeccloemft phaannide:d by rolling, nocturne-like arpeggiated 14 Without letting up the energy, Liszt transfers the melody Withtoouttlhetteinlgeufpt thheaenndergayt, Ltihszet tsraencsofenrsdthepmaretloodyf ttohthee tlehftehmaned,awt thheisleecotnhdepart tWheitmhroei,ugwt hlhetitlteihntghaeunprdigthhpet lheaanynedrsgpyrl,aaLypissizrdat pttriadrnitsarfidaedrsss taahnnedmdthetelohirdeiynivtroeritshnieovnleesfritnshiraoinsindngastsituhncecrseesicssioionnnd:gpart themseu, wcchielessthieornig:ht hand plays rapid triads and their inversions in rising succession: 16 He1o6nce agai(nTphreaslebnetsrga, smetmof. v1a6r8ia–ti7o2n)s, although this time they are not identified as such. In This is fTohlloiwseidsbfyoflulrothwereadrrabngyemfuenrttshoef rthearmrealondgy.ements of the melody. the first variaHtioen,othnecme ealgoadiynispsrteatseednitnsoactsaevetsoifn vthaeriuaptpieornrse,giaslttehr,othuegnhinththiesleft-hand inner voice accottmhimpeaenmietehdleobyydya1r6ietshn-sntooattteeiddfieliingnrteioeficeitndavthaeessrsiiunghctthhh.eaInnudp,tahpneedrffirirnesagtlilvsytaferoril,alottwihoeendn,biyna minor-key This is followed by further arrangements of the melody. fugato thattbhueildlesfitn-tho aanstdorimnynfearntvaosiiacpeaasscacgoem. panied by 16th-note filigree in the right hand, and finally followed by a minor-key fugato (Thalberg, mtmh. a1t80b–u84i)lds into a stormy fantasia passage. // (Thalberg, mm. (1T92h-9a6l)berg, mm. 180–84) // 25 HOME

“ Presented in this order, Norma's lament “Deh! non volerli vittime” organically blossoms into thte tender reconciliation of “Qual cor tradisti” (with the addition of the aforementioned “cribbing” oo the Thalbergian timpani/triplet accompaniment), building up to the climax of “Padre, tu piangi?”f ((TThhaallbbeerrgg,, mmmm.. 119922--9966)) (Liszt, mm. 171–73 “Deh! non volerli vittime”) ( (Thalberg, mm. 192-96) ((TThhaalberg, mm. (2T04h–a0l8b)erg, mm. 192-96) (Lis(zLt,ismztm, m. 1m90.(–1L99i40s–“z9Q4tu,“amQl cuomarl ct.roa1rd7tirs1ati–d”i)7st3i”)“Deh! non volerli vittime”) H 18 s (Thalberg, mm. 204–08) i (Lis(zLt,ismztm, m. 2m20.(-2L222i0s-“2zP2ta,d“rPmea,dtmrue,p.tiua1n9pgii0a?n”–g)i9?”4) “Qual cor tradisti”) ((TThhaalberg, mm. (2T24h–a2l7b)erg, mm. 204–08) ( (Thalberg, mm. 224–27) L “e 111777 (Thalberg, mm. 224–27) p Consequently, Thalberg treats both “Dell’aura tua profetica” 2 and “Padre, to piangi?” in the same fashion: as themes for ( contrasting variations. The result i(sLaispzats,smagme .th2a2t,0w-2h2ile“Pnaodt rfeo,lltouwpiniganthgei?”o)pera’s chronology, is a dramatically In Liszt’s paraphrase, the passage centred around “Padre, effeTchtiever,emsuelTttihciuseloaruespslayuslcstaognisestartuhpcatate,sdswbahugiielledtunhpoattot,faowlslthouwinlnieningngoltyhtemfooolvplieonrgaw’sainncdghsrtaohtniseoflyooignpyge, rrieasl’esaased.ramatically to piangi?” is an impressively large structure that serves as effectivceh, rmoentiocluologuys,lyiscaondsrtraumctaedticbaulilldyuepftfoecatsitvuen,nmingeltyicmuoloviunsglyancdosnastitsrfuyicntgedrelease. a “slow movement” building towards the catharsis of the build-up to a stunningly moving and satisfying release. ap“sQaraimsuas.aeaHlgsceceoeiirnnntectr,hlau“diDdsiseestschie”!innN(IetoIhi,nsiisipvi,soreNelcesoterilrnoimtnveaidtt,wtPiinmooltoelhi”tohe(nIefIero,)la.iliroIiinw,aNsitnhforgeromomorpad)ete,hrraae:n, tdhephIptarlaeniypIpssdtelreaenawidysrstospeenarewtftrhgtmhbfhospeegoriectinitgImhgotthdo.thehgs”etdiinilmotLnsophlohsegidetaowasilyttznonrithotnhgedsiadnapsrygtthtstattihsioohnhsnipapwnetftatlnetshmnhta“iroehneytPihtodteahmeaa“iddfenntPrfilrtdetaphaegiehrdnde,nereletretegttceihgukarag,ripeeasnseiptyyittgouke“iab,iairesonsonLnpytuoategoibitfarhrdi“sodn?tuPozoaa.h,g””fttrsaeiTd?itdTpstphn.h,h”prhiireTgeaseaeantphl,nhsaieboiiseteaslmeutnutnrcieoehgoslstpmteiresinmuancoiogsraltneoalteihnyianasntaoltlgiergtntanlemhiiyaamr?rgirllnag,etea”geahhhefrtnektirlinagrienhopefaenhfgiodytenecidircnhbeypneeesngaotonmi,nticlthanondwyoearftos,ndth,Tuttothdohw.ishifsoeeilTah,nTetnlhihwgfbhlaaeeeiahTnlsrlibfbgthlaaoee'assntrlbyhgbt“a,o'ethssthrLyhagr“,niiesthadheLzans-rtniesdezs-t( “Qual cor tradisti” toohtlosa.onldse. dsiTshehfcofaelwlecbtas.e”rrtlLhgyiiasaatzntrhesthefoeocowraelssnn.thc“aeotuthotedcToah”naT“lohbuaetldrbgoe”’srTg“htmahlrboeesregt-hmmaoansgtdnmeiadfgicneeifffniecteclntyt”,l.yuL, suiissnizngtg Thalbergian “Norma! Deh! Norma, scolpati!” (chorus) “Deh! non volerli vittime” “Padre, tu piangi?” VIII “Dell’aura tua profetica” and “Padre, to piangi?” Liszt eliminates the chorus and places “Qual cor tradisti” 19 “Mashup” between the final two arias: 19 Both Liszt and Thalberg overlap the melodies from “Deh! non volerli vittime” “Dell’aura tua profetica” and “Padre, to piangi?” near the end of their operatic transcriptions. It’s what we call, in today’s “Qual cor tradisti” pop music, a “mashup”, a superimposition of two or more ( songs. Again, it is the differences in their methods that are “Padre, tu piangi?” of greater interest than the similarities. Thalberg combines these two themes in the coda of his paraphrase, the climax of Presented in this order, Norma’s lament “Deh! non the entire work. He presents the combination of themes in a volerli vittime” organically blossoms into the tender fiery, minor mode. reconciliation of “Qual cor tradisti” (with the addition of the aforementioned “cribbing” of the Thalbergian timpani/ triplet accompaniment), building up to the climax of “Padre, tu piangi?” H c 26 2

