· mantovani (26-29 april). an american music strand running through the 2018 programme sees...

2018

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ABOUT INTERNATIONAL PIANOInternational Piano is a unique and high quality magazine written for and loved by pianists and discerning fans of piano music the world over.

In each bi-monthly issue:» interviews with top pianists

and rising talent

» in-depth features on composers, festivals, competitions and repertoire

» exclusive masterclasses and tutorials with IP tutor Murray McLachlan

» reviews, news, updates, regular columns and free sheet music

» round-table debate with leading concert pianists and academic professors

» retrospective pieces to enhance your historical knowledge


WHY ADVERTISE WITH INTERNATIONAL PIANOEstablished over 20 years ago, International Piano is one of the world’s leading piano magazines, reaching high-standard grade 8+ pianists including performers, teachers, students and serious amateurs. Our readers are wealthy individuals and are committed to their interest in the piano, regularly travelling to attend concerts, summer schools and competitions. Our readers are avid record collectors, and our extensive reviews section in each issue reflects and supports this. As well as our subscribers, International Piano is distributed to members of several major organisations through our digital partnership scheme.

THE FACTS» Frequency: bi-monthly» Readership: 30,000» Regular advertisers: Yamaha, Bösendorfer, Chandos, Hyperion Records, Wiener Urtext Edition,

Henle Verlag, ABRSM, Van Cliburn Foundation, Queen Elisabeth Competition, Leeds International Piano Competition, Honens International Piano Competition, Trinity College of Music, Royal Academy of Music, Bienen University, Boston Conservatory, PianoStreet, Pianoteq, Piano Logistics, BBC Proms

» Geography: International Piano has a truly international audience. Our print readership is 50% UK, while our digital readership is over 80% non-UK

March/April 2018 International Piano 37

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EUROPEPRINTEMPS DES ARTS DE MONTE-CARLO16 March to 29 April

Its glamorous setting and starry line-up make the annual festival Printemps des Arts de Monte-Carlo a must-see event for pianophiles. This year’s programme features 23 days of recitals, chamber music and orchestral concerts spread over three weeks (16 March to 8 April), plus a ballet weekend of works by Stravinsky and Bruno Mantovani (26-29 April).

An American music strand running through the 2018 programme sees pianists Bertrand Chamayou and Tamara Stefanovich team up for Ives’ Three Quarter-Tone Pieces at the exquisite Salle Garnier (31 March). American music also forms the cornerstone for three duo recitals in the festival’s Young Talents series, featuring pianists Théo Fouchenneret (28 March), Matan Porat (4 April) and Didier Nguyen (5 April). A solo recital by French pianist Jean-Paul Gasparian – another Young Talent – culminates in Messiaen’s monumental Vingt Regards (21 March).www.printempsdesarts.mc

RARITIES OF PIANO MUSIC 18 to 25 AugustThis gem of a festival is dedicated to neglected and lesser-known piano repertoire, often presented alongside established works. Performances take place in the 17th-century Husum Castle, 35 kilometres to the west of Schleswig in northern Germany. Described on its website as ‘a renowned festival among connoisseurs’, the pianists who play

FULL COMPASSIP looks ahead to some key festivals around the world, from the serene natural beauty of the Swiss Alps to the sun-kissed beaches of America’s Florida coastline

Husum Castle at dawn

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D E B U S S Y C E N T E N A R Y

DEBUSSY WAS DISMISSIVE of the labels that contemporaries attached to his music: ‘Impressionism and Symbolism, useful

terms of abuse,’ he declared. Of his orchestral Images, certainly one of those works that might justify the Impressionist tag, he wrote ‘I am trying to do “something different” – realities, in a way – what imbeciles call “impressionism”.’ A century after Debussy’s death, does the debate over Impressionism still have any resonance? Are conductors, performers, pianists, students and music lovers enlightened by the term, or befogged by it? Without doubt the Impressionist label is difficult to dislodge – but then that might just be the nature of labels.

