XXVI
N ew O rleans I nternational P iano C ompetition
T hirty -F ourth K eyboard F estival S eventeenth P iano I nstitute
J uly 24—31, 2016 C ompetition J ury Peter Collins Danny Driver Faina Lushtak Marianna Prjevalskaya Nelita True Daniel Weilbaecher, chair
Presented by the
P.O. B ox 750698 • N ew O rleans , LA 70175-0698 • masno.org C ara M c C ool W oolf , Executive Director D aniel W eilbaecher , Artistic Director H osted
by
L oyola U niversity C ollege
of
M usic
S T E I N WAY & S O N S the Official Piano of the New Orleans International Piano Competition
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S T E I N W AY The Official Piano of the New Orleans International Piano Competition From piano competitions for scholarships to providing Special musical and social events throughout the year, The Steinway Society of New Orleans works to further musical appreciation and education. Musical patrons across Louisiana have come together in advancing the musical arts for all ages. As a member of the Steinway Society of New Orleans you join an exceptional circle of friends. For more information call 1-800-STEINWAY, and join with us as we support the Arts and Artists of our communities.
S T E I N WAY S O C I E T Y of New Orleans 1-800-STEINWAY
Schedule of Events
4
MASNO History
17
Table
MASNO Board of Directors/Competition Committees
18
of
Welcoming Messages
7–16
20–23 20–21 22–23
Competition Prizes
25
Competition Jurors Peter Collins Danny Driver Faina Lushtak Marianna Prjevalskaya Nelita True Daniel Weilbaecher
26–28 26 26 27 27 28 28
New Orleans Piano Institute Constance Carroll Kevin Chance Alan Chow Frank Heneghan Shearon Horton Joni Jensen Igor Resnianski
30–34 31 31 32 32 33 33 34
Judging Procedures/Requirements
36–37
Semifinalists Scott Cuellar Christopher Goodpasture Matthew Graybil Yewon Jeong Saetbyeol Kim Yejin Noh Kyle Orth Liana Paniyeva Alexander Soares Xiaohui Yang Hyun Ji You Re Zhang
38–49 38 39 40 41 42 43 44 45 46 47 48 49
NOIPC Semifinal Repertoire: A Program Guide
51–61
Become a Part of MASNO! - Charitable Giving
64
MASNO Donors MASNO Endowment Fund Acknowledgements Past Competition Winners Past Competition Jurors
C on t e n t s
Guest Artists and Recital Programs Danny Driver Marianna Prjevalskaya
67–70 71 74–77 78 80–83 —
2016 New Orleans International Piano Competition 3
s c h e du l e o f e v e n t s
2016 New Orleans International Piano Competition, Keyboard Festival, & Piano Institute Schedule of Events
SUNDAY, July 24 Guest Artist Recital MONDAY, July 25 MASTER CLASS MASTER CLASS MASTER CLASS NOIPC Semifinal TUESDAY, July 26 MASTER CLASS MASTER CLASS MASTER CLASS NOIPC Semifinal WEDNESDAY, July 27 MASTER CLASS PRESENTATION MASTER CLASS MASTER CLASS NOIPC Semifinal THURSDAY, July 28 MASTER CLASS PRESENTATION
Sponsored by the New Orleans Piano Teachers Association
Marianna Prjevalskaya
4:00 PM
Faina Lushtak Igor Resnianski Constance Carroll Round 1, day one
10:45 AM 3:00 PM 4:05 PM 7:00 PM
Marianna Prjevalskaya Kevin Chance Shearon Horton Round 1, day two
10:45 AM 3:00 PM 4:05 PM 7:00 PM
Nelita True Peter Collins Frank Heneghan Alan Chow Round 1, day three
10:45 AM 1:15 PM 3:00 PM 4:00 PM 7:00 PM
Danny Driver Nelita True
10:45 AM 1:15 PM
MASTER CLASS Shearon Horton MASTER CLASS Constance Carroll NOIPC Semifinal Round 2, day one FRIDAY, July 29 NOPI Concerto Competition Sponsored by Hall Piano Company and the Steinway Society of New Orleans
MASTER CLASS Frank Heneghan MASTER CLASS Alan Chow NOIPC Semifinal Round 2, day two SATURDAY, July 30 NOPI SHOWCASE RECITAL Guest Artist Recital Danny Driver SUNDAY, July 31 NOIPC Final Round
3:00 PM 4:05 PM 7:00 PM 9:00 AM 3:00 PM 4:00 PM 7:00 PM 11:30 AM 7:00 PM 2:00 PM
Master classes are made possible by a generous gift from the Gauthier Family Foundation. All Events are held in the Loyola Music and Communications building. Master Classes and Presentations will take place in Room 240. The NOPI Concerto Competition, Showcase Recital, New Orleans International Piano Competition Rounds and Guest Artist Recitals will be held in Roussel Hall. — 4
STEINWAY SETS THE STAGE Warm. Rich. Powerful. Unmistakable. Incomparable sound and beauty are why handcrafted Steinway & Sons pianos are the overwhelming choice of today’s premier concert artists. Share the lasting joy and investment value of a Steinway with your family for generations to come. Visit HallPiano.com for details on all of our inventory, services, teachers and events.
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Congratulations to the 2016 New Orleans International Piano Competition participants. Astral is a national intensive mentoring program that specializes in developing the early careers of extraordinary classical musicians.
Astral artist Viktor Valkov – Winner of the 2012 New Orleans International Piano Competition www.astralartists.org | 215.735.6999 | Philadelphia, PA
M I G N O N FA G E T
NE W BEE HI V E RIN G Supporting the Louisiana Beekeepers Association
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W e l com i n g M e s s a g e s —
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New New Orleans Orleans & & the the World World WWNO WWNOis isproud proudtotohelp helpMASNO MASNObring bring talented talentedpianists pianistsfrom fromaround aroundthe theworld worldtoto New Orleans. New Orleans. WWNOis isNew NewOrleans OrleansPublic PublicRadio, Radio, WWNO poweredwith withsupport supportfrom fromlisteners listeners powered like you–peoplewho whocare careabout aboutour our like you–people communityand andour ourworld, world,who whoenjoy enjoyarts arts community and culture,clever cleverhumor, humor,and andmusic musicfrom from and culture, classicaltotojazz. jazz. classical WWNONew NewOrleans OrleansPublic PublicRadio. Radio. WWNO Radioononthe therise risefor forSoutheast SoutheastLouisiana. Louisiana. Radio
WWNO 89.9 FM / KTLN 90.5 FM WWNO 89.9 FM / KTLN 90.5 FM CLASSICAL WWNO2 / JAZZ WWNO3 CLASSICAL WWNO2 / JAZZ WWNO3 NEW ORLEANS PUBLIC RADIO • WWNO.ORG NEW ORLEANS PUBLIC RADIO • WWNO.ORG
MITCHELL J. LANDRIEU, MAYOR
CITY OF NEW ORLEANS
As Mayor of New Orleans, it is my pleasure to welcome participants and guests of the 2016 New Orleans International Piano Competition to the City of New Orleans.
W e l com i n g M e s s a g e s
Welcome!
Music plays an important role in our culture and brings joy to people of all ages. This competition provides a platform for musicians to showcase their talents, and be rewarded for their hours of hard work and dedication. I wish every musician the best of luck as they perform, and I commend the parents and teachers who have supported them along the way. While you are here, I hope that you will take some time to relax and explore the City. Dine in our incomparable restaurants; enjoy some of the great music we have to offer, tour historic neighborhoods like the French Quarter and Treme and shop in our antique and specialty shops throughout New Orleans, including the bustling Magazine Street corridor. It is my hope that your stay will be memorable and that you leave with an unforgettable experience. So on behalf of the entire city, I extend my best wishes for a successful and joyous event. Thank you for choosing New Orleans. Sincerely,
Mitchell J. Landrieu
Mayor City of New Orleans
1300 PERDIDO STREET | SUITE 2E04 | NEW ORLEANS, LOUISIANA | 70112 PHONE 504-658-4900|FAX 504-558-4938
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LOYOLA UNIVERSITY NEW ORLEANS COLLEGE OF MUSIC AND FINE ARTS IS PLEASED TO HOST
THE 26TH NEW ORLEANS INTERNATIONAL PIANO COMPETITION You make music. We make musicians...and artists, music executives, actors, designers, music therapists... At Loyola’s College of Music and Fine Arts, you’ll experience: • World-renowned faculty and resident artists • Small class sizes with individual emphasis • Opportunities to perform or exhibit your art • Valuable mentorship from faculty and peers
apply.loyno.edu
It is my pleasure once again to welcome the Musical Arts Society’s 26th New Orleans International Piano Competition to Loyola. Few artistic events in New Orleans capture the attention and loyal support like the New Orleans International Piano Competition. Loyola University and the College of Music and Fine Arts are indeed proud to be a part of this very auspicious cultural event.
W e l com i n g M e s s a g e s
Greetings!
I would like to take this opportunity to invite you to join us for the 2016–17 Montage Performance Season. The theme of this year’s season is the Creative American Spirit. Our season will feature World-renowned violinist and Resident Artist, Nadja Solerno-Sonnenberg and her unique style of orchestral performance – the conductor-less orchestra. In October, Ellis Marsalis and David Torkanowsky will perform – Marsalis and Torkanowsky Together on our Jazz Underground Series. The Theatre Arts Department will perform Eugene O’Neill’s play Beyond the Horizon, and Marcus Gardley’s The House that will not stand. We will usher in the Christmas Season with our ever-popular Christmas at Loyola. In the spring, the Theatre Arts department also will perform James Valq and Fred Alley’s The Spitfire Grill. We are very proud to announce that we will co-sponsor the Harlem String Quartet with the New Orleans Friends of Music. Later in the spring, the Loyola Chorale will perform Handel’s Messiah. The spring will draw to a close with a performance by the Boston Brass and our own Loyola Wind Ensemble. These are only a few of the exciting and top-notch performances scheduled for the 2016–17 Montage celebration of the Creative American Spirit. Once again, welcome to Loyola and the 26th New Orleans International Piano Competition. Sincerely, Anthony DeCuir, PhD Charles E. Braswell Distinguish Professor of Music Therapy Dean of the College of Music and Fine Arts Loyola University New Orleans
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2016 New Orleans International Piano Competition 11
presents
Inon Barnatan
Nocturne XIV Sunday, November 20, 2016 Ritz-Carlton, New Orleans Celebrated for his poetic sensibility, probing intellect, and consummate artistry, Israeli pianist Inon Barnatan currently serves as the first Artist-in-Association of the New York Philharmonic. This unprecedented three-season appointment sees him appear as soloist in subscription concerts, perform across the country with other American orchestras as ambassador for the orchestra. We are most fortunate to welcome Inon Barnatan as our Nocturne XIV Gala artist in his first New Orleans performance.
Dear Friends of the Musical Arts Society of New Orleans, Welcome everyone to the 26th New Orleans International Piano Competition. Throughout the week you will hear twelve very talented young pianists competing for the gold. This year’s semifinalists come from North America, Asia and the United Kingdom.