“masphiuanpg,”i?a” nsueaprerthime penodsiotifotnheoirf otwpeoraotirc mtraonrsecrsiopntigosn.s.AIgt’asiwn,hiatt iwsethcealld,iifnfetroednacye’ss pinopthmeuirsimc,eathods tehat a“rmeaoshf ugpr,e”aatesruipnetreimrepsotstihtiaonn tohfetwsiomoirlamriotireess.oTnghsa.lbAegraginc,oitmisbitnheesdtihffeesreentcwesointhtehmeier smienthtohdescoda ooff hitshaptaarraepohfragsreea, tethr einctelriemstaxthaonf ththeesiemnitliarreitiweso. rTkh.alHbeergprceosmebnitnsesthtehecseomtwbointhaetimoens oinf tthheecmoedsa in a ”fiery,omf hinisorpamraopdher.ase, the climax of the entire work. He presents the combination of themes in a fiery, minor mode. (Thalberg, mm. 238–41) (Liszt, mm. 345–48) (Thalberg, mm. 238–41) (Liszt, mm. 345–48) The entire pTahsseageenitsireexhpauasstsinaggeanids tehxrihllianugs. tAingagina,nLdisztthbroirlrloinwgs .frAogmaiTnh,alLbiesrgz,tthis time by combininbgotrwroowmselofrdoiems inTthhaelcbliemrgax, tohf ithsetiwmorek banydcuosmingbtihneinthgemtwe aos ma bealsoisdfioersvariations. (Thalberg, mm. 238–41) iHsmoemmteohiHswmoleeamnhmtaiteoohstwlenuanh,datomaitbdosthfsenuaHeujn,dajyarotbdlehudyseareunn,ltydlrlhdttdyradhyieolsadlendppnbrdinslocsraasppeniytucsllhcaaladeeyitopjhadaifevnsgoejoifcnvogijlnaeouflijul.nyfamcunuIemtcdtentlheyeterlyieetbosotbrbopparbaraptrsiisptiilepiollpotlii,cni,hfanae,mn,mneOaaccioonnneevrddd.d.oouuaNvNllIlIatuaetsototemorsiermsisommsseatasoateaaotsunawosmddnimhafpddPijafpoaeoPOj,rtlno,olOrmiraollto,lyhrvbniooeetosehcvnsdnuoleaeeiurcnvsnadlolescapiucvhsetddaeaseldpioupsssehsfpdnpfattidllopholyyteahfpenfeyeiclvlyytapehnrTieeeccahvcefaeelpetsneririrecen.atceshfueltaesicveltniroan.itrsnhtiahecanlteuioocsrgnliioasmnn.icT.a,xhsteoirrfrientgshueblutwilidosurpakntoaonthrdegacuIonXsniiccnl,ugssittoihnre.ritnhgebmueilads-uapbatosisthfeor immolation, they all dance a jig in celebration, and Norma (Thalberga, mnmd. 2P4o8–l4l9i)one live happily ever after. Conclusion (Thalberg, mm. 248–49) The paraIlXlels between Thalberg's Grande fantaisie et variations sur des motifs de l’opéra “Norma”CdoenBcellulinsiioannd Liszt's Réminiscences de “Norma” are so undeniable we are compelled to concludeThtheatptaheryalwleelrse binettewnteioennal.TIhnahlbiservger’ssioGnr,aLnidseztfaunsetasismieaneyt voafriTahtiaolbnesrg's original musical isduerasdeasndmeoxtpifasndes ul’opponértahe“mN.oIrmmiata”tidoenBmeallyinbieaanfdormLioszf tfl’satRteérym, ibnuitsicnenthciesscase, it is a display odtfhe at“htNetoihrmmeiytaa”twoarer’sreessuiopneutreinonrditteiyon. niLaaibslz.lteIcnwreheatieassrveaecrdosraimmonpat,eicLllimesdazsttteourpscieoescnemculausindnyge tools he took Liszt (Thalberg, mm. 248–49) aFovlilorwtuinogsitchefienmaoleti.onal reafrlreotiamssteryTohtftohahalfbteeTemrmhg.a.plhDIbmaoseuiirzbtgetal’sethisioosslrnyvi,igrmtTiunhoaaasylilbtybemreagus’assbfiofcoathanrltmpaisidayoneifhasatfsslaaanmtndtadecnroyeymx,mppbooausmnetred.innBstsuuttohpLfioisbsnzectaaucstoeyn,satnrudctdsealiglahrtgfeu-l expaLndisszttheexepntairnedssectthioen einntotiraevsiertcutoisoicnfiinnatleo. “LpePxrieppeescazxxsrrideeettccer“2ssniiePmeett0etee,annsxmmedtttptnssurheeaetttnne,n,hhpttnFtpdweemti,,huasorewwmmoneeepwlrlgooteelpoikhoorrailldia?ookkelnnwpey”rddiiggnneiyyveiiiggn?anrnnew”iinagnntwwlgsdii,arteossiiuhne“ttteevphhGfdhsvveraseeeeeraaupfnearrpxonnroceaaeleaoocrtlltrpmghrttiiggrhhoaituetnauureehneoirig!iirrsnmesstteGgttieehiushhnomssee,suueet,,mnonemmseeeafaaaateorfseecacc,olrrhhfhhrffwarrrrutvov!etoovvh”ohipmalmmaaereerr(trr,uiiikIammaaatLttoIhhhsittt,aainiisieeeeooossisigchnnznhooiooiutppupiiwf,ifpnneepnebiC,“rrccnirc,aauPtrraLarh,,Leeh,eiliaaaos““leai“dsszdsGG.asrGiitzrinnsnuuuntFeubggeesogtou,ebrr)hiiitrlrrtuinn.llrhaanuedoiaH!!ttlsew!eedtmpGGeccretsGihchhinuuutaheptnnueeghhnnsiierrrmcceirriergetcaaaacrumhsillma!!as?””etel!ddi”ouec”ndee((seIImmaet(tfaiIImoInmcrs,,aaIooii,nndaatiimtddoiiinni,,issodieCC::a,nswC:hhawspnooclslheoaeyrrowruuvlrckeressehusl))lloe..ssemola)tHHvorf.sbdiDaugeteeeHkecriloceitaaeuooassumulrffcbeatclayteodtlaameianircs,spdnpstlmdhellfexyaonadi,yct,syTeutioslsheaeifngrnsadtpohlhbotidteneeofecunrviegrlelmyel’cosaudriprsefitmtsaiaaitntnitesinonngttcrgtarttyi’ossvotyfethosthehhudlsaeipafitfnshteeitetrreemleminenotsaccoeprnheiohsatydkryabraam.secfmiLttrwseooairees.mmezWohntefihTtnschathrhtetveseaaitarlwotbcotofeoupemseocrrogpasam.aitrapiyssoosnwereosl,flbthuaest the two also 20 the melody in several guises, each variation increasing in the differasecsnacbleeobtsehttwrpueiecantnutairsleetnaatnnandddfcgooecnmuiuspse.ossoenr. But Liszt constructs a large- (Li((sLLziitss,zzmtt,, mmm.mm2.. 4t229e44–99c5––h655)66n))ical demands: recreating the intense drama of the opera as well as the psychological complexity and development of the title character. What a comparison of y the two works makes clear, then, is not only distinctive differences between the two composers, but also the difference between talent and genius. t Fétis, François-Joseph. “MM Thalberg et Liszt,” Revue et gazette musicale 4, no. 17 (23 April 1837). s(Li((sLLziitss,zzmtt,, mmm.mm2.. 722477–44(8––L188)i11s)) zt, mm. 249–56) 22 Gollerich, August. Franz Liszt. Berlin: Marquardt, 1908. - Huneker, James Gibbons. Steeplejack. New York: Charles n Scribner Sons, 1920. Liszt, Franz [and Marie d’Agoult]. “À M. le Professeur Fétis,” Revue et Gazette musicale 4, no. 20 (14 May 1837). Schumann, Robert. ‘‘Anzeiger,’’ Neue Zeitschrift für Musik 2, no. 44 (2 June 1835). (Liszt, mm. 299(–L3i0s6z) t, mm. 274–81) Toby Winarto Yamaha Artist Lisa Yui enjoys a (Li(sLzits,zmt, mm.m2. 9299–93–0360)6) multifaceted musical career as pianist, lecturer, educator, author and musical director. She has performed throughout North America, Europe and Asia and is the top prizewinner of the Senigallia International Piano Competition in Italy. Dr. Yui's insightful writing on a variety of topics has appeared in Clavier, EPTA’s Piano Journal and Listen. She has given lectures on a vast array of topics, and has taught graduate courses on piano literature, historical recordings and the Beethoven piano sonatas. (Liszt, mm. 299–306) HeHHccooeecmmoccbbnooiitnnnnineettiiuddnneuummt“seehDeesstHelleooottlooeddelpyyn’arppceeoourroseeffrrenssg““aneetDDynnttitteenuunllnnuallen’’eewaaetpwwuusirlrrvaaotvvwaoaafttruuerreipiiaaataatifrttppiciiieorrnooaoonsnn”aeffssseelnalttaaaiiyntccnnnaaddddnr””ee“tttaaaoooPwnncddahiiinnvnd““cccatrPPrrrhreaaeeei,ddaaeaassrrtsteeeecuei,,oottttpthhmuunheeiesppabiieenaaaeinnnnnnngeeggeirred”iiggrd””g:yyt::yomuuunniennttiiltllcoilrwwdewyeeaesoffeiiffnniaanllallyyllyrreeraaeccahhchtthheetheaMannuddLsMAiicsca,oawYndhuetcmielriaiseicrosPShnrteaothtigeseraaUfmlasncosiu,vAlsetshriseseoistrcyoei.afcAteMetivDaMenedahantnahhttoeaaftSntAcaShnscsoheSoscolsh’omsol2oeo0nlf1ot8Mf usic combined melody of “Dell’aura tua profetica” and “Padre, tu piangi”: President’s Medal for Distinguished Service. 21 27 21 HOME 21

FROM THE ARCHIVES Continuing our fascinating retrospective history of EPTA through a review and summary of Piano Journal. Pianist, teacher, adjudicator, performer, writer and educator Nancy Litten summarises and selects excerpts from issues 34 & 35 of our EPTA magazine. No. 34 (February Schumann does the unexpected: EPTA 1991) hidden directions to the performer, HUNGARY frequent cross-rhythms, deliberate will hold THE WORLD OF SCHUMANN by confusion of duple and triple time, its First Edith Cornfield syncopations and irregular accents, International the gradual releasing of the notes of a Congress in In Schumann’s lifetime he was much sustained chord, riotous chromaticism, Budapest in better known as a music critic than as fast and unexpected modulations. March. Their a composer. Born into a literary family, He was introspective, idealistic, and president Erszebet Tusa (pictured) he was concerned with the interaction closely allied with the NEW; ‘Content has travelled Europe, Australia, between literature and music. In his and idea dictate form, and not the New Zealand, Taiwan and Japan as 20s he said, ‘When I play Schubert I reverse’. He evolved a new form for performer, teacher and lecturer. As feel as if I were reading a romance of the piano, a large structure made up soloist with the Hungarian National Jean Paul set to music.’ He founded of many smaller parts tied together Philharmonic, she gave the world and edited The New Journal of Music, by an integrating poetic idea. A good premiere of Bartók’s Scherzo for piano and which came out twice weekly and example is Papillons op. 2, which he orchestra, and with the late Ditta Bartók, influenced European thinking during composed as a 20-year-old law student. played Bartok’s Sonata for two pianos the middle of the 19th century. Most of It became the prototype for Carnaval and percussion. For her contribution to the articles, and reviews of new music, op. 9, the work that made him world Hungarian musical life, including her books and musical events, were written famous and which he himself called ‘a writings on ‘Integrative Education’ by him, all under his pseudonym, F., E., higher kind of Papillon’. and Liszt’s late works, she has been or R. His oft-quoted phrase, ‘Hats off awarded the National Liszt Prize. gentlemen, a genius’, helped to launch He reflected every aspect of the young, and then unknown Chopin. Romanticism. His piano works are MUSIC REVIEWS: FOR ADVANCED full of expression marks, and constant PLAYERS His music is full of musical changes of tempo, indicating his anagrams, hidden directions to the mercurial temperament, hyper- Furore Edition 12 Charakterstücke for performer, dedications to imaginary romantic imagination, and desire to countesses (ABEGG Variations), communicate every passing shade of piano by Fanny Hensel-Mendelssohn preoccupation with the letters in his feeling. His mind was such a delicate ……They are pretty and charming, name, the signature F. and E. and a instrument that it overreacted to descending 5-note melody which everything. He tells of going to the and don’t contain a lot of surprises, became his Clara motif. This was a way piano as a young boy, playing a series unpleasant or otherwise. D.F. for Clara and Robert to communicate of chords, and weeping bitterly. When with one another when all other Schubert died he wept unconsolably MUSIC FOR TEACHING avenues of communication were closed the whole night through. to them. Hug/Kalmus Variations on Folk Songs The most beautiful version of this motif is to be found in the opening melody of his Fantasia in Vols 1, 2, 7, 3 op. 105 and op. 107 by Beethoven C op. 17. These 16 sets of variations show 28 another aspect of Beethoven’s genius - his fascination with folk songs. Although late works, they are not too difficult technically and pupils of Grade V and above will enjoy learning them. Nine of the themes are Scottish, three Tyrolean, three Russian and one Irish. It is known that Beethoven enjoyed the Scottish folk songs and dances, and it is interesting to note the ingenious treatment of the themes. N.L. Kalmus Ltd Moments at the Piano by Luboš Sluka All the pieces lie very well under the fingers and are suitable for a student