The term ‘Impressionism’ is a crude label to apply to the music of Debussy, whose compositions, while often inspired by visual motifs, defy definition as they strive to capture the essence of reality rather than merely a vague sense of mood. Paul Roberts describes how Debussy used his ears and eyes to provoke a complex, fresh and imaginative response to the world through the medium of sound

Dawn of Impressionism: Monet’s Impression, Sunrise (1872)

IN THE

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18 International Piano March/April 2018

C O V E R S T O R Y

IN TUNE WITH

Pierre-Laurent Aimard is an artist deeply connected with the contemporary world and its most pressing concerns. One of his latest projects, featuring Messiaen’s Catalogue d’oiseaux, saw him breaking out of the confines of the concert hall, championing the eco-system of the Suffolk coast. Claire Jackson had an early start to catch the pianist in Aldeburgh, communing with the dawn chorus

NATURE

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52 International Piano March/April 2018

F E S T I V A L F O C U S

YOU’LL FIND HUSUM TUCKED way up in the top left corner of the German coast, a two-and-a-half-

hour train journey north of Hamburg. It’s a small, picturesque town on the North Sea, of no great historical or architectural importance – an unlikely location for an

annual week-long series of piano recitals. Doubly so, for the piano recitals in Husum are unlike those one encounters any day of the week in concert halls the world over. Why? Age and status of artists are not considerations. All that matters is that you are a brilliantly talented pianist

who can present a musically convincing programme of works that are rarely played or completely neglected.

This may seem like a simple demand until you realise most pianists have little interest in music for their instrument that is outside the standard repertoire, remaining

If it’s an unvarying diet of Beethoven, Schubert and Brahms you crave, don’t go to the Husum piano festival. Jeremy Nicholas embarks on a voyage of musical discovery to Germany’s north coast, culminating in a week of rare treats shared with adventurous pianophiles

GrauSchumacher Piano Duo at Husum Castle

TALES OF THE UNEXPECTED

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C O V E R S T O R Y

PIERRE-LAURENT AIMARD SITS backstage in one of the Southbank Centre’s green rooms. It’s a plain space, with a machine that serves hot water (and nothing else), an

empty fridge and ancient-looking chairs. There is, however, a baby grand in the corner, which Aimard is eyeing up. He’s not scheduled to perform today, but unfortunately Paul Lewis has just called to cancel his International Piano Series (IPS) recital, and, as Aimard is here for this interview, there’s a chance he may need to cover for the indisposed Lewis. (Lewis’s IPS recital on 5 June is due to go ahead as planned.)

Both artists are superb soloists, yet you couldn’t find two more diametrically opposed approaches to pianism. Lewis is single-minded in focus, with a love for deep exploration of composer cycles and core repertoire. Aimard is a creative polymath, a fan of musical collages and

an advocate for 20th- and 21st-century music. Their skills and passions intersect, of course, but audiences would certainly not experience a like-for-like replacement.

Messiaen plays a key role in Aimard’s repertoire. The French pianist was in the unusual position of being able to work closely with the composer and his second wife, the pianist Yvonne Loriod. ‘Yvonne was my teacher for many years,’ explains Aimard. ‘Her expertise and lessons – as well as the chance to know Olivier Messiaen so well – was a huge privilege. I owe them a lot.’ I suggest that few artists are able to work in such proximity to the creative source of their music. ‘That’s true,’ Aimard agrees. ‘Yvonne had heard me play at a time I was due to start studying with a different teacher, one whom I disliked and didn’t respect much. But Yvonne kidnapped me! She chose me as a pupil; at that time she

and Messiaen were already gods in the music world so I was very happy about this. I’d already decided I wanted to dedicate my life to new music.’

It was a decision that he stuck to. Aimard has performed, recorded and promoted a host of contemporary composers, including Elliot Carter, George Benjamin and Pierre Boulez, to name a few. But there’s one work that’s always resonated with him: Messiaen’s Catalogue d’oiseaux. Aimard has recorded extracts of the two-and-a-half-hour work before, but is now releasing it in its entirety. The disc will also be his first album with Pentatone (Aimard has a diverse back catalogue with releases on Sony, Deutsche Gramophone and several independent labels). He studied

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surprisingly incurious about the breadth and wealth of the literature available to them. That is defensible to some extent, partly because of what they have been taught but mainly because they have to make a living. Offering a programme of Alkan, Medtner and nothing else will, sadly, not get you many dates. Concert promoters have to put bottoms on seats. Thus the same brand-name composers and their most popular works turn up time and time again, providing a safety blanket for both parties.