W e l com i n g M e s s a g e s
New Orleans International Piano Competitions
In addition, fulfilling the MASNO educational mission, we reach out to high school and college age piano students for a week of master classes, lectures and performances as part of the Keyboard Festival and New Orleans Piano Institute. These events are open and free to the public. You are in for a special feast of piano music and will experience with us the best that MASNO offers to our community. Bringing world-class young musical talent to New Orleans is our highest priority. We also bring to New Orleans audiences established and acclaimed talent in the many other musical events we sponsor during the year. Please mark your calendars for upcoming events in MASNO’s 2016–17 season: our annual elegant fundraising gala, Nocturne XIV featuring acclaimed Israeli pianist Inon Barnatan on Sunday, November 20th. Salon concerts during the fall and spring will bring more world-class performers. This year’s Piano Competition winners will return to play three piano concertos with the Louisiana Philharmonic Orchestra in January’s Concerto Showcase. I hope you will visit our website, www.masno. org, for all the details of these upcoming events and will join us at many of them. I want to thank you, all of sponsors and individual supporters, for making it possible for this exceptional organization to serve our community for over three decades. We owe profound gratitude to Dr. Daniel Weilbaecher, the Artistic Director for his leadership over the years. I also thank Cara McCool Woolf, our dedicated Executive Director. Thanks also to the leaders of the Piano Institute and the Board of Directors whom I have had the privilege to serve with during my time as President. Thanks also go to the judges, the Institute faculty members, all our volunteers who provide housing and dinners, and assistance in many other ways. As always, we are grateful to Hall Piano, the Steinway Society of New Orleans, and Loyola University College of Music and Fine Arts, for their longstanding support. Welcome and enjoy the week! Sincerely, James A.H. Farrow, MD President, Musical Arts Society of New Orleans
P.O. Box 750698 • New Orleans, LA 70175-0698 • Phone (504) 899-4826 • masno.org
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2016 New Orleans International Piano Competition 13
Recent Winners - First Place, Choongang Competition Korea - First Place, International Chopin Competition Warsaw, Poland - First Place, National Chopin Competition United States - International Piano Competition Hamamatsu, Japan
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Welcome to the 2016 New Orleans International Piano Competition and Keyboard Festival! I am delighted that you have joined us for what promises to be a most magnificent week of piano playing and music making! Being in its 26th year, the New Orleans International Piano Competition brought in a record number of 186 applicants this past spring representing 28 different countries! With the level of playing being extremely high, it was no easy task for the preliminary jury to choose the Top 12 Semifinalists who you will hear this week! This biennial event has really put New Orleans on the map in the world of classical piano and the musical arts, and has played an integral role in the future careers and livelihoods of many top artists. What a treat it is for us to welcome these emerging artists to our city and present these kinds of opportunities not only for them, but also for all of us in New Orleans! Concurrently with the NOIPC runs the annual New Orleans Piano Institute (NOPI) and Keyboard Festival. We are so pleased this year to welcome guest artists Marianna Prjevalskaya of Spain and Danny Driver of the UK as part of our Keyboard Festival as well as the internationally esteemed NOIPC Jury and NOPI Faculty. I hope you will join us for the guest artist recitals as well as the wonderful master classes and student performances presented by NOPI. I would like to extend my personal thanks to the NOPI Directors Alan Chow, Igor Resnianski and Joni Jensen for their top work in organizing this internationally regarded institute for young pianists. I also want to thank Hall Piano Company, the Steinway Society of New Orleans, the New Orleans Jazz and Heritage Foundation, and the Gauthier Family Foundation for their partnership with and sponsorship of NOPI. I am also thrilled to mention a wonderful upcoming 2016–2017 MASNO Season full of fabulous concerts and events! These include our annual celebrated gala NOCTURNE, some really special Salon Concerts, orchestral performances of 2014 NOIPC Gold Medalist Marianna Prjevalskaya, Concerto Showcase IX with our 2016 NOIPC Medalists and the Louisiana Philharmonic Orchestra, the 2017 New Orleans Piano Institute and Keyboard Festival and MORE! Please see our Season Highlights page in the program book for more details and mark your calendars! As wonderful as all of this is, it certainly would not be possible without the dedicated work of so many. I want to convey my sincerest thanks and gratitude to our Artistic Director and my dear friend Daniel Weilbaecher. Daniel’s excellent vision and outstanding leadership of MASNO and the NOIPC for many years has established us with a firm foundation on which I could not be more honored to continue to build. I also want to thank our board President Jim Farrow and all of the members of the MASNO Board of Directors for their support, enthusiasm, and participation throughout the year. We surely could not operate without the incredibly generous support from our Partners and Sponsors. Huge thanks to Hall Piano and the Steinway Society of New Orleans, Loyola University and WWNO 89.9 for their sustaining sponsorships as well as to our many other event sponsors. Thank you to the Louisiana Philharmonic Orchestra, the Baton Rouge Symphony Orchestra, the Acadiana Symphony Orchestra, Astral Artists, Richard Goula, Nigel Rogers and Wigmore Hall in London for their NOIPC prize collaborations. To all of the NOIPC dinner and Semifinalists Hosts, thank you for playing such a benevolent role. Thank you to all the staff and volunteers of the NOIPC who have been invaluable and worked so hard to make this week run smoothly. And to all of YOU, our donors and friends, we would not be here without you! Not only are we thankful for your generosity, but also for your presence and support by being with us! So please sit back and enjoy this wonderful week! Thank you for being a part of the New Orleans International Piano Competition, and thank you for being a part of our MASNO Family!
W e l com i n g M e s s a g e s
New Orleans International Piano Competitions
All the very best! Cara McCool Woolf, Executive Director Musical Arts Society of New Orleans P.O. Box 750698 • New Orleans, LA 70175-0698 • Phone (504) 899-4826 • masno.org • director@masno.org
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W e l com i n g M e s s a g e s
New Orleans International Piano Competitions
The Musical Arts Society of New Orleans is proud to present the 2016 New Orleans International Piano Competition & Keyboard Festival/Piano Institute. As MASNO celebrates its 26th NOIPC, I would like to extend a warm welcome to members of the audience, competition jurors and contestants, and to the faculty and students of the Piano Institute. I am pleased to announce the return of Concerto Showcase on January 8, 2017. This exciting concert will see the return to Roussel Hall of the three finalists of this year’s competition in performances of three piano concertos with the Louisiana Philharmonic Orchestra under the direction of Carlos Miguel Prieto. I would like to take this opportunity to recognize Cara McCool Woolf for her outstanding work as MASNO’s Executive Director. Cara, an accomplished pianist and teacher, has been a dedicated friend to this organization and a MASNO Board Member for many years. Her ebullient personality and boundless energy have contributed greatly to improving MASNO’s operations. We can all look forward to Cara’s ongoing role in MASNO’s future growth. The MASNO Board of Directors is especially grateful to Dr. Anthony Decuir, Dean of the Loyola College of Music and Fine Arts, for making Loyola’s excellent facilities available to us and to Clinton Keene, the college’s interim Technical Manager/Director for facilitating the logistical challenges of producing an event of this scope. I would also like to congratulate Alan Chow, Igor Resnianski, and Joni Jensen for their successful reign as co-chairs of the New Orleans Piano Institute. MASNO also remains indebted to Shearon Horton for her outstanding efforts over the years in establishing NOPI as the widely respected educational component to MASNO’s competition week’s events that it has become. I am delighted to announce MASNO’s continued partnership with Steinway & Sons of New York. This partnership, brokered by Steve Kinchen and Johnny Wright of Hall Piano, the local Steinway franchise, is one in which I take great pride. I am particularly grateful to Jennifer Gordon and Tommy Edds of Steinway for making this alliance possible. Please mark November 20, 2016 on your calendars when MASNO will present Nocturne XIV at the Ritz-Carlton Hotel featuring the acclaimed Israeli pianist Inon Barnatan. In the meantime, sit back and enjoy this week dedicated to celebrating the piano and its music!
Daniel Weilbaecher MASNO Artistic Director
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P.O. Box 750698 • New Orleans, LA 70175-0698 • Phone (504) 899-4826 • masno.org • director@masno.org
MASNO History MASNO H isto ry
Originally founded as the New Orleans Institute for the Performing Arts (NOIPA) in 1980 by Melvin Alford and Julianne Nice, the organization aimed to provide students and teachers in the performing arts with master classes and workshops, as well as to expose them to performances by artists in the mainstream of professional activity. Since its beginning, MASNO has provided both artists and students an opportunity to perform for appreciative audiences and has assisted students in developing skills necessary to build artistic discipline within a comfortable and supportive environment. MASNO has continued to present performances by emerging as well as established artists and to encourage the community to embrace the arts, particularly classical music. In addition to individual events during the year, a weeklong festival featuring master classes, lectures, and performances has been presented annually since 1981. In 1989, Madelyn Trible and Raymond Gitz founded the New Orleans International Piano Competition (NOIPC) as an augmentation to the summer keyboard festival. Since that first year, the competition has continued to expand in scope, attracting competitors and audiences from around the globe, and is currently regarded as one of the finest showcases of pianistic talent. In the fall of 1994, Melvin Alford stepped down as NOIPA’s Executive/Artistic Director, a position he had held since the organization’s inception in 1980. The NOIPA Board asked Daniel Weilbaecher to replace Melvin in this position. At that time, NOIPA was renamed the Musical Arts Society of New Orleans. After 20 years as both Executive and Artistic Director of MASNO, Daniel resigned his position as Executive Director while continuing to serve as MASNO’s Artistic Director. In the fall of 2014, Cara McCool was named MASNO’s Executive Director. One of Cara’s goals was to expand MASNO’s presence in the New Orleans musical community extending beyond the summer centered events. To this end, MASNO is proud to present a full season of concerts and events for 2016–2017 and looks forward to an ever-growing schedule of wonderful musical opportunities for New Orleans and the surrounding area. In 1999, the New Orleans Piano Institute (NOPI) was begun as the educational component of MASNO’s summer event. NOPI invites talented local, national and international college and high school students to New Orleans for a week of intensive study and performances including individual lessons and master classes with the distinguished NOPI faculty, competition opportunities, and a solo appearance on the Showcase Recital. All of this is within the inspirational context of the biennial New Orleans International Piano Competition and the annual Keyboard Festival. Shearon Horton and Raymond Gitz were NOPI’s first directors. In 2010, Joni Jensen replaced Raymond as NOPI Local Director. Upon Shearon’s retirement as NOPI Director in 2013, Alan Chow and Igor Resnianski accepted the Co-Director positions. This annual event’s format has been enhanced on the years that the NOIPC does not take place to include a solo competition for the institute students. In addition, every year Hall Piano Company and the Steinway Society of New Orleans in collaboration with the New Orleans Piano Institute presents the NOPI Concerto Competition of which the winner receives a cash prize as well as the opportunity to perform with the New Orleans Civic Symphony. In the spring of 2004, MASNO presented its first Concerto Showcase. This exciting event features the return of the three finalists of the preceding summer’s competition to the stage of Roussel Hall to perform three concertos with the Louisiana Philharmonic Orchestra. Since only solo repertoire is heard during the competition, Concerto Showcase was envisioned as an extension of the previous summer’s NOIPC allowing our top three prizewinners to be heard in concert with the LPO. From the strategic viewpoint provided by the celebration of MASNO’s twentieth annual competition, a new path was established for the evolution of MASNO’s premiere offering. In 2009, NOIPC, which had always been open to pianists without age restriction, began a biennial alternation with the New Orleans international Piano Competition for Young Artists, open to pianists between 14 and 18 years of age. In 2012, the MASNO Board of Directors decided to end the international competition for young artists and to present NOIPC ever other year. In 2014, NOIPC celebrated its 25th anniversary with an exceptional competition, and we look forward to the 26th NOIPC taking place July 24–31, 2016. As MASNO celebrates its 36th anniversary in 2016, it proudly continues its efforts to make New Orleans a vital and vibrant center for the musical arts: providing opportunities to hear some of the world’s best musical talents; developing enthusiastic audiences; nurturing the development of talent; and championing music education through innovative programming and signature events such as the New Orleans International Piano Competition, the New Orleans Piano Institute and Keyboard Festival, Concerto Showcase in collaboration with the Louisiana Philharmonic Orchestra, Nocturne, Salon Concerts, and MASNO Artist Master Classes and Lecture Performances at area schools.