with three to four years’ experience soloist and the upper left hand plays four against at the piano who would like to play in chamber three, written through the bar as something interestingly but not music and dotted 16ths, and the lower right hand frighteningly modern. Written in 1928, has broadcast subdivides the first five of six 16ths into the pieces are reminiscent of the best in Denmark, six against five, repeating the pattern lyrical and rhythmic Bartók. L.G. Finland, Iceland, from the last 16th of the bar continuing Germany, France over the first four 16ths of the following Faber Music Ltd Two Lullabies for two and Ireland. bar… and the complexities grow with She is president good-old Xanakis-like vehemence. D.F. pianos by Benjamin Britten of the Danish Written in a few days, to play with Chopin Society and member of the MUSIC FOR TEACHING Board of the International Federation Adolf Hallis for a BBC audition in of Chopin Societies. Braydeston Press Carnival Procession 1936, they were not heard in public until June 1988 at the 40th Aldeburgh BOOK REVIEWS by Joan Last Festival, with pianists Peter Frankl Toccata Press GEORGE ENESCU: This album contains eight short and Tamás Vásáry. Both lullabies are HIS LIFE AND MUSIC by Noel moderately easy to play. The first is Malcolm; preface by Sir Yehudi pieces of Grade 3 to 4 standard, all a lyrical 6/8 Andante, full of haunting Menuhin one page in length. Modern in style, ostinato patterns and subtle effects and all in easy keys, they are varied such as a pp black-note glissando. It Brahms commented on young and imaginative. All are well fingered ends in a mournful, mystical mood George’s violin practice; later and contain many useful teaching with a gradually slowing, harmonically Joachim played his early violin elements. More importantly they are labyrinthian canon of the opening sonata, describing it as ‘even more all attractive. A.S. theme. The second is called ‘Lullaby modern than César Franck.’ At the for a retired Colonel’ and is in a march Paris Conservatoire his composition IN MEMORIAM tempo. Its witty effervescence makes teachers were Massenet and Fauré, Rudolf Serkin came to prominence a perfect contrast to the first. British and Ravel was a fellow student. He Grenadiers, and other militaristic was a brilliant pianist, violinist and in the 1930s when he partnered the motifs are combined with a masterly composer, but such varied gifts did famous violinist Adolf Busch (he finesse, and a gentle nostalgia that is not work in his favour. In a later also married Busch’s daughter.) He patently Britten. D.F. generation, Lipatti found it impossible devoted all his life to performing and to engage serious public attention as teaching, becoming Head of Piano at No. 35 (June 1991) both pianist and composer, unlike the Curtis Institute in Philadelphia. Mozart, Beethoven or Liszt. Another His memorable interpretation of the READERS FORUM by Wanda factor was his rejection of the classics will remain as a model to Jeziorska ‘modernist’ aesthetic; though not a future generations of pianists. conservative, he felt no discontinuity Speech can express ideas and from the masters of the past. One Claudio Arrau, born in Chile describe emotion, provide practical or two ‘hits’ can detrimentally in 1903, made a sensational debut information, help to store memory, overshadow the rest of a composer’s in London in 1922, and was soon trigger off action; it can make an output. Enescu’s early Romanian acclaimed as one of the greatest accumulation of knowledge and Rhapsodies (from which he earned virtuosi of the century. He found the experience possible so that it is passed no royalties) have defined his public ‘relaxationists’ (Deppe, Breithaupt) on to future generations. Music can image as a folk-based composer. of great value in his own playing and express feeling and emotion, vitality in his teaching (he was professor at and depletion, aesthetic sensibility, Simon Nicholls Berlin Hochschule für Musik for a order and structure, at times even while). His recordings of Chopin and higher mystical states. It can also MUSIC REVIEWS: FOR ADVANCED of Beethoven will remain as a great express vulgarity, drunkenness, sexual PLAYERS tribute to his artistry. excitement, aggression, tribal loyalty, destructiveness and chaos. As such it is OUP Collected Shorter piano Pieces Wilhelm Kempf born in 1895, pretty dangerous stuff; delving deeper established himself from 1916 as a into the human psyche and providing a Volume 1 by Michael Finnissy noble exponent of Bach, Mozart and more direct, immediate, response than One thing I find off-putting is Beethoven; and was also known for his any other form of communication. masterly improvisations. He succeeded the almost constant, obsessive Schnabel at the Berlin Hochschule EPTA DENMARK has held its first complexities of rhythm. Even the when Schnabel left Germany for meeting. President and Founder first of the waltzes begins with the America. He first performed in London Elsebeth Brodersen (pictured) is a following polyrhythmic arrangement: in 1951, and America in 1956, but his Professor at the Royal Danish Academy the top of the right hand, plus recordings travelled fast and reached a of Music and at the University of additional left hand notes, carries the wide public. Copenhagen. She has appeared as beat (three 8ths in 3/8); the bottom of the left hand subdivides the 8ths 29 HOME into triplet 16ths; at the same time,

Reviews meetings for everyone to join in with some healthy singing, an activity that SHEET MUSIC needs reviving and often gets forgotten by Nadia Lasserson in piano classes. The charming illustrations by Nancy Litten through the book make it even more appealing to everyone, young and old, who owns this fine collection of rounds selected from all parts of the world Here is an unusual publication which merits acquisition. ALFRED CE COMPOSERS EDITION EDITION DOHR Rounds with Accompaniment Brian Inglis A Christmas Duet (We Hermann Bendix arranged and illustrated by Nancy Wish You A Merry Christmas) 19051, 19052 Three Early Piano Litten pieces, Two Piano Duets opus 10 Composers Edition is a unique 19071, 19072 Two Piano Pieces opus Nancy Litten is a well-known and fully independent publishing 20 & 25 presenter at EPTA Conferences and enterprise proudly serving composers, many of us have enjoyed her sessions performers and champions of Hermann Bendix was a German getting everyone singing rounds. Here, contemporary music-making. It allows pedagogue, cantor and composer who at last, is a publication which includes composers to take control of the concentrated on choral music for many of the old favourites and several distribution and promotion of their services and also produced a prolific new ones. works. piano output. His piano music was published in numerous print editions The book contains 34 rounds with Brian Inglis was born in Germany and was widely distributed as mostly a piano accompaniment to each, and studied composition in the UK easy to moderately difficult salon works. enabling a higher level of performance where many of his works have been The music is immediately appealing and enhancing the general character. performed at various festivals. This with catchy melodies and will make Graded in order of difficulty, the piano duet needs to be mentioned as entertaining concert repertoire. The volume opens with Row, Row, Row it will give Christmas cheer to all in publications are clearly printed with Your Boat and ends with a Traditional these sad and difficult times. A lively appropriately placed page-turns and Gospel Song: Praise the Lord, O My Soul. vivace rendition of a well-known tune, will be welcomed as new material for Nancy Litten has included many it is geared for intermediate players young pianists to perform and more famous Rounds such as: Dona Nobis with the primo having the melodic advanced students to use as sight- Pacem, Alleluia Gracia Deo, Alleluia by line and the basso playing unusual and reading material. All performing and William Boyce, Tallis’ Canon, Singen sometimes contemporary chromatic historic notes are in German, requiring das sollen wir, Frère Jacques, Shalom, harmonies to accompany. No doubt, translation for greater understanding Kookaburra, Jubilate Deo and All Is Silent this charming duet will liven up much of this entertaining and light-hearted by Mozart as well as popular English of the singing around the piano next music. works which include London’s Burning, Christmas. Ah! Poor Bird, Echoes, Rise Up O Flame and Fie, Nay, Prithee John by Purcell. To complement the collection, Nancy Litten has composed six most effective rounds: All Things Bright and Beautiful, Belt Up!, Birthday Wish, Medieval Mood, Lullaby and Blackpool. This is an excellent companion for all informal musical gatherings, concert performances and just social 30

EDITIONS LEMOINE 29 554 HL DU BOUT DES DOIGTS HENLE VERLAG Romances Russes pour piano Jean-François BASTEAU 15€ UE 37006 Janáček 1.X. 1905 Piano Collected by Natalia Flament 9 pieces faciles pour piano Sonata Natalia Flament has uncovered 16 Jean-François Basteau has over thirty Janáček’s Piano Sonata began its Russian Romances for piano by several books of piano music to his name and existence as a three-movement work lesser-known composers who deserve this latest is for young pianists with but the composer destroyed the Finale recognition for some warming and nine delightful pieces. The composer’s leaving just two harrowing sections. characterful music of the Romantic goal is to create a world of sounds It was composed after the tragedy of period. Glinka is the best-known in for young pianists to explore and he a 20-year old Czech worker killed by the volume with Alouette, four works mentions light and shade, mystery a German soldier during the Brno by P. Boulakhov include a lively Troika. and melancholy. The nine pieces demonstrations; Janáček was heavily Non, ce n’est pas toi que j’aime passionément all reflect these concepts in a whirl involved in the clashes and showed and Nuit claire by A. & M. Chichkine are of sound. Young pianists will love his disapproval of the pointless and two of six lilting Waltzes included with the various moods and characters violent waste of life in the Sonata. Séparation by A. Gouriloff imparting depicted and each piece is based on a tragically sad D minor mood. The one technical repeated pattern. Le The first performance was to be Finale is a Petite tempête which is a vieux manoir is based on a semiquaver played by Ludmila Tučková who popular melody. These charming left-hand riff accompanying a gentle complained of having too little time pieces are for intermediate pianists to melodic line. Perle marine gives the left to prepare “such a demanding work”. enjoy while more advanced students hand calm triplet broken chords to Indeed, the outpouring of harrowing can practise sight-reading with this create a dreamy mood. Soleil couchant emotions, as well the technical interesting new musical repertoire is a slow waltz and Douceur argentine pianistic demands, makes the Sonata collected from Russia. introduces pedal markings over somewhat complex to perform. It tears repeated quiet chords. Floris, Charlotte, at the heartstrings while expecting HOME Ballade en traineau and P’tit jazz are lively the pianist to be in technical control. movements with funky rhythmic The opening pages are reminiscent patterns, alternating seconds and thirds, of the violin and piano sonata before differing articulation in each hand embarking on more passionate and dotted rhythms in conversation passagework. The Adagio movement between the hands... There is a unique is in E flat minor which, in itself, charm to these character pieces for very expresses utmost grief and sorrow in young pianists, with every piece lying the desperate unfolding of the music. comfortably within small hand positions It is wonderful that the publishers while mildly dissonant harmonies are have re-discovered this rarely-heard laced throughout the works. This is a work and included background uniquely original set of pieces which will information to aid greater in-depth be welcomed on all concert platforms performances. It will be welcomed by while, at the same time, proving advanced pianists. excellent sight-reading material for intermediate pianists. Catchy titles will 31 appeal to all teachers and pianists.