At the Husum ‘Rarities of Piano Music’ Festival, the German – or rather Teutonic – hegemony of classical music is verboten. If you offer a couple of Beethoven sonatas, a selection of late Brahms and a handful of Schubert Impromptus, you won’t get invited. The invitations come from the festival’s founder and artistic director, Peter Froundjian, a laid-back, genial German pianist and pedagogue of Armenian extraction who turns 70 this year. In August he will host his 32nd festival, its programmes built, as always, in close collaboration with each artist. Since 1987 when Rarities was launched, 153 pianists have appeared at the festival and played the works of 556 composers.

To the occasional accompaniment of ducks quacking on the lake below, the recitals are held in the 160-seat Rittersaal on the first floor of the Schloss vor Husum (literally ‘The Castle in front of Husum’), a gentle 10-minute stroll from the harbour. All seats are taken months in advance. Everything is organised with meticulous Germanic thoroughness and care. The piano is the best Model D the Steinway agency in Berlin can muster, and there are never any complaints from the artists.

Among those welcomed to the Schloss last year were Antonio Pompa-Baldi playing Czerny, Medtner, Martucci, Anton Rubinstein and much else in a thrilling, multi-layered recital; festival regular Marc-André Hamelin came with a largely gritty programme of Enescu and Feinberg, topped off with a sweet helping of Moszkowski; Nadejda Vlaeva was delightful in Rameau-Godowsky, Volkmann, Drozdow, Bortkiewicz and Vladigerov; the sensational Vincenzo Maltempo wowed his audience with four

20th-century sonatas by Blagoy, Glazunov, Stanschinsky and Kosenk. As you can see, Husum really doesn’t do standard fare.

What delicious irony that it should be a German who has created this platform for those fellow musicians who like to go off piste, discover hidden gems (like those listed above) and broaden the musical horizons of their audiences. ‘The reason why so much interesting music has been consigned to oblivion,’ Froundjian told me, ‘is because of the anti-virtuosic school that started in the 1920s with Artur Schnabel and his peers. Their philosophy was that “only the best works should be played”. But that’s not my philosophy. “The best, the most beautiful?” Who is the judge of beauty? In any contest with beauty as its criterion, you would choose one thing and I would choose another. Such is the case of art and music. In music you cannot say that “X is the greatest sonata of them all”. As for playing the same masterworks over and over again – you can’t hear them properly.’

Go to Husum for the whole week of evening recitals and you’ll see many of the same faces each night milling around in the foyer browsing the CDs on sale

(thanks to Danacord’s boss Jesper Buhl, whose label issues an annual disc of Husum highlights), ambling by the water feature in the grounds of the Schloss or gossiping their way up the broad staircase to the Rittersaal. They converge from all over Europe, Japan, Singapore and the USA. Come back next year and you’ll see many of the same faces. Husum is like an informal club for dedicated pianophiles whose knowledge, fierce concentration and great love for the instrument help to make them, in Marc-André Hamelin’s words, ‘Perhaps the best audience in the world’.

Indeed, the most remarkable thing about the festival is that it remains unique: despite its longevity and success, it has yet to be replicated anywhere else. e The 32nd Husum ‘Rarities of Piano Music Festival’ will take place from 18 to 25 August 2018, featuring a line-up of pianists that includes Simon Callaghan, Eldar Nebolsin, Antonio Pompa-Baldi, Etsuko Hirose, Mūza Rubackytė, Severin von Eckardstein and Ingrid Marsoner. Full programme details will be published on the festival website in mid-March. www.piano-festival-husum.com

Peter Froundjian: ‘So much interesting music has been consigned to oblivion’

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When most PeoPle decIde to Pursue a career in music, it’s because they know they are good at it. But for sean chen, it was the opposite: when the

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‘I’m a very analytical person and maths comes very naturally to me, but of course music is about interpretation as well as analysis,’ he says. ‘I knew I wasn’t so good at that, so I saw it as a challenge.