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2016 New Orleans International Piano Competition 17
Board
of
Directors
R ecitals
Board of Directors Executive Director Artistic Director President President-Elect Immediate Past-President Treasurer Secretary
Members
Charles Bohn Marie Breaux Andrea Brown Courtney Bryan Louise Bush Mary Sue Chambers, Emeritus Alan Chow Dee Clubb Bruce Crutcher Kathan Dearman Anthony Decuir Arthur Dickerson Jep Epstein
Competition Committee
Cara McCool Woolf Daniel Weilbaecher James A.H. Farrow Anne B. Gauthier Emel Songu Mize Christopher B. Merritt Elissa Bluth Richard Goula Fred Kasten Joni Jensen Susan Lafaye Keith Lescale Delfeayo Marsalis Ellis Marsalis Emily McWilliams Julianne Nice Igor Resnianski S. Talmadge Singer Madelyn and Bruce Trible - Emeritus
Box Office/Ticket Sales Beth McCool, Cara McCool Woolf and Vance Woolf Boutique Anne B. Gauthier, Susan Lafaye and Lou Bush Competition Committee Chair Daniel Weilbaecher and Cara McCool Woolf Competition Coordinators Daniel Weilbaecher, Cara McCool Woolf Competition Hospitality Coordinators Elissa Bluth and Cara McCool Woolf Master Classes and Presentations Alan Chow, Igor Resnianski, and Joni Jensen Marketing Dee Clubb, Judy Eckhardt, Fred Kasten, Emily McWilliams and Cara McCool Woolf Piano Technician Matt McWilliams Program Design Noya Design, Inc. Preliminary/Recorded Round Coordinator Cara McCool Woolf Adjudicators Raymond Gitz, Frank Heneghan, Brian Hsu Lina Morita, Daniel Weilbaecher Program Book Contributor Raymond Gitz, Daniel Weilbaecher, and Cara McCool Woolf Editing Raymond Gitz, Glenn Noya, Daniel Weilbaecher, Cara McCool Woolf and Vance Woolf Stage and Facility Manager Clinton Keene — 18
Support MASNO by visiting our Boutique! Program books, Artist CDs, mugs, magnets, notepads, umbrellas, flags, raffle tickets for a night with Steinway’s new Spirio repeat performance piano and more.
Dooky Chase’s
Music Lovers dine with us at Dooky’s! Thank you, Leah and Dooky Chase Call 504.821.0535 for reservations
• located on the 2nd floor lobby of Roussel Hall • open before and during intermission of the competition rounds
PRESENTING
A co-presentation with
ENJOY FINE CHAMBER MUSIC WITH FRIENDS.
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Danny Driver Guest Artist The international critical acclaim that Danny Driver’s recordings and performances have generated over recent years has cemented his reputation as one of Britain’s most respected and versatile pianists. Described variously as ‘bold, exuberant and precise’ [The Guardian] and of ‘impeccable technique and musicianship’ [Gramophone], he has earned two Gramophone Award nominations, a National Public Radio Top 10 Award and, most recently, Limelight Magazine’s Instrumental Recording of the Year 2014 Award for his recording of Handel’s Eight Great Suites. Danny Driver’s recent concerto appearances have included the Orchestra of the Age of Enlightenment, Minnesota Orchestra, Royal Philharmonic Orchestra, BBC Scottish Symphony Orchestra, Bournemouth Symphony Orchestra, American Symphony Orchestra, RTÉ Concert Orchestra, Orchestra of Opera North, Hong Kong Pro Arte, and the Louisiana Philharmonic. He has appeared twice at the BBC Proms, most recently with the Royal Philharmonic Orchestra under Charles Dutoit. Other distinguished conductors with whom Driver has performed include Andrew Litton, Richard Farnes, Martyn Brabbins, Sir James Macmillan, and Bramwell Tovey; during 2016–17 he will perform with Alexander Shelley and Mario Venzago. Solo recitals feature prominently in Danny Driver’s schedule of engagements; he has appeared regularly at Wigmore Hall, most recently in a BBC Radio 3 live broadcast recital (Handel, Adès, Beethoven, C P E Bach, Schumann), in Germany, Israel, Sweden, the USA, China, and at many major venues in the UK. Highlights of Driver’s 2016–17 schedule will include the Southbank Centre’s International Piano Series (London), Music Toronto and the Museum of Fine Arts in Montreal (Canada), the Musée de l’Orangerie in Paris, and performances of Ligeti’s Piano Études in the USA, including New Orleans in February 2017. As a chamber musician Danny Driver has appeared at the Australian Chamber Music Festival, Bard Music Festival, Birdfoot Music Festival, Eilat Chamber Music Festival, Cayman Arts Festival, and Stockholm’s Festival O/ Modernt. He collaborates regularly with violinist Chloë Hanslip, with whom he performed extensively in Ireland, the UK, and Italy earlier this year, and with baritone Christian Immler, with whom he has given broadcast recitals for Deutschland Radio and Radio France. Driver’s long-standing partnership with ‘cellist Oliver Coates recently included performance of Morton Feldman’s Patterns in a Chromatic Field at King’s Place and Adès’ Lieux Retrouvés. Driver’s fruitful relationship with London-bas ed Hyperion Records has spawned a thoroughly acclaimed discography of works by C P E Bach, Handel, Schumann, and Balakirev, and also highly praised interpretations of neglected British composers such York Bowen, Benjamin Dale and Erik Chisholm, all of whom he has championed in concert as well as on record. A second contribution to Hyperion’s epic Romantic Piano Concerto Series, featuring works by Amy Beach, Dorothy Howell and Cécile Chaminade, is due for release in March 2017. Danny Driver trained with Alexander Kelly and Piers Lane whilst studying at Cambridge University, with Irina Zaritskaya at the Royal College of Music in London, and completed his studies privately with Maria Curcio. As a student he won numerous awards including the Royal Over-Seas League Keyboard Competition and the title of BBC Radio 2 Young Musician of the Year. He was recently appointed Professor of Piano at the Royal College of Music.
R e c i t a l
Saturday, July 30, 2016 7:00 PM George Frideric Handel 1675–1756
Suite no 5 in E major
Robert Schumann 1810–1856
Symphonic Studies Op 13 (1852 version)
INTERMISSION
Mily Balakirev 1837–1910
Polka in F-sharp minor
Sergei Rachmaninov 1873–1943
Études-Tableaux Op 39, nos 1, 2, 3
Alexander Scriabin 1872–1915
Poème Op 32 no 1 in F-sharp major
Sergei Prokofiev 1891–1953
Sonata no 7 in B-flat Op 83
Mr. Driver’s performance is made possible by a generous gift from Drs. Emel and Ranney Mize
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A u e s t
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Marianna Prjevalskaya Guest Artist Praised by critics as “a grand pianist” (Il Cittadino, Italy) and a “master of piano” (Music Magazine ‘Auditorium’, Korea), Marianna Prjevalskaya captivates audiences with emotional intensity, maturity, richness and beauty of tone. Since her solo debut with orchestra at age nine, Ms. Prjevalskaya has appeared with major orchestras such as the Cincinnati Symphony Orchestra, Louisiana Philharmonic Orchestra, National Lithuanian Symphony Orchestra, Rzeszow Philharmonic Orchestra, Korean Symphony Orchestra, Granada Symphony Orchestra, Galicia Symphony Orchestra and Sendai Philharmonic Orchestra, and collaborated with renowned conductors such as Ion Marin, Roberto Treviño, Carlos Prieto, David Danzmayr, Stamatia Karampini, Tadeusz Wojciechowski. As a recitalist, Marianna performed in the US, Europe, and Japan at prestigious venues such as the Mozarteum in Salzburg, Accademia Santa Cecilia in Rome, Teatro Goldoni of Florence, Minato Mirai Hall in Yokohama, Auditorio Manuel de Falla in Granada, Palau de la Música in Valencia, Orpheum Theatre in New Orleans, Weill Hall and Steinway Hall in New York. Her debut at Carnegie´s Weill Hall with Rachmaninov´s Variations on a Theme by Chopin and the entire Book II of Préludes by Debussy was praised by musical critic Frank Daykin as “one of the major piano recitals of the season” and “a stunning display of mature pianism”. He also complimented “her sensitivity to harmonic color and her natural glorious romantic rubato.” (New York Concert Review, New York). Praised for her refined tone as well as depth of musicianship continued echoing in subsequent reviews: Spanish critic Santi Riu complimented Marianna as a “virtuoso, impetuous, passionate and mature pianist of great musicality” and described her “rich sound range full of sensitivity that enabled her to create contrasting and attractive ambiances, as well as colors, shades, lights and shadows.” (Diario Segre, Spain), and Tim Smith was “consistently impressed by Prjevalskaya´s beauty of expression” and asserts that she is a “pianist who has moved well beyond the hone-thetechnique phase and can concentrate entirely on making music” (The Baltimore Sun, Baltimore). Marianna´s first victory at a piano competition was at the age of fourteen at Marisa Montiel Piano Competition in Linares, a southern town in Spain, where in addition to the first prize, she was awarded a special prize for musicality. Since then her performances have won her top prizes at over 20 competitions, including: the 2014 New Orleans International Piano Competition, the 2013 World Piano Competition in Cincinnati, the 2013 European Piano Competition in Normandy, the 2012 Panama International Piano Competition, and the 2011 Jaén International Piano Competition in Spain, the 2007 Paderewski International Piano Competition, among many others. Marianna also appeared at important festivals in Europe and in the US, such as Norwich and Norfolk Festival in the UK, Salzburg Festival, Festival Russo in Rome, Bologna Festival, and Bearcat Piano Festival in Cincinnati. Her choice of repertoire goes through a deep internal gestation: avoiding merely flashy works, Marianna favors programs that show the depths of musical expression. Her performances were broadcasted by the Lithuanian, Polish Television, and Spanish Television and Radio2 Clásica. Her first CD album was released by Naxos in 2012 and features works by Scarlatti, Haydn, Schumann and Zárate, and her next album dedicated to Rachmaninov will be released in July 2016 by Fanfare Cincinnati. Born to a musical family, Marianna benefited from early lessons with her mother fom age six, her principal mentor for more than eleven years. She continued her studies at the Royal College of Music in London with Irina Zaritskaya and Kevin Kenner. In 2003 Marianna moved to the United States where she joined the Toradze Piano Studio at Indiana University. She also holds an Artist Diploma and Master of Music from Yale School of Music, where she studied with Boris Berman. Currently Marianna is a doctorate candidate at Peabody Conservatory of Music where she studied with Boris Slutsky.