Reviews continued... Publications BEUSCHER UNIVERSAL EDITION Lachenmann (a contemporary German PB 1387 Terre de Sienne Eric Legaud UE38 069 K 2019 composer), is to be played with €13,30 Mirage, 4 (Hommage) Études, Tacto strong rhythmic precision as notes of clusters are released leaving a The title is “Confined Melodies EPTA Austria hosted the 2019 melodic thread through the hands. for Piano”, suggesting that they are International Conference last October The second is Hommage to György short cameos which indeed they and delegates were fortunate to hear Ligeti with rapid series of notes being are. Eric Legaud trained at the Paris performances in the “Ludwig van overheld in one massive crescendo. The Conservatoire winning a First Prize, Beethoven Department - a Piano third is Hommage to Steve Reich with a and has become a well-established Pedagogical Lab” of the University of constant repetitive motif in the left teacher and composer of music for Music and Performing Arts, Vienna, hand to be played mechanically and piano and guitar. These recent four run by its head of department, pianissimo underneath a somewhat pieces are surrounded by quotes from Johannes Marian. This same “Lab” melodic and widespread right-hand Baudelaire, Camus and Jean-Charles runs a Composition Competition line. Number four is Hommage à Harvey. To quote the composer, “they for contemporary music suitable for Gundega Šmite, a well-known Latvian have a superior form of expressing young pianists. There have been four composer. This piece is trance-like his own ideas”. “Requiem pour la fin d’un competitions so far and this volume and uses both pedals throughout monde” is the calm, slower movement contains three of the prize-winning with tied notes ringing out. Ignacio which ends with a quote from Camus: pieces of the extremely popular 2019 Brasa Gutiérrez, from Spain, won an “là où il n’y a pas d’espoir, nous devons competition which had over 150 honorary mention in the competition l’inventer” which seems extremely entries. with Tacto - Six Etudes for Young topical of today’s circumstances. The Musicians which explore pianistic music seems to wander aimlessly, The winning piece was Mirage by touch and its many facets. Walking passing through various keys. Confiserie Ayaz Gambarli from Azerbaijan. This on Dry Leaves focuses on white chord Valentine is a short dance and Valse is a dark piece full of sinister silences clusters to be played with the palm Capricieuse is longer with a contrasting which heighten the tension, strong of the hand and crisp acciaccaturas. minor section in the middle. Terre de dynamic contrasts and constant On the Ice is full of slippery glissandi, Sienne is a lively piece with several change of time signature, all enhancing Passacaglia below stalactites creates a rapid sections that build to a grand the overall mood of the piece cold atmosphere with wide sustained climax before a sudden very quiet inspired by wonderful mirages in the chords and use of both pedals, Barefoot final bar. Legaud has a distinct style of sunlight while the composer walked on Stony Bed is played solely with the mild dissonance within the melodic along the Absheron Peninsula of his second finger of both hands and there expressive frameworks and always childhood. Extended techniques are is a diagram of symbols explaining demands colourful dynamics within used for pianistic effect, with muting the various contortions of the distal the captured atmosphere of each piece. of strings by the pins and hammers interphalangeal joint and knuckle Highly original, they deserve to be or even plucked for pizzicato sound. to use, creating an entertaining and studied and performed as they will add The overall slow tempo of this piece novel approach to piano performing. novelty to recital programmes. This enables young pianists to project Under Shooting Stars is a fleeting, music would also be most appealing all the various tonal sounds with restless two-part piece while On the as sight-reading material for advanced maximum ease and confidence. Seashore is calmly waving in a two-part, students. cross-rhythmic piece that fades into Greek-born Dimitris Maronidis oblivion. 32 won third prize with 4 (Hommage) Études: The first, Hommage to Helmut This is a wonderful volume of new music for young pianists that is full of exciting experiments and novelties for the piano. A huge debt of gratitude must go to Johannes Marian for creating this competition for young pianists by young composers.

UE 21815 Mike Cornick 6 easy pieces COLLECTIONS practice passages in small blocks. for 3 right hands at 1 piano Each piece ends with choreographic Following the success of Mike by Nadia Lasserson tips to look artistic when performing. Cornick’s previous volumes for multi- The two authors are both Professors piano ensembles, he has decided to CLASSICS FOR THE DEVELOPING at Westminster Choir College of focus on elementary students and offer PIANIST Rider University, Princeton, where them the pleasures and delights of Study Guide Books 4 & 5 Advanced they have taught and run courses for playing together with these six pieces Compiled by Ingrid Jacobson several decades. It is their expertise for three pupils using single hands. He Clarfield and Phyllis Lehrer $10.99 and experience that make this series so gives them the tasks of listening and & $12.99 valuable as they work pianists through blending with little to challenge them the 100 standard repertoire works technically and leaving each player The five volumes of the Classics, that they deem crucial to every young free to simply enjoy performing. As has selected as the authors’ “100 Best” pianist’s development. The complete often been said by the author, children in graded order of difficulty, were series has now reached its perfect playing together are less nervous and published in 2013 and have been cadence. are able to give of their best when reviewed in previous issues of Piano relaxed and playing with friends. Journal as have the first three volumes Available from sheetmusicplus.com of the Study Guides. (PJ114, 2018). The six pieces are a mix of The Study Guides show students and EXAMINATIONS traditional melodies - Three Blind Mice, aid teachers in how to prepare the Twinkle Twinkle, Little Star, London Bridge works published in the Classics for the by Nadia Lasserson is Falling Down and Short’nin’ Bread, Developing Pianist. a Brahms Lullaby, and an original HAL LEONARD Threepenny Blues by the composer Book 5 is the most advanced and Rockschool (RSL) Piano Exams himself. This is possibly Cornick’s it has taken some years to finalise Grades Debut to 8 for Classical first foray into very easy ensemble this excellent series. Once again, the Piano £16.99-£18.99 writing and will be eagerly lapped up authors offer historic, performance and by teachers and young pianists. Once technical notes with creative practice In Piano Journal no. 122, I reviewed again, Mike Cornick gives the top techniques for each piece and to quote: the Rockschool Examination syllabus player the melodic line and the other “the Study Guide enables pianists and for Contemporary Piano, and now two players accompany and harmonise teachers to explore the background they have devised a new syllabus for with quirky interjections. The bottom and unique stylistic qualities of each Classical Piano. With centres all over player often has rhythmic riffs to piece in the series. Also included Europe, it does feel appropriate to maintain the jazzy flavour. are suggestions for practice and review this eclectic syllabus. Every performance.” Grade includes a fine mix of genres The six pieces are complete in and musical styles. themselves but an optional extra Each piece is preluded with some second piano part has been included scale practice in the relevant key as a As one would expect, every for teachers or more advanced warm-up, to be played in the colours level mixes Classical favourites, students to play alongside the young and articulation of the piece which transcriptions of well-known trio and enrich the overall musical includes legato one hand while the favourites with contemporary jazz, performance. other is staccato. Students are also rock and pop. Right from the start, coaxed to work out the structure the Debut grade includes Waltz from HOME of each piece and box certain extra Amélie, Bartók, Einaudi and an effective simplified section from Clair de lune; Grade 1 blends Schumann, Bach and Holst with Jasmine Flower Song and All is Found from Frozen 2. Grade 2 includes Pink Panther by Mancini, The Cheshire Cat by British jazz pianist Nikki Iles alongside Mozart and Beethoven. Grade 3 includes Haydn, Bartók, Clementi and an arrangement of The Elephant by Saint-Saëns as well as contemporary works by Teresa Richert, Christine Donkin and Bluebird by Alexis French. The indefatigable Lola Perrin is included in Grade 4 with The Arrival and Moonlight Rose by Naoko Ikeda, Monochrome No. 2 by Bowen Liu are offered as choices to Bach, Beethoven, Haydn and Burgmüller. Gymnopédie by Satie appears in Grade 5 with Tan Dun, 33