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chen was born in Florida and started playing the piano at the age of four when his family moved to the los angeles area. early competition successes included an nFaa artsweek award, a prize at the california International Young artist competition and the los angeles music center’s spotlight award. neither of his parents has a musical background but his grandfather taught traditional chinese instruments and his father played the guitar as a student. he and his twin brothers, now 21, all played the piano and the violin growing up, though the twins chose not to pursue music and

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SHEET MUSIC

international

John Burge, a Canadian composer who has been teaching at Queen’s University in Kingston, Ontario, since 1987, has to his credit a large body of music, including two piano concertos and a work for piano and orchestra entitled Prelude Variations. Based on Chopin’s Prélude No 20 in C minor, this latter work was commissioned by the celebrated Chopin specialist Janina Fialkowska and three Canadian orchestras in 2010 to mark the 200th anniversary of Chopin’s birth.

Burge’s Twenty-Four Preludes for solo piano (2011-2015) also take their cue from Chopin, not only in the arrangement of keys, but in making specific allusions to various works by Chopin. Debussy’s Préludes, with their expressive textural sonorities and colour, can equally be considered touchstones, especially in the way that Burge provides subtitles for 14 of his Preludes, such as ‘Bells in Winter’, ‘Playground Games’, ‘The Singing Clock’, ‘The Hummingbird’, and ‘Spring Thaw’ (Debussy added a descriptive title to all of his 24 Préludes).

The most unusual aspect of Burge’s set is that eight of the pieces use extended instrumental techniques. Players are required to reach inside the piano while playing at the keyboard, plucking random high notes, strumming the strings or pounding the lower strings like a bass drum. These techniques are simple to execute, requiring no advance preparation, but in most cases can only be successfully realised by removing the music-stand on a grand piano. Mathew Walton, the work’s dedicatee, uses an iPad’s music reader with the stand removed in performance.

As a guiding principle, Burge has tried to embrace each Prelude’s tonic key, creating music that sounds emphatically

tonal, even in the Preludes that involve non-traditional performance practices. According to Burge, who has performed the entire set himself, ‘It is amazing how you can feel an audience sit up and pay attention when performing a Prelude that generates an unexpected sound from the instrument.’

Technically these pieces range in difficulty from intermediate level to around half a dozen that require concert-stage dexterity and control. Given their shortness, many of the pieces have potential for teaching purposes and as repertoire for competitions. Most of the consecutively numbered Preludes sharing the same key signature have a natural connection and flow easily from one to another.

Murray McLach lan, in his recent glowing review of this collection in IP Jan/Feb 2018, wrote enticingly of the final Prelude: ‘In terms of bravura and virtuosity Burge’s Prelude in D minor pulls out all the stops, ensuring rapturous applause for whoever performs it live.’ Check this out for yourself in a performance by Mathew Walton on YouTube.

John Burge’s Twenty-Four Preludes is published through the composers’ collective Red Leaf Pianoworks and can be purchased online at www.johnburge.ca

About the music

Twenty-Four Preludesby John Burge

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RHINEGOLD MEDIA & EVENTS Rhinegold Media & Events Ltd is an associate company of Rhinegold Publishing Ltd, and specialises in live events and digital media.

Our events include Music Education Expo, now the UK’s largest conference and exhibition for music education, and Rhinegold LIVE, a free concert series at London’s Conway Hall which aims to bring exceptional classical music to all in a relaxed and informal environment.

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» Innovative sponsorship & branding opportunities

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RHINEGOLD PUBLISHINGInternational Piano is published by Rhinegold Publishing, a leading music and performing arts publisher that produces a range of magazines, directories, supplements, guides, handbooks and teaching materials.

WHY WORK WITH RHINEGOLD PUBLISHING?One of the leading UK publishers for music and the performing arts

A brand that has been built up over the past twenty years

Reach all parts of the music sector:» Industry professionals » Competitions and venues» Educators and students» Enthusiasts and specialist interest groups» Suppliers» Multiple routes to market

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· mantovani (26-29 april). an american music strand running through the 2018 programme sees...

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