R e c i t a l
Sunday, July 24, 2016 4:00 PM Johannes Brahms Three Intermezzi Op.117 1833–1897 Andante moderate Andante non troppo e con molto espressione Andante con moto Frédéric Chopin 1810–1849
Four Mazurkas Op.24
Frédéric Chopin 1810–1849
Fantasy Op.49 in F minor
INTERMISSION
Sergei Rachmaninov 1873–1943
Variations on a Theme by Chopin Op.22
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2016 New Orleans International Piano Competition 23
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Cash and Performance Prizes
First Prize: $15,000 - awarded by Dr. Keith Lescale - Recital at London’s Wigmore Hall - Concerto performances with the Louisiana Philharmonic Orchestra, Baton Rouge Symphony Orchestra, Acadiana Symphony Orchestra - Concerto Showcase featuring the 2016 NOIPC Finalists and the Louisiana Philharmonic Orchestra - Solo recital on Loyola University’s Montage Series - An exclusive one-on-one career development consultation with executive leadership at Astral Artists
C omp e t i t i on P r i z e s
2016 New Orleans International Piano Competition
Second Prize: $10,000 - Concerto Showcase featuring the 2016 NOIPC Finalists and the Louisiana Philharmonic Orchestra - Solo recital on Loyola University’s Montage Series Third Prize: $5,000 - awarded by Robin and Bruce Crutcher - Concerto Showcase featuring the 2016 NOIPC Finalists and the Louisiana Philharmonic Orchestra Semifinalist Prizes (9): $750 - One prize awarded by Julianne Nice and Herb Larson in memory of Debbie Nice The Clarence “Pete” Wolbrette Jury Discretionary Award: $1000
Clarence “Pete” Wolbrette June 16, 1953 – May 5, 2016 The Musical Arts Society of New Orleans, together with the rest of the New Orleans musical community, recently lost a dear and faithful friend, fellow musician, and our long time recording engineer, Pete Wolbrette. In memory of Pete, MASNO will present the Clarence “Pete” Wolbrette Jury Discretionary Award to be given to a Semifinalist of the jury’s choosing who does not advance to the final round. —
2016 New Orleans International Piano Competition 25
C omp e t i t i on J u r o r s
Peter Collins
Peter Collins Presentation
Jazz Repertoire for Pianists of All Levels Wednesday July 27, 1:15 PM
Danny Driver Master Class
Thursday July 28, 10:45 AM
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Peter Collins is Professor of Music– Piano and Coordinator of the Keyboard Area at Missouri State University. A native of New Orleans, he began his formal piano studies with Melvin Alford. He received his Bachelor of Music and Master of Music degrees from the Peabody Conservatory under the instruction of Lillian Freundlich. After winning awards in several piano competitions (the Washington International Piano Competition, the University of Maryland International Piano Competition, the American Chopin Competition, the American Beethoven Foundation) he received his Doctor of Musical Arts degree from The University of Michigan as a student of Louis Nagel. He has served on the faculties of the Interlochen Arts Academy, the Missouri Fine Arts Academy and the Bösendorfer International Piano Academy in Vienna. Peter Collins has performed a wide variety of repertoire ranging from the complete piano sonatas of Beethoven and Mozart to recently composed works. At Missouri State University, he originated the Missouri Chamber Players and toured Scandinavia three times with members of the ensemble in concerts of music by American composers. His important European appearances also include solo performances at the Chopin Academy of Music (Warsaw) and the Liszt Academy of Music (Budapest). As a concerto soloist he has collaborated with the Polish State Orchestra (Jelenia Góra), the Florida State Orchestra, the New Orleans Symphony, the Louisiana Philharmonic Orchestra, the Springfield Symphony and the Chamber Orchestra of the Ozarks. Peter Collins has completed nine compact-disc recording projects (for the Albany, MSR and Centaur labels) featuring works of living American composers, music by women composers, original arrangements and transcriptions and piano music of nineteenth-century New Orleans.
Danny Driver (see page 24)
Faina Lushtak
Marianna Prjevalskaya (see page 26)
C omp e t i t i on J u r o r s
Faina Lushtak was born and raised in the Soviet Union. A child prodigy, she began her piano and composition studies at the age of six. She graduated from the Stolyarsky Special Music School for Musically Gifted Children. At the Tchaikovsky Conservatory in Moscow, where she studied under the renowned teachers Eleonora Levinson, Genrietta Mirvis and Yakov Zak, she earned degrees in piano performance and composition. She became a faculty member at the Conservatory and performed throughout the Soviet Union. In 1978, she immigrated to the United States. Her performances have earned widespread critical acclaim. Reviewing her debut at Alice Tully Hall, The New York Times, wrote: “The qualities she prizes most are clarity of line and transparency of texture. Incisive clarity remained her hallmark.” Fanfare Magazine described her “vibrant, dynamic readings, delicate expressiveness and a dazzling virtuosity.” The Times-Picayune wrote that “her technique is sure and ample. Her tone varies from a beautiful, singing lyricism to a more matter-of-fact solidity.” And The Ledger in Lakeland, Fla., described her playing as “very brilliant, very romantic, very colorful and stylish.” Ms. Lushtak has performed both as a solo recitalist and as guest artist with numerous symphony orchestras throughout the United States and Europe, under distinguished conductors such as William Henry Curry, Maxim Shostakovich, Klaus Peter Seibel and Alfred Savia. Ms. Lushtak has made frequent guest artist appearances and conducted master classes at university campuses, including at Emory University, the San Francisco Conservatory of Music and Texas Christian University. Ms. Lushtak has also performed as guest artist at festivals, including the Gina Bachauer International Piano Competition in Salt Lake City and the Pro Mozart Society in Atlanta. She has been a judge at the New Orleans International Piano Competition, the Wideman International Piano Competition, the Gina Bachauer International Junior Piano Competition, the Eastman Young Artists International Piano Competition, the Cleveland International Piano Competition and the Hilton Head International Piano Competition. Ms. Lushtak is the Downman Professor of Music at the Newcomb Music Department of Tulane University, where she heads the piano division. She is also music director of Tulane’s Concert Piano Series. Ms. Lushtak is on the faculty of the Orfeo International Music Festival in Italy. She is a Steinway Artist. This is her fourth year as the Director of the Brandywine International Masterclasses at West Chester University in Pennsylvania Ms. Lushtak’s performance of works by Rachmaninov and Scriabin has been recorded on the Centaur label. Centaur also released a subsequent recording of Chopin Mazurkas. Just recently, Ms. Lushtak released a new recording, “La poésie de la vie”. Ms. Lushtak’s compositions for piano, chamber music groups, voice and violin have been published in the U.S., the United Kingdom and the former Soviet Union.
Faina Lushtak Master Class
Monday July 25, 10:45 AM
Marianna Prjevalskaya Master Class
Tuesday July 26, 10:45 AM
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2016 New Orleans International Piano Competition 27
C omp e t i t i on J u r o r s
Nelita True
Nelita True Master Class
Wednesday July 27, 10:45 AM
Presentation
Reliable Memory Thursday July 28, 1:15 PM
Daniel Weilbaecher
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Since Nelita True made her debut at age seventeen with the Chicago Symphony in Orchestra Hall and her New York debut with the Juilliard Orchestra in Avery Fisher Hall, her career has taken her to the major cities of Western and Eastern Europe, Indonesia, Korea, Japan, Mexico, Iceland, New Zealand, Brazil, Australia, Canada, India, and to Hong Kong and Singapore, as well as to all fifty states in America. She was a visiting professor at the St. Petersburg Conservatory in Russia, performing and conducting master classes and has been in the People’s Republic of China more than 20 times for recitals and master classes. She has played recitals on French national television and on Australian national radio. Her most recent recital in Boston was cited as one of the “Ten Best Classical Performances of the Year.” This past fall, she made her debut in India. Ms. True has been a jury member for the China International Piano Competition (Beijing), the Queen Sonja International Piano Competition (Oslo), the National piano Competition in Brazil, the Horowitz Competition (Kiev), the Concours de Musique in Canada, the PTNA (Tokyo), the Lev Vlassenko Competition in Australia, and the Gina Bachauer, New Orleans, Hilton Head, and William Kapell International Piano Competitions in the U.S. A Phi Beta Kappa graduate of the University of Michigan as a student of Helen Titus, Ms. True went on to Juilliard to study with Sascha Gorodnitzki, and then earned the DMA with Leon Fleisher at the Peabody Conservatory. In Paris, she studied with Nadia Boulanger on a Fulbright grant. Formerly Distinguished Professor at the University of Maryland, Ms. True is currently Professor of Piano at the Eastman School of Music. Many of her students have won top prizes at national and international competitions, including an unprecedented five First Prizes in national MTNA competitions. Ms. True was awarded the Certificate of Merit by the Alumni Association of the University of Michigan, the Eisenhart Award for Excellence in Teaching at Eastman, the 2002 Achievement Award from the Music Teachers’ National Association, the Lifetime Achievement Award in Graduate Education from the University of Rochester, and a Lifetime Achievement Award from the National Keyboard Pedagogy Conference (USA). S and H Productions of Kansas City produced a series of four videotapes, “Nelita True at Eastman,” featuring her performances, lectures, and teaching. These videos are currently being seen on five continents. She has been the subject of feature articles in Clavier, Piano Today, The European Piano Teachers’ Journal, and was the subject of the cover story of Keyboard Companion. An interview with Ms. True appears in the latest edition of James Bastien’s “How to Teach Piano Successfully,” along with interviews with the legendary Rosina Lhevinne and Adele Marcus. Ms. True has been invited to record over 100 works for Advance, Mark, Educo, and Academy Records. “Nelita True’s recital...was an artistic and popular triumph.” –The Washington Post “True is an extraordinary pianist and exemplary musician...many a lyric soprano would covet the way (she) can turn a phrase.” –The Boston Globe “Listening to Miss True was a memorable experience. Rarely have I heard anything so sublimely poetic.” –Kansas City Times
Daniel Weilbaecher
Daniel Weilbaecher received the Bachelor of Music and Masters of Music degrees from the University of Louisiana at Lafayette, the Doctor of Musical Arts degree from Louisiana State University, and the Recital Diploma from the Royal Academy of Music in London. He serves on the faculty of Newcomb’s Department of Music at Tulane University where, in addition to teaching piano and theory, he organizes the department’s weekly Music at Midday concert series. Daniel has served on the faculties of Louisiana State University and Loyola University, and has held the positions of president of the Metropolitan Music Teachers Association of New Orleans and chairman of the Music Teachers National Association’s Yamaha Competition for Louisiana. In 1994, Daniel was named Executive/Artistic Director of the Musical Arts Society of New Orleans, and has overseen the growth of the New Orleans International Piano Competition and Keyboard Festival. During his tenure he established the New Orleans Piano Institute. In 2014, Weilbaecher received Gambit newspaper’s Tribute to the Classical Arts Lifetime Achievement Award. A native New Orleanian, Daniel has performed solo and chamber programs throughout Louisiana as well as in Texas, Mississippi, Alabama, New Hampshire, Massachusetts, and England. He has studied or coached with, among others, Martin Canin, Constance Carroll, Edgar Davis, James Dick, Gordon Green, Daniel Sher, Madelyn Trible, and Sylvia Zaremba. As Chair of the New Orleans International Piano Competition Jury, Daniel acts as moderator for the jury and serves as a non-voting member. He is responsible for the tallying of the votes at the completion of the semifinal and final rounds. Ballots are cast independently by the five voting members of the jury. A complete explanation of the judging procedures is listed on page 36.