Reviews continued... Valerie Capers, William Gillock, with Scales and Arpeggios. Right from the when introducing their younger Bach, Scarlatti, Schumann and Kuhlau. start, candidates are required to know intermediate students to Classical Grades 6–8 become more advanced the natural minor and pentatonic piano, and on this CD Pipa has chosen and all include more substantial scales and by Grade 8, C “half-whole works that are all wonderfully familiar repertoire with further amazing diminished” and “whole tone” scales to all of us and in doing so transports choices of repertoire to be made. Grade are demanded. Every volume includes the listener to an entirely new world 6 has a Jazz Exercise by Oscar Peterson, sight-reading tests at the relevant of beautiful sound, timbre, texture, He’s a Pirate from Pirates of the Caribbean level and a selection of ear tests, tonal colour and dimension. The two by Zimmer, Badelt and Zanelli as well contemporary extemporisation and CDs include the complete Sonatinas as Bach Invention no. 13 in A minor, general musical knowledge questions. by Clementi, Beethoven, Dussek and Mozart’s K545 Sonata in C, Chopin Reinecke. Mazurka in A flat opus 24 no. 3, The This wealth of musical mix is Little Shepherd by Debussy and Tango by uniquely original and intriguing, Musio Clementi (1752–1832) was Albéniz. The music in Grade 7 becomes making each volume ideal for students hailed as the “Father of all such as interesting for concert inclusion with to enjoy at every level of pianism, handle the pianoforte”. He actually lesser-known They Will Not Lend Me A whether they decide to take an demonstrated the difference between Child by Samuel Coleridge-Taylor and examination or not. Working through the piano and the harpsichord Valse lente by Germaine Tailleferre, each book will give endless pleasure exposing the colour potential of the only lady composer of Le Groupe while giving pianists, young and old, a its registers. The six Sonatinas of de Six, founded by Jean Cocteau. very broad musical education to last a Clementi are probably the best- Scandinavian works by Grondhal and lifetime. known works of these two CDs André, Schubert’s Moment Musical and Pipa manages to transcend to in F minor, Chopin Mazurka in F CD REVIEWS musical heights rarely heard in this major and Nocturne in E flat op. 9 familiar music. The persuasiveness of no. 2, and Scarlatti Sonata in B minor by Nadia Lasserson & Nancy Lee Harper his interpretation lies mostly in his can be selected with John Williams’ spacing and placing of notes which Theme from Schindler’s List and Michael SONATINAS - GREAT WORKS IN brings a maturity of concept into Nyman’s Deep Sleep Playing. The Final DIMINISHED SIZE: action. All the Sonatinas are in major Grade 8 volume has an almost entire The Captivating world of the Piano keys with three movements except for focus on Classical repertoire, with Sonatina: Clementi, Beethoven, the sixth in D major which has two Sonata movements by Mozart and Dussek, Reinicke movements. Beethoven, Bach Prelude and Fugue Luís Pipa in C minor (bk 1), Debussy Arabesque Pipa also includes the two short, no. 1, Impromptu by Clara Schumann Luís Pipa, President of EPTA Portugal, ever-popular Beethoven Sonatinas in and all three Mouvements perpétuels by continues to perform repertoire that this collection and sheds new light and Poulenc, another member of Les Six. is off the beaten track and studied by poise here. Both Sonatinas have two Samuel Coleridge-Taylor features once developing young pianists. contrasting movements each, with the again with Cameo and Miles Davis is first in G major setting young students represented with Blue in Green. This double set of CDs is a jewel that on the road to cantabile playing from must be heard. The Piano Sonatinas are the early beginnings and the second in This wonderful set of nine books the bread and butter of many teachers F major incorporating scalic passages offers a wealth of repertoire to suit in youthful musical drama. every pianist when making choices of programme. Only one piece is Jan Vaclav Dussek (1760–1812) was compulsory from these lists with two born in Czechoslovakia and, apart from free choice pieces permitted. Every his wealthy output of works for piano, volume includes Introductory Notes must be remembered for being the first to the new Examination syllabus, pianist to perform sideways (this is detailed, helpful performance tips to often incorrectly attributed to Liszt) as each piece as well as brief, relevant well as writing pedal indications in his biographical notes about every music. Having a good friendship with composer. Every Grade includes three Broadwood, he was fortunate enough technical studies of which candidates to play on a fine piano of the day must select one to go with the set and it was a Broadwood instrument with Dussek’s improvements that 34 was sent to Beethoven. A quote from my music dictionary: “Dussek is a composer whose works are not merited for their musical quality for, in fact, they have none”….“one might miss the endless rondos, and childish essays in programme music without disadvantage to one’s

musical education” ... Listening to have produced 10 albums together and and unity while offering a wide this CD shows us the contrary; Luís have commissioned and premiered range of colouring throughout, some Pipa manages to squeeze every atom many new works. dynamic contrasts being sudden and of musical expressiveness into these others sustaining a lengthy crescendo six two-movement sonatinas thereby The CD begins with an impressive or diminuendo. They always convey transforming them into splendid Magnificat by Slavko Osterc (1895–1941) every musical message with great performances. for choir and four hands at one piano character and contrasting moods. with fine singing from the Kärtner Superb ensemble playing is displayed Carl Reinecke (1824–1910) was born Madrigalchor. This is in Neo-classical throughout this most fascinating in Germany at a time when his town and Neo-baroque style with prominent collection of Slovenian music over the was under Danish rule and studied use made of the fine pianists in centuries. with Schumann who became a good question although there are some friend. He must be remembered for exposed unison passages contrasting NL his effective cadenzas to well-known well with the richer sections. The work concertos as well as belonging to a culminates in a rousing movement ÓSCAR DA SILVA (1870–1958) school in which grace and neatness with the pianists playing bell-like Piano Music, Volume One were characteristic in producing a sections. Dolorosas (Musique intime), op. 11 beautiful soft, legato and cantabile touch. Images, op. 6 The six Sonatinas vary in length, with The Adagio by Anton Lajovic (1878– Românticas two of them having four movements of 1960) started as an orchestral piece, Embalos which special mention should be made was arranged for piano duet within Toccata Classics (2020) 0576 of new dance forms at the time: Alla one year and immediately published. Luís Pipa Polacca and the very fast Burla. The orchestral version, however, took twenty years to be printed. This The first-time listener to the music A huge debt of gratitude must is a one-movement work in ternary of the Portuguese pianist-composer, go to Luís Pipa for transforming form with great cantabile lines and Óscar da Silva, undoubtedly will be repertoire normally associated with colourful contrasts. The First Suite by astonished and wonder why music of the progression of young pianists into Marjan Kozina (1907–1966) has four this calibre is not more well known. refined and mature performances movements all in ternary form with a The music is gorgeously romantic and overflowing with subtle rubato, lively Scherzo and March to conclude. gorgeously performed on this CD by expression and colourful timbres. the Portuguese pianist Luís Pipa, who Every pianist who hears these two CDs Igor Dekleva is also a fine composer is the current head of EPTA Portugal. will be filled with the desire to revisit and dedicated Canticum Slovenicum and this wonderful world of musical gems. Štehvanje za klavir štiriročno to his wife for Primarily a miniaturist for the piano, them to play together. Both pieces are da Silva paints in delicate, although NL based on the folk music of his native sometimes bold, expressiveness. He land with the first including many wears his heart on his sleeve and is ARS SLOVENICA folk tunes all merged into one lengthy not afraid to show his pain, his sorrow, Canticum Slovenicum movement. The second is based on an his joy, his exuberance. Largely, he Dekleva Piano Duo ancient Roman custom of a bareback is known for being a self-declared rider on a galloping horse and ends “saudosist”, or supporter of an aesthetic It is always exciting to receive a CD with a Carinthian dance and folksong. movement to express the inborn from Igor Dekleva, former President Larisa Vrhunc (1967) studied at the qualities of the Portuguese soul known of EPTA Slovenia, who never ceases to Geneva Conservatoire and Tri za dva as “saudade”, loosely translated as bring new Slovenian music to the fore. klavirja consists of three delightful, “sorrowfully longing or nostalgic” yet Igor and his wife, Alenka, have been witty and contrasting miniatures. more complex. performing since their student days in 1967 and are well-known in Slovenian Primož Ramovš (1921–1990) was Born in Oporto, da Silva studied musical circles as well as overseas. They an important figure in Slovenian privately with Clara Schumann in modernism and his Concerto for two HOME pianos and orchestra was dedicated 35 to the Dekleva Duo who premiered it in 1984. The three movements are full of contrasting orchestral colours with original minimal sound effects interspersed with pianistic prowess and linked with extensive cadenzas for both pianists. The short, pithy, second movement is full of humour while the finale is almost one massive crescendo to a quiet climax before the explosive concluding bars. The Alenka Dekleva Duo certainly sound as one with perfect concordance

Reviews continued... Frankfurt and Carl Reinecke and Adolf was a “portrait of himself”. “episodic successions of chromatic Ruthardt at the Leipzig Conservatory This new release is accompanied parallel major thirds”. It possesses after his studies in Portugal with elements not unlike one of da Silva’s Miguel Ângelo Pereira and Timóteo by a booklet of ample notes. The last works, Fantasía para piano. The da Silveira. After his pianistic debut biographical material is offered by third piece is arc-shaped, somewhat in Paris in 1894, da Silva returned to Miguel Campinho, whose definitive Brazilian in flavour, and exquisitely his homeland. His impressive career doctoral dissertation, Óscar da Silva beautiful. as a pianist took him to the USA, (1870–1958): Life and Solo Piano Works, Brazil, Argentina, Uruguay, Egypt, The Hartt School, University of The set of eight Dolorosas (Musique Italy, Mozambique, Rhodesia, the Hartford, 2015) dispels many myths intime), op. 11 was published in 1911, French and Belgian Congo, Spain, about da Silva and sets the record after the death of the composer’s Madeira, Azores, and Canary Islands. straight. The programme notes, parents. They reflect his pain at their Suffering from a personal conflict after “Óscar da Silva, The Sorrowful Poet loss. Pipa’s serious style is well suited the end of the monarchy (because of of the Piano”, are provided by the to this music, although the phrase his debt of gratitude towards Queen performer and offer insights into line could have benefited from a more Amélia, the Queen Mother who had his interpretative thoughts, such as forward motion at times as well as subsidised his studies in Germany) and a compelling comparison between more contrast in repeated phrases the installation of the new republican Vianna da Motta’s opening of his or sections. His playing reflects the government, da Silva declined to work work Meditation with that of da Silva’s nature of these laments, sometimes for a republican institution such as Dolorosa no. 7. becoming reflective and meditative. the newly-created music conservatory The first piece serves as a kind of in Oporto. Possibly Vianna da Motta’s The CD opens with Images, op. 6, introduction to the set. The second return from Europe because of WWI published in 1895. This set of seven and third Dolorosas are possibly the also complicated his life, for there short character pieces, titled in French, most frequently played. The third were only so many possibilities is delicious: Indécision, Naïveté, Constance, is sarabande-like, based on the La available in Portugal. Da Silva would Découragement, Espérance, Passion, folia theme. Here, Pipa shines in come to live in Brazil for thirty years: Coquetterie. Although not technically his interpretation, giving the final in Rio de Janeiro (1920s and 30s) and demanding, each work is well crafted appearance of the theme profundity. in São Paolo (1940s). He composed and well delivered. Pipa’s phrasing The slow movement of Chopin’s constantly during the Brazilian years, always conveys his clear intention. third sonata and his “Berceuse” are completing over thirty collections Subtly of expression adds to the clearly reflected, both in melodic and for solo piano, the majority of which depth of the interpretation. While rhythmic treatment (even somewhat were published in his lifetime, unlike differences in interpretation may occur harmonically as well as in the musical his orchestral works. After a serious from performer to performer – for form), in the fourth piece. It is the health issue at the beginning of example, Naïveté might benefit from a longest of the pieces and forms the the 1930s, his musical style took a more ingenue or child-like approach central focus of the set. Here, Pipa dramatic departure from the earlier or Passion might be played a bit shapes the work to a satisfying climax romanticism, becoming more wilder – nevertheless, the entire set is in the virtuosic development before contemporary, angular, chromatic convincingly portrayed and leaves the the return to the main theme. The and harsher but with an intent of listener wanting more. fifth piece presents the different “harmonic renewal”, according to sides of grief – sorrow, anger or rage, fellow pianist-composer, Fernando The two lullabies, Embalos (publ. acceptance, reflection upon the past. Lopes-Graça (1906–1994), the “Bartók 1948) are a first recording. Both are Pipa’s expression is thoughtfully of Portuguese music”. In 1937, the marked tempo di ‘Berceuse’ and are constructed with all the elements in President of the Portuguese Republic, dedicated to Portuguese mothers. Pipa their proper places, at times pensive, General Óscar Carmona, awarded shapes and colours the melodic line wailing, defiant, calm as in the him the grade of Commander of the with clarity, giving the complex, at beginning with a final strong outcry. military order of Saint James of the times Debussyian, harmonies a chance The sixth piece meanders until the Sword (other recipients have included to speak through. The music is clearly cry of pain is too much to bear, at José Vianna da Motta, José Saramargo, composed in a romantic vein, and Pipa which point da Silva brings passion Maria João Pires). At age 81, da Silva conveys the warmth of the thought and chromaticism to the fore before returned to live in Portugal in 1951 beautifully. The piano’s soft pedal the final resolution. The seventh is with a pension from the Portuguese could have used an adjustment to make a broad gesture, almost Wagnerian government, resulting in several of his the employment of it less evident. at times, of intimate thought and works’ being subsequently published. feeling, which the performer captures He died just before his 88th birthday in As with the preceding work, well. The eighth piece is a painful Leça da Palmeira, being described at Românticas (publ. 1948) are heard on finality of thought with funeral march his funeral procession as “a complete disk for the first time. Comprised presentiments through descending musician” and the “last romantic in of three pieces – Romance, Nocturnal, chromaticism. Pipa admirably music”, while admitting that his music Canção triste (Sad song) – this set is very maintains the long phrase line that the satisfying to hear. The performer likens composer requests – not an easy feat – 36 the first to a Schumann Lied, while he describes the second as possessing a “distended tonal spectrum” with

until the final major chord. composition was more conservative precedes Stimmungsbild (Mood Picture). Upon hearing this CD, one is struck than that of Xaver. Philipp received The third begins with Widmung respect from such contemporary (Dedication), not the Schumann Lied. with the profundity of the music of composers, for example, Max Reger It is subdued in character and sets Óscar da Silva and the sincerity with (1873–1916) and Moritz Moszkowski the stage for the charming Polnisch which Pipa approaches the music of (1854–1925). His music was performed (Polish), a mazurka-like beguiling his compatriot. Pipa’s affinity for this by such musicians of the time as dance. The Pastorale in 9/8 again is composer is revealed in his tempi Arthur Nikisch (1855–1922), Hans remarkably uncomplicated and less choices, his pedalling prowess, his Richter (1888–1976), Anton Seidl inspired than the preceding piece. The ability to shape phrases, and most (1850–1898), and others. Philipp is final piece, Scherzino, contrasts the style of all his ability to sing melodic best known for his orchestral and of the set’s penultimate piece in a light passages while beautifully colouring chamber music. Therefore, the piano Schubertian manner. While this set the accompaniment. Although other music brought to us by the Portuguese is inferior compositionally and may recordings of some of da Silva’s piano pianist and head of EPTA Portugal, be intended for young pianists, Pipa music have been made (including Luís Pipa, is a welcome addition to the brings maturity to these works, making my own on the Portuguese label, recorded literature. them sound better than they are. Numérica), we must thank Luís Pipa for this first volume of what promises Romantische Episoden, op. 65 (publ. The set, Für die Jugend, op. 71, “For the to be a glorious journey into the 1887) consists of five romantic Young” (publ. 1887), is more impressive life and work of this remarkable episodes, which are dedicated to than the Tonbilder. It consists of: no. 1, Portuguese composer, a composer the Liszt pupil, Emil von Sauer. The Andantino elegiaco; no. 2, in 2/4; no. 3, who contributed one of the largest first episode, Feurig bewegt (with fiery Moderato; no. 4, Lento espressivo; no. 5, bodies of piano music of his native animation), is bold and dramatic, Allegretto con spirito, no. 6, Moderato con country, for whom “formal beauty giving the pianist gratifying material espressione. Throughout, Pipa delivers was not a convention, but an intimate to show the broad contrasts between a beautiful, unhurried interpretation. and sincere expression”, and whose the sections in a Florestan-Eusebius His melodic outline always leaves “fundamental romanticism” extended manner although the presence ample room for left-hand colouring of the musical language of the 1800s well of Liszt is strongly noted. Pipa’s the accompaniment, while his overall into the 20th century. pianistic technique is clearly up to the romantic style of playing brings out challenge. The second, Langsam, night the best of these pieces. As a composer NLH schleppend (slowly, but not dragging) is himself, he makes the ordinary quite marked to be played with tenderness, extraordinary. PHILIPP SCHARWENKA which Pipa well expresses before the (1847–1917) fiery middle section. The simplicity of The clarity of the CD is notable, Piano Music, Volume One the third, Langsam, ausdrucksvoll (Slowly, both in terms of the engineering 6 Romantische Episoden, op. 65 passionately), brings with it a beautiful and the performance by the pianist. Tonbilder in kleinen Rahmen, op. 69 lyricism, which Pipa clearly conveys If this music is any indication of Für die Jugend, op. 71 while achieving long lines in his what is to come, then listeners will Toccata Classics (2019) 0521 phrasing. The fourth, Kräftig und feurig eagerly anticipate Volume Two. Luís Pipa (Strongly, with fire), is characterised Congratulations are given to Toccata by driving, incessant virtuosic patterns Classics and all those who made this The two brothers, Philipp and his of alternating hands. Here, Pipa recording possible. younger brother Xaver (1850–1924), maintains clear pedalling and brilliant were known as respectable composers execution, giving us some of his best 37 who together formed important music playing. The fifth and final piece, conservatories in Berlin and New York. Einfach, ruhig (Easy, calm) is beautifully This CD brings us first recordings melodic and songlike. Again, Pipa is of the elder brother, whose style of in his element. He is well-suited to these romantic character pieces, which HOME deserve to be heard more often in any setting. 6 Tonbilder in Kleinen Rahmen, op. 69 (6 musical pictures in small frames) was published in the same year as the preceding work, in 1887. However, the calibre of the set is not as advanced or captivating as the romantic episodes. The writing is attractive and simplistic, as though the right-hand melody could be doubled by a violin. No. 1, Frühlingsboschaft (Spring Greeting)

EPTA News - Spring 2021 by Nadia Lasserson EPTA - EUROPEAN PIANO Everyone is in total shock at the sheer length of the pandemic causing TEACHERS ASSOCIATION lockdown throughout the world and yet staunch EPTA Associations The Parent Organisation soldier on regardless. Charity Registered Number 1094973 34 Carver Road, London SE24 9LT Many held their Annual General Meetings online and even voted and elected new Tel: +44 (0)20 7274 6821 personnel for their Committees. Primož Mavrič, EPTA President of Slovenia, stepped Email: [email protected] down after seven years of active leadership and Suzana Zorko, former Secretary Founder Carola Grindea of EPTA Slovenia, was nominated the new President. EPTA welcomes Suzana and Honorary European President wishes her every happiness in her new position as well as thanking Primož for all Dominique Merlet his hard work and dedication to EPTA during his years in office. Slovenia’s Annual Honorary Vice Presidents “Piano Days” was postponed for one year as it was to have celebrated 40 years of Malcolm Troup, Alberto Portugheis EPTA Slovenia and they desire to celebrate live. EPTA EUROPEAN PRESIDENT EPTA and EPTA UK are sad to announce the resignation of their Chair, Murray Alberto Urroz (President of EPTA Spain) McLachlan, after 14 stimulating and inspiring years of leadership. EPTA will always be grateful to him for his huge commitment and he will be sorely missed. Anthony VICE PRESIDENTS Williams will be the new Chair of EPTA who will also edit Piano Journal and Mark All Presidents of EPTA National Associations Tanner is the new Chair of EPTA UK. EPTA EXECUTIVE COMMITTEE Excellent news from France. EPTA France is, at last, legally established after Chair: Anthony Williams numerous troubles and false attempts. The President is the indefatigable Véronique Secretary: Nadia Lasserson Bonnecaze who has spent the best part of four years battling to give EPTA France a Treasurer: Derek Watson secure footing. The Vice-President is Vittorio Forte, Treasurer Philippe Yared and Members of Executive Committee: Secretary Jesse Berberian. EPTA wishes them every success and looks forward to Till Alexander Koerber, Heribert Koch, hearing and participating in their activities. Alberto Urroz, Alan Paul & Susan Bettaney Several EPTA Associations, including Switzerland, Finland and Sweden, held their Website: www.epta-europe.org Annual Conference online and found this to be highly successful with far more delegates than in normal, live circumstances. EPTA Netherlands held its Autumn EPTA – the Parent Organisation – is Conference online last November. All other activities have been cancelled. EPTA constantly expanding not only in Europe Finland organised its XLV Annual Conference online on 6th –7th February 2021 in but also throughout the world through its Espono with a Masterclass given by Prof, Matti Raekallio; a teaching demonstration Affiliations with the most important given by Sonja Fräki; and a workshop and Suzuki concert and chamber music by Piano Teachers Associations: Antti Vahtola for junior competitions. EPTA Sweden streamed a lecture on “Tips and MTNA – Music Teachers National instructions for digital teaching during the pandemic” in January and is planning Association its annual May meeting for 8th May 2021 and the spring concert on 19th May. Both Piano Teachers National Association will be streamed live. The annual September Conference will also be streamed of Japan, Founder: Yasuko Fukuda with pre-recorded video lectures which will be posted throughout the year. Martin Japan Piano Teachers Association, Sturfält will present the music of Wilhelm Stenhammar (born 1921); Mikael Kanarva President: Prof Akemi Murakami will talk about piano technique and work with young students; Rebecka Angervo Canadian Federation of Music (Sibelius Academy) will talk about “Group teaching and pedagogy for the youngest”; Teachers Associations, Co-ordinator: Staffan Storm will present female composers, and students will play some repertoire; Prof Ireneus Zuk Martin Bergren will talk about improvisation and jazz. EPTA Sweden will continue Latin American Piano Teachers to stream concerts online as well as live events when permitted, as these have Association (Argentine, Chile, proved to be extremely popular. As, indeed, have the EPTA UK fortnightly sessions Ecuador, Brazil) on Examination Syllabuses, healthy Piano Playing, Aids for Digital Teaching, Piano music of John Ireland and Elena Cobb, Alfred Cortot and Casio instruments. EPTA EPTA ASSOCIATES: Denmark held a few online teaching sessions and invited Nadia Lasserson to show EPTA CHINA ASSOCIATES her “Key To Success” webinar on teaching repertoire in all keys. EPTA Germany Patrick Leichner will hold its online Spring Conference on May 29th and the topic will be “Aspects of EPTA NEW YORK ASSOCIATES Musical Listening”. On the Conference day there will be different Zoom meetings, Prof Salvatore Moltisanti structured by the themes of the lectures. EPTA INDIA ASSOCIATES Founder-Director: Prabhudas Ivanson There were many cancelled events across the board, with Greece unable to EPTA ISRAEL ASSOCIATES stream anything due to the fact that very few students have devices and internet Dr. Yuval Admony connections are poor which also caused precious few classes to take place. EPTA Greece was unable to collect any membership dues as most teachers are out of work. 38 EPTA Malta has not been able to function this last year although it hopes to run