Congratulations to all pianists participating in the 2016 New Orleans International Piano Competition
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2016 New Orleans International Piano Competition 29
New Orleans Piano Institute
New Orleans Piano Institute Institute Directors Alan Chow Joni Jensen Igor Resnianski Faculty/Clinicians Constance Carroll Kevin Chance Frank Heneghan Shearon Horton
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New Orleans Piano Institute Directors Alan Chow, Igor Resnianski, and Joni Jensen have selected 32 pianists to participate as performers in the 2016 New Orleans Piano Institute - a piano academy taking place during the New Orleans International Piano Competition and Keyboard Festival. Celebrating its 17th year, NOPI invites talented college, high school and junior high pianists from across the United States and around the world to participate in an intensive solo performance program including private lessons with distinguished faculty, master classes, special lectures in piano literature and performance practice, and an opportunity to perform in the Showcase Recital. Students are also invited to compete in the NOPI Concerto Competition presented by Hall Piano Company and The Steinway Society of New Orleans in collaboration with the New Orleans Piano Institute. The winner of the concerto competition will receive a $500 cash prize and the opportunity to perform with the New Orleans Civic Symphony in the fall. The public is invited to attend all events of the Piano Institute/Keyboard Festival. Throughout this exciting event, there will be opportunities to hear fourteen master classes, the competition rounds of the New Orleans International Piano Competition, the NOPI Concerto Competition, two special presentation by NOIPC jurors Nelita True and Peter Collins, the NOPI Student Showcase Recital, as well as the two New Orleans Keyboard Festival guest artist recitals of Marianna Prjevalskaya and Danny Driver. The NOPI teaching faculty this year includes Constance Carroll (Louisiana State University, ret.), Kevin Chance (University of Alabama), Alan Chow (Northwestern University), Frank Heneghan (Ireland), Shearon Horton (Austin), and Igor Resnianski (West Chester Univeristy of Pennsylvania). Master classes will be given by all NOPI faculty as well as NOIPC jury members and guest artists.
Constance Carroll Kevin Chance
Named Teacher of the Year by the Alabama Music Teachers Association for 2015–2016, pianist Kevin T. Chance has been hailed as “a superlative musician” playing “with musical conviction and muscularity.” He has performed throughout the United States and abroad as both soloist and collaborator. In 2003, he was invited to the Lake District Summer Music Festival in England where he was featured on both of the festival’s gala performances. Recent engagements include performances at Carnegie Hall as well as concerto appearances with Rachamninoff ’s Rhapsody on a Theme by Paganini with the Huxford Symphony Orchestra, Gershwin’s Rhapsody in Blue with the University of Alabama Wind Ensemble, SaintSaëns’s Carnival of the Animals with the Tuscaloosa Symphony, Beethoven’s Choral Fantasy with the Athens Chorale in Georgia, and Gerald Finzi’s Eclogue. Recent recital engagements include the University of Oklahoma, the Louisiana Piano Series International, the Saratoga Arts Fest, and the Albion College International Piano Festival. Dr. Chance has been a prizewinner of several regional and national competitions including the National Society of Arts and Letters Career Awards Competition, Music Teachers National Association Competitions (MTNA), and the Brevard Music Center Concerto Competition. Dr. Chance is a member of the Semplice Duo with flutist Cristina Ballatori. In August 2004, they were named the winners of the Notes at 9,000 Emerging Artist Series Competition in Colorado. Past seasons have taken them to Texas, Pennsylvania, Colorado, New York, and Louisiana, and they were selected as artist fellows for the 2005 Hampden-Sydney Music Festival in Virginia, where they returned for a series of performances in 2008. They frequently perform in recital on the “Live from Hochstein” series, which is broadcast live on WXXI radio in Rochester, NY. In 2014, they made their European debut in Paris, and in 2017, they will make their Asian debut in a tour of China. Additionally, Dr. Chance has performed with Carol Wincenc, Ransom Wilson, Marianne Gedigian, as well as members of the Boston Symphony, Cincinnati Symphony, Atlanta Symphony, Louisiana Philharmonic, and Alabama Symphony Orchestras. A sought-after teacher, Dr. Chance maintains a prize-winning studio, and his students are frequently named winners and finalists in local, state, regional, and national competitions. He currently serves on the faculties of several summer festivals including the New Orleans Piano Institute and the Druid City Opera Workshop, where he works with the collaborative piano interns. Additionally, he has taught at the Samford University Piano and Chamber Music Institute, the Huntingdon College Piano Academy and the Tennessee Valley Music Festival, and in 2013, he was the Guest Artist for the University of Texas at Brownville Summer Piano Academy. In demand as a clinician and adjudicator, he regularly presents workshops and lecture-performances on repertoire and pedagogy throughout the country. In 2013, he served as a guest clinician for both the Mississippi Music Teachers Association and Alabama Music Teachers Association state conferences. Additionally, Dr. Chance has presented at the 2016 and 2008 Music Teachers National Association Conferences, the 2008 College Music Society (CMS) National Conference in Atlanta, the 2009 CMS National Conference in Portland, Oregon, and the 2012 American Matthay Association Conference at Union University. He is a Past President of the Alabama Music Teachers Association and currently serves on the board of the Music Teachers National Association as Director of the Southern Division. Currently serving as Assistant Professor of Piano and Chair of Piano Studies at the University of Alabama, Dr. Chance is a former faculty member at the Alabama School of Fine Arts in Birmingham. He holds the Doctor of Musical Arts degree in Piano Performance and Literature from the Eastman School of Music where he was awarded the Jerald C. Graue Fellowship for academic excellence. An alumnus of the Aspen Music Festival, he holds the Master of Music degree from Louisiana State University and graduated magna cum laude from Birmingham-Southern College. His teachers have included Barry Snyder, Constance Knox Carroll, Ann Schein, Anne Koscielny, Herbert Stessin, William DeVan and Betty Sue Shepherd.
I n s t i t u t e F a cu l t y
A native of Arizona, Constance Carroll has received acclaim for her performances as a recitalist, chamber musician, and as an orchestral soloist. The featured artist at a dozen state Music Teachers Association annual conferences, she has also given lecture-recitals at the national MTNA conventions in Houston and Kansas City. As a teacher, Carroll numbers among her students winners of local, regional and national competitions. In addition, she has presented recitals, master classes and lectures at numerous university and colleges throughout the country. Carroll received her education at the University of Arizona and the Eastman School of Music. As a Fulbright scholar, she studied for a year in Vienna and Salzburg, Austria. She then was appointed to the music faculty at Louisiana State University, and susequently taught at Wisconsin State University, Lenoir-Rhyne College in Hickory, N. C., and was Artist-in-Residence at Centenary College of Louisiana for twenty-one years. Carroll was reappointed to the music faculty at LSU in 1995 and in 1996 became the first recipient of the Barineau Professorship of Keyboard Studies. In recent years, Carroll has been on the faculties of Brevard Music Center, the University of Houston High School Piano Camp, the Tobias Matthay anual conference, the Frank Mannheimer Piano Festival and the Indiana University Summer Piano Academy. Carroll has also served as juror for the New Orleans International Piano Competition, the Missouri Southern International Piano Competition, the American Pianists Association Competition, and the national finals of the MTNA student competitions. In the spring of 2001, Carroll was honored with an Excellence in Teaching Award by LSU and the Outstanding Teacher of 2001 Award by LMTA.
Constance Carroll Master Class
Monday July 25, 4:05 PM Thursday July 28, 4:05 PM
Kevin Chance Master Class
Tuesday July 26, 3:00 PM
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2016 New Orleans International Piano Competition 31
I n s t i t u t e F a cu l t y
Alan Chow
Alan Chow NOPI Director
Master Class
Wednesday July 27, 4:00 PM Friday July 29, 4:00 PM
Frank Heneghan Master Class
Wednesday July 27, 3:00 PM Friday July 29, 3:00 PM
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Acclaimed for his “elegant poetry and virtuosic fire,” Alan Chow has won First Prize at the Concert Artists Guild International Competition, the Palm Beach Invitational International Piano Competition and the UCLA International Piano Competition. He was also the winner of the Silver Medal and Audience Favorite Prize at the Gina Bachauer International Piano Competition and a prize-winner in the William Kapell International Piano Competition. A Steinway artist, Mr. Chow has performed in recital and in concert with orchestra from coast to coast in over forty states. His recitals have brought him to the major music centers including New York, Boston, Los Angeles, Chicago and Washington, D.C. Also in demand for his teaching, Mr. Chow has given master classes throughout North America and Asia at conservatories, universities and summer festivals including the Eastman School of Music, Indiana University, New Orleans International Piano Festival, the Gina Bachauer International Piano Festival, Las Vegas Piano Festival, Tunghai International Piano Festival (Taiwan) and in Singapore. He also has been invited to teach in China at the conservatories at Beijing, Xian, Chengdu, Wuhan and was recently named Honored Visiting Professor at the Shenyang Conservatory. Formerly Artist-in-Residence at the University of Arkansas, Mr. Chow currently serves as chair of the piano program at Northwestern University.
Frank Heneghan
Frank Heneghan of Ireland is a regular visitor to Louisiana, and has been a faculty member of NOPI since its inception in 1999. He has also served as a juror for the New Orleans International Competition on three occasions, and his former student, Peter Mack, was the first prize winner of the NOIPC in 1990. Over his distinguished career Frank served as director of the College of Music of Dublin Institute of Technology, Ireland’s largest third-level education complex. Over a quarter of a century he pioneered in the development of the college to its current conservatory status with a full spectrum of courses up to doctorate level. He was recently accorded the rare honor of election to fellowship of the Institute. Frank has carried out his professional work – master classes, lectures and adjudicating - all over the world on five continents: across the US from the Pacific Northwest to Florida, from New York to California and in Hawaii; in Austria, Belgium, Italy, Norway, Russia, Switzerland and the UK; in Hong Kong, Japan, Korea, and Taiwan; in Australia and in South Africa. In addition to comprehensive experience as piano teacher and clinician at all levels, he is a specialist in the philosophy of interpretation and in general music education, about which he has written and published extensively. He headed a 20-year international research project, The Music Education National Debates (MEND) with a particular thrust to rationalize music education in Ireland with eclectic global trends. The report was issued in 2005 to acclaim, and has drawn worldwide attention for its general applicability and philosophical novelty. Frank has recently narrowed the focus of his research to performance aspects of music education and is currently working on comprehensive pianism as an indivisibly technicointerpretative challenge Dr. Heneghan is the founder member of the Irish branch of the European Piano Teachers’ Association and was European president of the 26-nation alliance in 1991. Inter alia, he holds a PhD from the University of Pretoria and an honorary DMus from the University of Potchefstroom for Higher Christian Education.