Contact information and news from the EPTA international community www.epta-europe.org an online Competition, as does EPTA Latvia after cancelling all planned activities. EPTA China Associates have EPTA Serbia had many problems during 2020 and cancelled all events. EPTA Georgia maintained regular activities online was not able to hold online events and hopes to run a series of masterclasses and even though China is out of lockdown. concerts for young pianists in Tbilisi later this spring. They have co-opted renowned In January and March they streamed pianist and teacher Valerian Shiukashvili as an Honorary President. He has online courses by Graham Fitch and collaborated with EPTA Georgia for many years. EPTA Estonia had to reschedule the Jyrki Tenni. 2020 Piano Second Harju County II Piano Day after cancelling other events. EPTA China Associates hope to Journals continue to flourish and keep teachers together through circulation. EPTA organise a tour in August to the UK Slovenia has issued the 8th Edition of Virkla, EPTA Sweden continues with its Journal to attend the Chetham’s International and EPTA UK produces Piano Professional three times a year. EPTA Estonia publishes a Piano Summer School in Manchester. bi-annual Journal. Fewer activities have been mentioned They are also preparing a second volume of contemporary Estonian piano music in this article which is totally for young pianists following the huge popularity of the first. understandable and yet one can only admire everyone for coping with Regular competitions have been rescheduled a few times already and Belgium dreadful circumstances in their own Wallonie/Bruxelles has now booked Grez-Doiceau for its 15th Rencontres ways. Despite the global pandemic, Internationales des Jeunes Pianistes to take place from 23rd–28th November 2021 EPTA has not been daunted in any (deadline for entries is October 4th). EPTA Italy plans to hold the XXXth Roma way and EPTA Spain intends to go Piano Competition in November 2021. EPTA Albania still hopes to run the 26th ahead with the 43rd EPTA International “Young Pianists’ Festival” in May 2021 now that vaccinations have begun and EPTA Conference – “Connecting Continents Croatia hopes to run its annual International Competition in April but this might be and Traditions” – to take place in the postponed until the autumn. Royal Conservatory of Music, Madrid, from 9th–12th September 2021. Deadline EPTA Norway hopes to hold the EPTA National Conference from 29th–31st October for proposals is April 30th. Final deadline 2021. for registration is 31st July 2021 (early booking up to 31st May). EPTA remains EPTA Italy managed to record 12 broadcasts – “Marcella Crudeli’s 80 years in full of hope with the prospect of a live music” – on Radio Live Social, and continues the Course of Piano Study from April Conference once again where the entire to September 2021 with final examinations culminating in a recital and orchestral EPTA Family can meet up to discuss, concert. listen and have a good time. EPTA Estonia launched a new website in 2020 which is proving very popular with pianists and teachers all over the country. It includes a comprehensive calendar with details of all concerts, competitions and masterclasses. From 16th November to 20th December 2020, EPTA Estonia ran the Youth Piano Festival “Invitation to Classics - Beethoven 250”, in collaboration with the Estonian Academy of Music and Theatre and the Goethe Institute. Over 400 students and top Estonian pianists performed and all were recorded. This proved very popular, emphasising the importance of Beethoven’s jubilee as well as spreading the popularity of classical piano playing among young people. EPTA Estonia is planning a National Piano Students’ video competition, “The Best Young Instrumentalist 2021”, in March and April which entails preparatory training courses and regional days, “The Last Touch”, with videos shown in many parts of Estonia: Tallinn, Tartu, Pärnu and Jõhvi. Estonia is one of the fortunate countries that allow 50% capacity audiences which enables EPTA Estonia to hold some live events. EPTA Croatia miraculously managed to run two concerts in December. These were held in one of the few large buildings still standing after the disastrous earthquakes in Zagreb. One was organised by the Director of “Advent Classic Fest” for students and the other was given by Ida Gamulin who performed Beethoven Sonatas for the end of the Beethoven Celebration year. These concerts were live as well as being streamed for those who could not obtain tickets and there was a wonderful atmosphere with people gaining great comfort and solace from music. HOME 39

EPTA Associations EPTA ALBANIA EPTA BELGIUM-Flanders/ EPTA CZECH REPUBLIC Brussels Honorary President Takuina Adami Founder and Honorary President President Klodi Zheji Honorary Presidents Louise Hesbain, Roland [email protected] Radoslav Kvapil Jordan Misja High School of Arts, Tirana De Munck [email protected] Tel: +355 42 23 743, Mobile: +355 6740 80111 President Levente Kende President Dr Milan Franek [email protected] [email protected] EPTA ARMENIA Secretary Marc Theuns Tel: +420 728 896 891 [email protected] Vice President Dr Jitka Fowler Fraňková Honorary Presidents Prof. Sergey Sarajyan, Mechelsesteenweg 109/6, 2018 Antwerp [email protected] Prof. Armine Grigoryan Tel: +32 3 281 05 95 Tel: +420 775 974 327 President Anna Hambaryan Schnirchova 25, 17000 Praha [email protected] Marleen Geerts-Meeusen www.epta-cz.com Vice President Astghik Bakhshiyan [email protected] [email protected] Secretary Zaruhi Mkrtchyan EPTA BELGIUM-Wallonie/ EPTA DENMARK [email protected] Bruxelles Administrator Laura Barseghyan President Dr Balder Neergaard [email protected] President Diane Andersen Vice president Vagn Sørensen Tserents Armenia. Str. 7a, Apt. 8, [email protected] Secretary (Acting) Balder Neergaard Yerevan – 0032 Lotsesteenweg 186, B -1653 Dworp Treasurer Lise Andersen Tel: +32 2 380 08 27 or +32 1 045 24 03 Committee Members: Mimi Huang, EPTA AUSTRIA Secretary Marie-Dominique Gilles [email protected] Inke Kesseler, Elisabeth Holmegaard Nielsen, Honorary Presidents Prof. Walter www.epta-belgium.be for all information in Groppenberger, Prof. Anton Voigt French, English and Flemish. Søren Pedersen President Prof. Till Alexander Koerber Honorary members: Anna Øland, [email protected] EPTA BULGARIA Tel: +43 664 7 36 09 503 Tove Lønskov, Bella Horn, Arne Christensen, Vice President Dagmar Schinnerl Planning to reorganise. Secretary Heidemarie Schneider–Klimpfinger Elsebeth Brodersen and Eugen Indjic Treasurer Regina Seeber, Project Manager. Søborg Hovedgade 150 1th Claudia Berzé DK-2860 Søborg, Denmark [email protected] Phone: (+45) 41 188 288 Tel: +43 664 777 36 09 503 Email: [email protected] c/o Anton Bruckner University Hagenstrasse 57, A-4040 Linz EPTA CROATIA EPTA ESTONIA www.epta-austria.at / www.bruckneruni.at Honorary President Vladimir Krpan President Lembit Orgse, [email protected] President Ida Gamulin Vice Presidents Lauri Vainma, alauri. [email protected] [email protected], Martti Raide (Chief Vice President Ivanka Kordić Executive), [email protected] and Mati Secretary Helena Herman Mikalai, [email protected] Trg republike Hrvatske 12, 10000 Zagreb Information manager: Riine Pajusaar, www.epta-croatia.hr, www.idagamulin.com [email protected] Committee Members: Ia Remmel (editor of EPTA CYPRUS the annual magazine “Klaver”), Ruth Ernstson, Tiina Muddi, c/o Estonian Academy of Music Planning to re-organise. and Theatre Tatari 13, Tallinn 10116, Estonia Tel: +372 667 5700 www.epta.ee 40

EPTA FINLAND EPTA GERMANY EPTA ICELAND President Katariina Nummi-Kuisma Presidium: Dr. Jairo Geronymo (Berlin), Honorary President Halldor Haraldsson [email protected] Prof Linde Grossman (Berlin), Heribert Koch President Ólöf Jónsdóttir Kelohongantie 8B, 02120 Espoo Helsinki (Langerwehe), Jens Hamer (Altenberge), [email protected] Tel: +358 405 615 877 Marilia Patricio (Köln) Treasurer Brynja Gísladóttir Vice President Eeva Sarmanto-Neuvonen Secretary Sigrid Naumann [email protected] [email protected] [email protected] Secretary Einar Bjartur Egilsson Meripuistotie 3A 17, 00200 Helsinki Koenigswarter Str. 4, D-36039 Fulda [email protected] Tel: +358 505 266 440 Treasurer Dr. Rainer Lorenz [email protected] Secretary Peter Lönnqvist [email protected] www.epta.is [email protected] Nittenauer Str. 31, 93057 Regensburg Orvokkitie 25, 00900 Helsinki Finland Tel: +49 (0)3212 123 1940 Tel: +358 505 658 503 www.epta-deutschland.de Committee Members: Katariina www.epta-germany.org Liimatainen katariina.liimatainen@ kuopionkonservatorio.fi EPTA GREECE EPTA IRELAND and Niklas Pokki, [email protected] Rebekka Angervo (webmaster), President Natalia Michailidou Patrons: Frank Heneghan, Philip Martin, John [email protected] [email protected] Tuomas Mali (editor of “Pianisti” which is Vice Presidents: Dora Bakopoulos and Kalliopi O’Conor, Hugh Tinney distributed to all members), President Owen Lorigan [email protected] Germanou CommitteeVictoria Whittam and Nicolas Puyane www.eptafinland.fi Secretary Sofia Dousia Administrator Eithne Gallagher Treasurer Kostas Tourkakis 16 Rowanbyrn, Blackrock, Co. Dublin EPTA FRANCE Public Relations Stefanos Theodoridis Tel +353 1 289 3701 Member of executive committee Sara [email protected] President Véronique Bonnecaze www.epta.ie, www.facebook.com/ Vice-President Vittorio Forte Galanopoulou EPTAIreland Treasurer Philippe Yared Secretary Jesse Berberian EPTA HUNGARY EPTA ITALY 68 boulevard de Courcelles - 75008 PARIS www.epta-france.org President Mariann Ábraham President Marcella Crudeli Email: [email protected] [email protected] [email protected] Tél. +33 (0)1 46 22 31 85 [email protected] Secretary Silvia Rinaldi Ou +33 (0)7 88 55 15 94 Hollosy, S.u.15, 1126 Budapest Via Pierfranco Bonetti 90, 00128 Rome Tel/Fax: +361 356 05 62 Tel +39 06 507 3889 www.parlando.hu Committee: Lear Maestosi, Carla Giudici www.chopinroma.it/eng www.eptaitaly.it [email protected] EPTA GEORGIA 41 Honorary Presidents Alexandre Toradze, Valerian Shiukashvili President Nino Khutsishvili [email protected] Dolidzestr 28, ap. 87, 0115 Tbilisi, Georgia Vice Presidents: Sidonia Arjevnishvili, Ketevan Badridze, Maka Baqradze and Levan Inashvili HOME

EPTA Associations continued... EPTA LATVIA EPTA NETHERLANDS EPTA ROMANIA President Juris Kalnciems President Bart van de Roer There are plans to re-organise EPTA [email protected] [email protected] Romania. Secretary Diana Zandberga Vice President Liesbeth Eggen [email protected] Secretary Elize van den Berg, secretaris@ EPTA RUSSIA Rīgasiela 4-3, Baloži LV-2112 Latvia eptanederland.nl Tel: +37 126 204 457 Tel +31 645 085 533 President Irina Osipova Foreign Affairs Co-ordinator Toms Ostrovskis Treasurer Mariska de Waard, [email protected] [email protected] [email protected] Leninskiy Prospect (avenue) 64/2 Apt 150, http://www.music.lv/epta/events2017.htm Committee: Olga de Kort-Koulikova, Marc Moscow 119296 www.music.lv/epta/welcome.htm Tel: +7 499 1371526 / Mob: +7 903 6155155 Pauwels, ArielleVernède & Lestari Scholtes www.iospiano.ru www.eptanederland.nl EPTA Russia Structure: EPTA LITHUANIA EPTA NORWAY Chelyabinsk (Ural) – Chairman Andrey Nechaev Kaliningrad – Chairman Vladimir Slobodyan President Kestutis Grybauskas Honorary President Einar Steen-Nøkleberg Petrozavodsk – Chairman Victor Portnoy [email protected] President Otto Graf Rostov-on-Don – Chairman Vladimir Daych Latvia 7-2, 08123 Vilnius LT Vice President Radmila Stojkovic, Samara – Chairman Sergey Zagadkin Tel: + 370 521 38 771, + 370 614 15535 [email protected] Sochi – Chairman Tatyana Agafonova Secretary Aurelija Seliavienė Treasurer Otto Graf, Tambov – Chairman Irina Tsareva [email protected] [email protected] Tver – Chairman Galina Solodova Tel: + 370 620 91291 www.epta.no Ufa – Chairman Rustam Gubaydullin EPTA MACEDONIA EPTA POLAND EPTA SERBIA President Todor Svetiev President Karol Radziwonowicz Honorary Presidents: Arbo Valdma and Dušan [email protected] Vice President Juliana Zabeva EPTA PORTUGAL Trbojević [email protected] President Dejan Sinadinović Secretary Dragoljub Apostolov Honorary members: Artur Pizarro, Fernando [email protected] c/o Academy of Music, PituGuli 1, 91000 Laires and Helena Sá e Costa (both deceased) Vice President Miloš Pavlović Skopje President Luís Pipa, [email protected] [email protected] Tel: +389 91 231614 Caminho do Agro, 47, 4900-012 AFIFE, EPTA Serbia Faculty of Music and Arts, Portugal Kralja Milana 50, Belgrade 11000 EPTA MALTA Tel: +351 258331860 Tel: +381 11 362 1170 Mobile: +351 934210439 Honorary President Fransina Abela http://epta-lusa.pt/ EPTA SERBIA–VOJVODINA President Evelina V. Batey https://www.facebook.com/eptaportugal [email protected] President Tatjana Vukmanović Tel: +356 9980 2226 EPTA Voyvodina, Isidor Bajić Music School, Secretary Shirley Psaila Njegoševa 9, 21000 Novi Sad [email protected] | Tel: +356 2142 1112 [email protected] www.epta-malta.com Facebook: Malta Piano Teachers Association EPTA Malta 42

EPTA SLOVAKIA EPTA SWEDEN EPTA CHINA ASSOCIATES President Ida Černecká President Eva Lundgren President Patrick Lechner Head of Keyboard and Dean of the Music [email protected] [email protected] Faculty at the Bratislava Academy. Ruddammsvägen 33, 11421 Stockholm Executive Secretary Dongyang Yu Vice Chairman Martin Tell Tel +86 28 6511 8239 EPTA Slovakia continues to organise annual Secretary Per Olsson Mobile +86 15 2288 11881 events. Vice Secretary Irina Krjutjkova-Lind [email protected] Treasurer Johan Sandback www.epta-china.org Committee: Natalia Kazimirovskaia, Vesna Mattsson, Andreas Juhlin, Ola Råbius-Magnusson and Stefan Gustavsson www.sppf.net EPTA SLOVENIA EPTA INDIA ASSOCIATES Honorary president Dubravka Tomšič Founder/Director Prabhudas Ivanson Srebotnjak Honorary member Majda Jecelj [email protected] President Suzana Zorko DKPS EPTA, Ižanska 12, 1000 Ljubljana EPTA SWITZERLAND EPTA ISRAEL ASSOCIATES Vice President Dejan Jakšič [email protected] President Tomas Dratva Chairman Yuval Admony Committee members: Nuša Gregorič, [email protected] Committee Miriam Boskovich, Dr. Einat Miha Haas, Božena Hrup, Dejan Jakšič, Jurastrasse 45 , 4053 Basel Fabrikant, Prof. Eitan Globerson, Prof. Emanuel Davorin Dolinšek, Sanja Šehić, Julija Kunova, Tel +41 78 612 36 30 Krassovski,, Dr. Ron Regev, Dr.Michal Tal Jana Stojnšek, Sanja Šehić Vice-President Saori Miyazaki Secretary Natalie Yontov Address: Društvo klavirskih pedagogov Committee members Wolfgang Clausnitzer, Academy of Music and Dance, Jerusalem; Slovenije EPTA, Stari trg 34, 1000 Ljubljana Kathrin Schmidlin, Susanne Maria Schwarz Buchman – Mehta School of Music, Tel-Aviv www.epta.si, www.epta.si/eng Secretary Mrs. Margot Müller University Haus der Musik, Gönhardweg 32 CH-5000 [email protected] EPTA SPAIN Aarau / Switzerland www.epta-israel.org Mobile: 0041 76 539 76 45 Honorary President Ana Guijarro [email protected] ALAPP Argentina (Association of President Alberto Urroz epta.ch bluewin.ch [email protected] [email protected] Latin American Pianists and Pedagogues) C/Luis Vives, 8. 4º A. E-28002 Madrid www.epta.ch President Valentín Surif Tel: +34 915 630 807 [email protected] Mobile: +34 639 894 349 EPTA UKRAINE Arcos 2030, 15 “C” Buenos Aires (1428) Vice-President Marcela Linari Tel: (54-11) 4784-0583 Secretary Pablo López de la Osa Planning to reorganise. Secretary Estela Telerman, Treasurer Lilia [email protected] Noguera, Members: Alfredo Corral, Ana María Treasurer Paloma Molina EPTA UK Mondolo, Deputy Members: Martha Bongiorno, www.epta-spain.com Founder Carola Grindea Guillermo Carro HOME Patron Piers Lane Auditor Gloria Diograzia Val Chair Mark Tanner www.musicaclasicaargentina.com/surif, Administrator Carole Booth www.valentinsurifpianist.com [email protected] Tel: +44 18456 581054 MTNA Music Teachers National www.epta-uk.org Association 43

NCKP 2021 GARRICK ANNE-MARIE PETER THE PIANO CONFERENCE OHLSSON MCDERMOTT DUGAN VIRTUAL KAREN ZORN Celebrating the Transformative Power of Music AND Join us for an inspiring and innovative conference MORE! PRECONFERENCE MAIN CONFERENCE JULY 13–27, 2021 JULY 28–31, 2021 Transformative keynotes, brilliant performances, SHANI AFA inspiring PEDx sessions, and leading experts DILUKA DWORKIN exploring a wide range of topics and issues. Experience immersive GARY JOSEPH programming, increased MCPHERSON CONYERS access, and networking opportunities. We welcome you to engage and connect with colleagues from around the world. REGISTRATION NOW OPEN AT NCKP2021.COM 2022 National Conference MINNEAPOLIS March 26–30 Save The Date for the next MTNA National Conference in Minneapolis, Minnesota, March 26–30, 2022 For more information, visit www.mtna.org 44 HOME