Shearon Horton
Joni Jensen
Joni is a long-standing board member of the Musical Arts Society of New Orleans and has served as local director of the New Orleans Piano Institute for many years. A native of New Orleans, Joni Fitzpatrick Jensen received her Bachelor of Fine Arts and Master of Fine Arts degrees in piano performance from the Newcomb Department of Music at Tulane University. Her teachers have included Jane Smisor Bastien, Edygio Castro de Silva, and Faina Lushtak. She is on the faculty at Tulane University where she teaches piano, music theory and is the coordinator of the piano classes. She also maintains a private studio in New Orleans where she teaches pre-college students of all ages. Joni has presented master classes, lectures and has served as an adjudicator across Louisiana. She was recently appointed as president of the board of the Junior Philharmonic Society of New Orleans, a non-profit organization dedicated to showcasing talented young musicians and dancers in recital. She has served as President, treasurer and is currently the corresponding secretary for the New Orleans Piano Teachers Association. She also currently serves as the Louisiana Music Teachers Association’s college faculty forum chair.
I n s t i t u t e F a cu l t y
Shearon Horton holds the Bachelor of Music degree in piano performance from Peabody College and Masters of Music degree in piano performance from The University of Texas at Austin with further doctoral study at Louisiana State University. Her teachers have included William Race, Jack Guerry, Lucien Stark, Gregory Allen, and Amanda Vick Lethco. She has performed extensively as soloist and collaborative pianist and has presented lectures and master classes in Texas, Mississippi, Oklahoma, Washington, Alabama, Louisiana and in China at Sichuan Conservatory, Nanjing Normal University, and Fudan University. She has been a featured presenter for state conventions of the Mississippi Music Teachers Association, Alabama Music Teachers Association, and the Louisiana Music Teachers Association. She has had articles related to piano pedagogy published in Keynotes magazine and in Keyboard Companion. Shearon taught at Tulane University in the Newcomb Department of Music in New Orleans from 1989 to 2006 and was an independent teacher in the New Orleans area before moving to Austin, Texas. She has taught at The University of New Orleans, and filled a one-year appointment as Coordinator of Piano Pedagogy and Class Piano at Louisiana State University in Baton Rouge in 2001-2002. She has maintained a private teaching studio for many years with students who have received state, regional, and national prizes including fifteen state winners in the MTNA Junior and Senior Performance Competitions and three national finalists. Her students have won top prizes in the Texas Music Teachers Association Performance Contest, in the Austin Piano Festival Solo Competition, the Texas State Young Artist Competition, and have performed often with the Louisiana Philharmonic Orchestra as well as the Monroe Symphony Orchestra and the Austin Civic Symphony. Three of her students have been featured on the national radio program “From the Top.” For fourteen years she was director of the New Orleans Piano Institute which received the Gambit Classical Arts Education Award in 2010. She received the Austin Music Teachers Association Award for Outstanding Pre-Collegiate Teaching Achievement in 1988, 2014, 2015, and 2016 and in 2004 received the Outstanding Teacher Award for the state of Louisiana by Louisiana Music Teachers Association.
Shearon Horton Master Class
Tuesday July 26, 4:05 PM Thursday July 28, 3:00 PM
Joni Jensen NOPI Director
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2016 New Orleans International Piano Competition 33
I n s t i t u t e F a cu l t y
Igor Resnianski
Igor Resnianski NOPI Director
Master Class
Monday, July 25 3:00 PM
Fred Kasten Master
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of
Ceremonies
A Steinway artist, Dr. Resnianski is a prize winner of many international piano competitions including the First Prize of the New Orleans International Piano Competition; the Bronze Medal of the International World Piano Competition, Cincinnati, Ohio; the Bronze Medal of the Nena Wideman International Piano Competition, Shreveport, Louisiana, the Fifth Prize in the first Beijing International Piano Competition, and the Second Prize of the All Russian Piano Competition Sodrujestvo. In Russia, he appeared in the famous halls of Moscow and St. Petersburg including the historic Glinka Philharmonic Hall in St. Petersburg and appeared with many orchestras in the Siberian region. In June 1996, Mr. Resnianski made his concerto debut in America performing with the Fort Worth Symphony Orchestra under conductor Keri-Lynn Wilson and in South America performing a solo recital at the Medellin International Festival, Colombia. Since then he performed with Kennett Symphony, PA, New Orleans and Acadiana Symphony Orchestras, LA, etc. Gave solo recitals in Guiyang, China; Fort Worth and Arlington, TX; New Orleans and Lafayette, LA; Cincinnati, OH and Palm Beach, FL; Philadelphia, PA and Camden, NJ; Santa Clara, CA and Houston, TX; etc. His performances were televised and broadcasted in Novosibirsk, Russia; Palm Beach, FL; Cincinnati, OH. Dr. Resnianski’s performances were featured on the PBS/WHYY Y-Arts television channel. His chamber recordings were released under St. Petersburg Recording Company and Sony Entertainment. 2012 Teacher of the Year for the state of Pennsylvania, Dr. Resnianski teaches master-classes and judges local, state, national, and international competitions in the US and abroad. He is a regular faculty of such festivals as PianoTexas International Academy and Festival, Fort Worth TX; Piano Institute at Texas Music Festival, Houston TX; New Orleans Piano Institute, LA, California Concerto Weekend, CA, etc. Since September 2013, Dr. Resnianski accepted responsibilities of a co-director of the New Orleans Piano Institute. His students are winners of many local, state, national, and international piano competitions. Among them are the Philadelphia Orchestra Greenfield Concerto Competition; William Kapell Young Artist International Piano Competition; Liszt International Competition in Los Angeles; Chopin International Piano Competition in Hartford Connecticut; World Piano Competition in Cincinnati; MTNA/PMTA state piano competition; New Orleans Piano Institute Competition solo and concerto; TCU-Cliburn Piano Institute Concerto Competition; etc. His students performed in many countries including USA, Russia, France, Germany, China. They appeared on such venues as Verizon Hall and Perelman Theater at the Kimmel Center in Philadelphia; Tchaikovsky and Roerich museums in Moscow; Wail Recital Hall at Carnegie Hall and Merkin Hall at Elaine Kaufman Cultural Center in New York; Ed Landreth Hall in Fort Worth, TX; Emilie K. Asplundh Concert Hall in Philips Memorial Building at West Chester, PA, etc. They appeared with such orchestras as Philadelphia Orchestra, Fort Worth Symphony, Kennett Symphony, Lansdowne Symphony, Ambler and York orchestras, New Orleans Civic Orchestra, etc. Dr. Resnianski is an Assistant Professor at West Chester University of Pennsylvania in West Chester, PA. He also teaches privately and at the Nelly Berman School of Music in Haverford, PA.
Fred Kasten
Fred Kasten is an award-winning radio producer and interviewer. In 2007, he retired from a two- decade- plus tenure at the New Orleans NPR affiliate, 89.9 WWNO – but continues to produce work for the station – including a 15-part series with Pulitzer Prizewinning journalist Bob Marshall on coastal restoration issues in Southeast Louisiana, The Louisiana Coast: Last Call – which began airing May 13, 2013 – and a new weekly jazz program, Jazz New Orleans – now heard Friday nights from 8pm – 10pm. During his years at WWNO, Kasten hosted the station’s popular Saturday Night Jazz – created and produced the sketch comedy and New Orleans music variety program Crescent City (more than 40 one hour episodes over four years) – and was WWNO’s Program Director and Associate General Manager from 2001 – 2007. He currently produces audio projects at his home studio in the Carrollton neighborhood.
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2016 New Orleans International Piano Competition 35
judging procedures
2016
Judging Procedures
for the
Preliminary/Recorded Round
Throughout the two stages of the Preliminary/Recorded Round, Judges watched and listened to videos submitted by the applicants via Acceptd.com. In the initial stage, two judges were responsible for paring the field of applicants from 186 to 30. In the second stage, five judges, each watching and listening independently, ranked their top twelve performances. Results were tabulated and the top twelve performers were invited to New Orleans to compete as semifinalists. In the case of a tie, the contestant ranked by the most judges advances. If a tie remains, the performer receiving the highest ranking advances. If a tie continues to exist, the tied performances are resubmitted to the final preliminary judges for ranking.
Judging Procedures
for the
Competition Jury
Semifinal Round I & II At the completion of Semifinal Round II of the competition, the five judges will independently select, without discussion, three contestants to advance to the Final Round. Each of these contestants must have received at least three of the jurors’ votes. In the case of a tie, the competition jury will be asked to choose, without discussion, between the tied competitors. The chair of the jury is a non-voting member. In the case where a juror withdraws, the chairs becomes a voting member. Final Round At the completion of the Final Round of the competition, the five judges will independently cast their ballots, without discussion, for the pianist they believe should win the First Prize. To be awarded this prize, the pianist must have received at least three of the jurors’ votes. In the case of a tie, the competition jury will be asked to choose, without discussion, between the tied competitors. The judges will repeat this process to determine the winner of the Second and Third Prizes.
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Recorded/Preliminary Round Any solo piano repertoire selected by the competitor, not to exceed forty-five minutes in length. Individual movements of the sonatas are acceptable in this round only.
2016 Competition Requirements
Competition Requirements
Semifinal Round I A memorized public recital, not to exceed 35 minutes in length, consisting of works chosen by the competitors. All twelve semifinalists will advance to Semifinal Round II.
Semifinal Round II A memorized public recital, not to exceed 20 minutes in length, consisting of works chosen by the competitor which have not been performed in Semifinal Round I. Three contestants will be chosen to advance to the Final Round.
Final Round A memorized public recital, not to exceed 50 minutes in length, consisting of works not performed by the competitor in the Semifinal Rounds.
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2016 New Orleans International Piano Competition 37
competitors
Scott Cuellar • United States SEMIFINAL ROUND I Fauré
Nocturne No.11 in F-sharp Minor, Op.104, No.1
Schumann
Humoreske, Op.20
ˆ
SEMIFINAL ROUND II
Scott Cuellar was the 1st place winner of the 2016 San Antonio International Piano Competition, and was the 1st place winner in the solo division of the 2013 Virginia Waring International Piano Competition, where he also took 2nd place in the concerto division. He has given solo recitals at Carnegie Hall’s Weill Recital Hall, Vienna’s Konzerthaus, and the Shenyang Conservatory of Music. He has performed in solo and collaborative settings at the Kennedy Center, the Sede Histórica of Peru’s Conservatorio Nacional de Música in Lima, and Calgary’s Jack Singer Concert Hall. He has performed with the Rochester Symphony Orchestra, the Oberlin Orchestra, the Lima (Ohio) Symphony Orchestra, and several others. He holds a Master of Music from the Juilliard School, where he studied with Julian Martin, and holds a Bachelor of Music from the Oberlin Conservatory of Music, where he studied with Alvin Chow. Mr. Cuellar is now a doctoral student at the Shepherd School of Music at Rice University, where he studies with Jon Kimura Parker.
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d
Scriabin
Sonata No.9, Op.68 “Black Mass”
Beethoven
Sonata in F Major, Op.54
FINAL ROUND
d
Prokofiev
Toccata, Op.11
Debussy
Images, Book II
Schubert
Sonata in C minor, D.958
Christopher Goodpasture • United States
competitors
SEMIFINAL ROUND I Bartók
Out of Doors, Sz.81
Janácek
Piano Sonata 1.X.1905
Rachmaninov
Etude-tableau in E-flat Minor, Op.39, No.5
SEMIFINAL ROUND II
d
Debussy Preludes, Book II Feuilles mortes Général Lavine—”eccentric” Feux d’artifice Liszt
FINAL
Funérailles, S.173
ROUND
Liszt/Wagner
d
Isolde’s Liebestod
Ravel Sonatine Scriabin
Vers la Flamme, Op.72
Beethoven
Sonata in C Minor, Op.111
Praised by the Washington Post for his “sparkling, highly musical” playing and by the Huffington Post for his “dazzling fireworks,” Christopher Goodpasture has given performances at the Kennedy Center (Washington D.C.), Benaroya Hall (Seattle), Koerner Recital Hall (Toronto), Alice Tully Hall (New York), Weill Recital Hall (New York), Bing Concert Hall (San Francisco), and the Los Angeles County Museum of Art among others. His awards include 1st prize in the 2015 Seattle International Piano Competition, 2nd Prize in the 2015 Iowa International Piano Competition, and top prizes in the Los Angeles Liszt Competition, and the Susan Torres Competition for pianists. Festival appearances include performances at the Banff, Aspen, Sarasota and Kneisel Hall music festivals in addition to the Music Academy of the West and the Holland Music Sessions. He completed his Bachelor of Music degree as a student of John Perry at the University of Southern California Thornton School of Music and subsequently received his Master’s Degree from The Juilliard School in New York City as a student of Hung-Kuan Chen and Jerome Lowenthal. Christopher will be pursuing post-graduate studies in the fall at the Yale School of Music under Peter Frankl.
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2016 New Orleans International Piano Competition 39
competitors
Matthew Graybil • United States SEMIFINAL ROUND I Scriabin ˆ
Schubert
Etude in B-flat Minor, Op.8, No.11 German Ländler, D.790
Schumann/Liszt Widmung Liszt Années de Pèlerinage, I Italie Vallée d’Obermann
SEMIFINAL
Praised by The New Yorker as an “exceptional young artist” American pianist Matthew Graybil has performed throughout the United States, Canada, France, Holland, and Mexico in venues such as Carnegie’s Weill Recital Hall, Le Poisson Rouge, Verizon Hall at the Kimmel Center and Lincoln Center. He has appeared on radio and television, including WNYC, WQXR, WWFM, CBS Chicago, the Discovery Channel, and PBS.
Brahms
Since making his orchestral debut at age 14, he has performed with the Fort Worth Symphony and the National Chamber Players among others. He has been a prizewinner in the MTNA/ Yamaha National Piano Competition, the New York Piano Competition, the National Foundation for the Advancement of the Arts, the Juilliard Gina Bachauer Competition, Missouri Southern International Piano Competition, and the Wideman International Piano Competition. Graybil was a pupil of Harvey Wedeen for six years and completed his Bachelor’s and Master’s degrees from The Juilliard School, where he worked with Jerome Lowenthal and Matti Raekallio.
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ROUND II
d
Four Klavierstücke, Op.119
Stravinsky/Agosti Danse infernale from The Firebird
FINAL
ROUND
d
Mozart
Rondo in A Minor, K.511
Chopin
Sonata No.2 in B-flat Minor, Op.35
Stravinsky
Trois mouvements de Pétrouchka
Yewon Jeong • South Korea
competitors
SEMIFINAL ROUND I Schubert
SEMIFINAL
Sonata in A Major, D.959
ROUND II
d
Chopin
Scherzo No.4 in E Major, Op.54
Ravel
Scarbo from Gaspard de la nuit
FINAL
ROUND
d
Franck
Prélude, Choral et Fugue
Mozart
Fantasia in C minor, K.475
Prokofiev
Sonata No. 7 in B-flat Major, Op.83
After studying with Daejin Kim at the Korea National University of Arts in Seoul, Yewon Jeong completed the MM degree at the Eastman School of Music where she is currently continuing in the Doctoral program with Douglas Humpherys. Yewon Jeong has won the Hankook Ilbo and Buam National Piano Competition in Korea, and the Eastman Piano Concerto Competition, resulting in a performance of the Schumann Piano Concerto with the Eastman Symphony in Kodak Hall. She has concertized at international venues including the Young Artist Concert in Kumho Art Hall, the Young Musicians Festival in Youngsan Art Hall, Ujung Art Center, Mozart Hall (Korea), at the Millennium stage in the Kennedy Center, and Kilbourn Hall (USA). She has also worked as a Kaplan Fellow at Bowdoin Music Festival in 2015 and participated in Banff Chamber Music Festival in 2016.
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2016 New Orleans International Piano Competition 41
competitors
Saetbyeol Kim • South Korea SEMIFINAL ROUND I Scarlatti
Sonata in B Minor, K.87 Sonata in D Major, K.492
Granados
Los Requiebros from “Goyescas”
Rachmaninov
Sonata No.2 in B-flat Minor, Op.36 (1931)
SEMIFINAL ROUND II South Korean pianist Saet-byeol Kim is rapidly earning a reputation for her interpretations, which “impress with energy and freshness.” Saetbyeol was the first prize winner of the Dallas International Competition (2015), the Rochester Philharmonic Concerto Competition (2012), and the second prize winner of the Louisiana International Piano Competition (2015). In Korea she also won first prize in the 40th Music Educational Competition, the Shinye Competition, and the Daegu 10th TBC Broadcast Competition. In the spring of 2016 she performed Tchaikovsky Concerto No. 1 with the Dallas Chamber Orchestra, followed by a New York recital debut at Weill Recital Hall of Carnegie Hall. She completed her Artist Diploma at The Glenn Gould School of The Royal Conservatory under Marietta Orlov, and will be pursuing Artist Diploma at Rice University with Jon Kimura Parker.
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d
Haydn
Sonata in A-flat Major, Hob.XVI:46
Kapustin
Variations, Op.41
FINAL ROUND
d
Bach
Prelude and Fugue in A-flat Major, WTC I, BWV862
Liszt
Spanish Rhapsody, S254
Beethoven
Sonata in E-flat Major, Op.31, No.3
Ravel
La Valse
Yejin Noh • South Korea
competitors
SEMIFINAL ROUND I Haydn
Sonata in A-flat Major, Hob.XVI:46
Prokofiev
Suggestion diabolique, Op.4, No.4
Liszt
Reminiscences of Norma, S.394
SEMIFINAL ROUND II
d
Schumann
Abegg Variations, Op.1
Ravel
Scarbo from Gaspard de la Nuit
FINAL ROUND
d
Bach/Busoni Chorale Prelude “Wachet auf, ruft uns die Stimme,” BWV645 Schumann
Sonata No.1 in F-sharp Minor, Op.11
Stravinsky
Trois mouvements de Pétrouchka
Yejin Noh was born in Seoul, South Korea and received her Bachelor’s degree at Seoul National University with Hee-Sung Joo. Yejin continued her studies at the Indiana University Jacobs School of Music, where she obtained the Master’s Degree and Artist Diploma with Arnaldo Cohen and Menahem Pressler. She has won a number of international prizes, including the second prize at the Washington Piano Competition in 2011, third prize at the San Antonio Piano Competition, Wideman Piano Competition in 2012, and Takamatsu Piano Competition in 2014. Most recently, Noh won the second prize at the FVG International Piano Competition in 2016. Noh has performed solo recitals in San Antonio, Portland and surrounding cities in 2015, and in Takamatsu, Japan in 2016. She has also collaborated with renowned orchestras including the Savannah Philharmonic Orchestra, Shreveport Symphony Orchestra, Seto Philharmonic Orchestra, and Royal Chamber Orchestra of Wallonia. Yejin is currently pursuing the Doctor of Musical Arts degree with Hee-Sung Joo at Seoul National University.
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2016 New Orleans International Piano Competition 43
competitors
Kyle Orth • United States SEMIFINAL ROUND I Haydn
Sonata in B Minor, Hob.XVI:32
Prokofiev
Piano Sonata No.6 in A Major, Op.82
SEMIFINAL
Hailed as “spine tingling” (Fort Worth Star-Telegram) and as a musician with “impressively multiple facets” (Boston Musical Intelligencer), Kyle Orth has concertized across the United States, Israel, and Mexico. He has appeared with numerous professional orchestras, including the Dallas Symphony Orchestra, the Israel Symphony Orchestra, the Fort Worth Symphony Orchestra, the Orquesta Sinfónica de Oaxaca (Mexico), the Dallas Chamber Symphony, and the Springfield Symphony Orchestra, under the batons of Jaap van Zweden, Vahagn Papian, Miguel Harth-Bedoya, Hugh Wolff, and others. Upcoming engagements include performances with the Missouri Symphony Orchestra and the Minnesota Symphony Orchestra. Among his many competition titles, he was named First-Place Winner in the MTNA Senior Piano Competition, the Minnesota Orchestra Young Artist Competition, and the Dallas International Piano Competition. His recordings have been broadcast on WGHB-WCRB in Boston and on WRR radio in Dallas. Mr. Orth completed his undergraduate studies at TCU and his graduate degree at New England Conservatory, where he is continuing as a doctoral candidate under the tutelage of Wha Kyung Byun.
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ROUND II
d
Ravel
Oiseux tristes from Miroirs
Stravinsky
Trois mouvements de Pétrouchka
FINAL ROUND
d
Chopin
Berceuse, Op.57
Beethoven
Piano Sonata in B-flat Major, Op.106
Liana Paniyeva • Ukraine
competitors
SEMIFINAL ROUND I Gluck
Dance of the Blessed Spirits from “Orfée et Eurydice”
Rachmaninov
Variations on a Theme of Corelli, Op.42
Ravel
La Valse
SEMIFINAL ROUND II
d
Franck
Prelude, Fugue and Variation, Op.18
Saint-Saëns/ Liszt/Horowitz
Danse Macabre
FINAL ROUND
d
Schumann
Kreisleriana, Op.16
Weinberg
Sonata No.2, Op.8
Liana Paniyeva began winning prizes in piano competitions in the Ukraine in 2002 when she earned Third Prize at the International Competitions in Memory of E. Gilels, First Prize at the International Competition in Memory of Prokofiev, and Second Prize at the International Competition in Memory of A. Karamanov. Her accomplishments in 2008 included First Prize at the “Music World” International Competition in Italy, and she was the winner of “The Voice of Music” Piano Competition in Israel. In the United States in 2012, Ms. Paniyeva was the winner of the American Protégé International Competition of Romantic Music, recipient of the Grand Prize at the Metropolitan International Piano Competition, and the winner of the AFAF Golden Era of Romantic Music International Competition. In 2013, Ms. Paniyeva was awarded the E.B. Storrs Piano Scholarship from the Musical Club of Hartford. Ms. Paniyeva was also awarded a prize in the 2014 Scottish International Piano Competition in Glasgow, and won 6th place at the Iowa International Piano Competition in 2015.
She has performed at international festivals in Norway, Hungary, Syria, Italy, and Israel, and during the 2012-2013 season, she performed three times at Carnegie Hall in New York City. Liana graduated from the Donetsk Music Academy in Ukraine in 2007, and went on to earn her Professional Studies Certificate from the Manhattan School of Music in 2011. Her career continues with recitals in Hungary, Israel, Ukraine, USA, England, Syria and Norway. Currently Liana is pursuing a Master’s Degree at The Hartt School of the University of Hartford studying with Maggi Francis and privately with Dr. Anastasia Seifetdinova. —
2016 New Orleans International Piano Competition 45
competitors
Alexander Soares • United Kingdom SEMIFINAL ROUND I D’Anglebert
Unmeasured Prelude in G Minor
Boulez
12 Notations
Beethoven
Sonata in E-flat Major, Op.81a “Les Adieux”
SEMIFINAL ROUND II
Praised as a pianist of “huge intensity” (The Telegraph), Alexander Soares is developing a reputation as an artist of formidable technique and virtuosity, with performances of “diamond clarity and authority” (BBC Radio 3). His performance and BBC Radio 3 broadcast at the Barbican Centre received widespread critical acclaim in the press, described as a “brilliantly unbuttoned account” (The Sunday Times) and “most memorable of all” (The Financial Times). In 2015 he was awarded 1st prize and Gold Medal in the prestigious Royal Overseas League Competition, and was selected as a City Music Foundation Artist. He has performed in the Royal Festival Hall, Bridgewater Hall, Wigmore Hall and across Europe. His first album will be recorded in 2016. Alexander graduated with first class honours from University of Cambridge, and holds a doctorate from Guildhall School of Music & Drama. He has greatly benefitted from the guidance of pianists including Ronan O’Hora, Richard Goode and Stephen Kovacevich.
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d
Liszt Annés de Pèlerinage, II Italie Sposalizio Messiaen Vingt Regards sur l’Enfant-Jésus Regard de l’Esprit de Joie
FINAL ROUND
d
Scarlatti
Sonata in F Minor, K.466
Carter
Rétrouvailles
Chopin
Polonaise-Fantaisie, Op.61
Dutilleux Sonata, Op.1 Allegro con moto Lied Choral et variations
Xiaohui Yang • China
competitors
SEMIFINAL ROUND I Bach
Partita No.5 in G Major, BWV 829
Bartók
Improvisations on Hungarian Peasant Songs, Op.20
Chopin
Barcarolle, Op.60
SEMIFINAL ROUND II
d
Carter
90+
Rachmaninov
Moments musicaux, Op.16, Nos.1–4
FINAL ROUND
d
Mozart
Piano Sonata in F Major, K.280
Schumann
Piano Sonata No.1 in F-sharp Minor, Op.11
Chinese pianist Xiaohui Yang has been featured as a soloist and chamber musician in performances throughout Asia and North America, including venues such as Carnegie Hall and Seoul Arts Center. Recent orchestra engagements include the New Jersey Symphony, Curtis Symphony and Milwaukee Symphony Orchestras. Her competition prizes include the American Protégé International Competition, the Piano Arts Competition, the Hong Kong Piano Open Competition, and the International Chopin Piano Competition in Asia. A dedicated chamber musician, Xiaohui has attended important music festivals such as the Taos School of Music, Tanglewood Music Center, and Ravinia’s Steans Music Institute. Xiaohui was accepted in 2008 to the Curtis Institute of Music, studying with Ignat Solzhenitsyn, where she received the Festorazzi Prize awarded to the best pianist of 2013. After studying at the Juilliard School with Robert McDonald, she is currently pursuing her Doctor of Musical Arts degree with Boris Slutsky at Peabody Conservatory.
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2016 New Orleans International Piano Competition 47
competitors
Hyun Ji You • South Korea SEMIFINAL ROUND I Haydn
Piano Sonata in A-flat Major, Hob.XVI:46
Chopin
Ballade No.4 in F Minor, Op.52
Scriabin
Sonata No.5, Op.53
SEMIFINAL ROUND II Rachmaninov
Sonata No.2 in B-flat Minor, Op.36 (1931)
Born in Seoul in 1986, Hyun ji You began studying piano at the age of 5 and had her debut recital and concerto appearance at the age of 8 in South Korea. She received First Prizes at a number of piano competitions in Korea. She was granted early admission to the Seoul National University for her outstanding academic performance and studied with Hee Sung Joo. She received a full scholarship to the Jacob School of Music at Indiana University. She earned an Artist Diploma and Masters degree while studying with Karen Shaw and Jean-Louis Haguenauer. Hyun ji has won prizes from several piano competitions in South Korea. In addition, she has performed recitals and chamber programs including the Euro Music Festival in Prague, Busan International Music Festival, Spain Tenerife Music Festival, and the Berlin Music Festival. She has won prizes at international competitions such as Osaka International Piano Competition, Washington International Piano Competition, NSAL Competition, and Southern Illinois Young Artist Competition. She is currently pursuing a Doctoral degree at Se Jong University in South Korea with Jae Hee Hyun. She also teaches at Suwon Womens University and Se Jong Conservatory of South Korea.
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d
FINAL ROUND
d
Beethoven
Sonata in C Major, Op.53 “Waldstein”
Schumann
Fantasiestücke, Op.12
Scriabin
Sonata No.4 in F-sharp Major, Op.30
Re Zhang • China
competitors
SEMIFINAL ROUND I Haydn
Sonata in C Major, Hob.XVI:48
Rachmaninov Etudes-tableaux, Op.33 1 Allegro non troppo (F minor) 2 Allegro (C major) 3 Grave (C minor) 4 Moderato (D minor) 5 Non Allegro—Presto (E-flat minor) 6 Allegro con fuoco (E-flat major) 7 Moderato (G minor) 8 Grave (C-sharp minor) Re Zhang, originally from Beijing, China has just finished her Master’s degree at The Juilliard School studying under Stephen SEMIFINAL ROUND II Hough and Matti Raekallio. Re previously Brahms Six Pieces for Piano, Op.118 graduated from Oberlin Conservatory with No.3. Ballade in G Minor Honors in piano performance, where she No.6. Intermezzo in E-flat Minor studied with Robert Shannon. Re began studying piano when she was five years old and first performed on the stage at the age of Stravinsky/Agosti The Firebird six. In 2000, Re took part in the Sixth Piano 1. Danse infernale du roi Kastchei Open Competition of YMCA-YWCA, 2. Berceuse and was awarded the first prize. In 2004, 3. Finale she enrolled in the music middle school attached to The Central Conservatory of Music in Beijing, gaining admittance with the top score on the entrance exam that FINAL ROUND year. In January of 2006, she was awarded Beethoven 33 Variations on a Waltz by Anton Diabelli, the Silver Prize in the 7th International Op.120 Chopin Piano Competition in Asia. That October, she took part in the International Piano Competition for Young Musicians in Holland and was awarded the 3rd Prize. In 2010, she won the statewide scholarship from the Tuesday Musical Scholarship Auditions. In 2011, she won the Rudolf Serkin Scholarship. In 2012, she won Oberlin Conservatory’s John Elvin Prize — awarded to a student judged by the piano department to be the most talented in the junior class. Later that year, in April, she went on to win The Arthur Dann Piano Competition. In 2013, she finished her Honor’s project at Oberlin Conservatory which involved recording and performing the Beethoven’s Diabelli Variations. Re is going to continue her post-graduate studies under Professor Boris Slutsky at the Peabody Conservatory.
d
d
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2016 New Orleans International Piano Competition 49
— 50
Taylor Aultman, LCSW
Nancy Morais, LCSW
Robin Benton Crutcher, PhD, LCSW
Gail Pittenger, LCSW
Linda M. Floyd, PhD
Randall E. Rupp, LCSW
Paul Hufnagel, PhD
Marly L. Sweeney, LCSW
Halina, Margan, PhD, LCSW
Christian Harris, LCSW
A P rogram G uide by Raymond Gitz
Piano repertoire is one of the richest musical genres, and the New Orleans International Piano Competition (NOIPC) provides an opportunity to hear masterworks from this
Program Guide
Exploring the Semifinal Repertoire:
outstanding literature performed by twelve of the world’s most gifted pianists. Preserving the 2003 innovation of allowing each performer to play twice, in Semifinal Round I and again in Semifinal Round II, NOIPC continues to cultivate creative programming. Competitors have chosen to play works spanning four centuries, representing a variety of musical styles and forms. Because music is a living art, it must constantly be recreated, live, before an audience. In addition to developing an increased appreciation of the pianistic art, it is hoped that NOIPC will foster the growth of audiences eager to experience the excitement and fulfillment of great music. Here is a chronological perspective of the Semifinal repertoire from D’Anglebert to Kapustin, with brief analytical notes designed to help listeners unlock the intense beauty of this music.
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2016 New Orleans International Piano Competition 51
Jean-Henri D’Anglebert Program Guide
(1629–1691) Unmeasured Prelude in G Minor
Among the many stars during the reign of the Sun King, D’Anglebert is one of the most important composers. Pièces de Clavecin (works for harpsichord) is now available in an Urtext edition with preface and notes transcribed by Denise Restout. Angela Hewitt and other pianists are expanding their recitals to include these works from the French Clavecin School. The unmeasured or non-measured prelude is a prelude in which the duration of each note is left to the performer. Typically the term is used for seventeenth-century harpsichord compositions that are written without rhythm or meter indications. Unmeasured preludes started appearing around 1650. Louis Couperin is usually credited as the first composer to embrace the genre.
Johann Sebastian Bach
(1685–1750) Partita No.5 in G Major, BWV 829 Bach published his six Partitas as his Opus 1. Written between 1725 and 1730, the six Partitas were collected together to form a single volume, to which Bach gave the title Clavier-Übung (Keyboard Practice). Bach produced three more volumes; the incomplete Art of Fugue would have formed volume five. “Partita” was one of several terms for a suite of dances; “partita” could also indicate a set of variations. Dance suites were among the most popular genres of instrumental music at this time. In addition to seven from the first two books of ClavierÜbung, Bach left another twelve suites for keyboard, four for orchestra, three for solo violin, and six for solo cello. Influenced by immediate predecessor at Leipzig, Johann Kuhnau (1660-1722), Bach followed Kuhnau’s practice of opening a partita with a preludium (Bach used a different title for each of the partitas), followed by an allemande, courante, sarabande, and gigue, with assorted lighter dances inserted along the way. The opening of the Partita No.5 in G Major is a praeambulum; in addition to the standard dances, it includes a “tempo di minuetta” and a passepied.
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Domenico Scarlatti (1685–1757) Sonata in B Minor, K.27 Sonata in D Major, K.492
One of the greatest innovators in the history of keyboard music, Domenico Scarlatti was born in Naples in the same year as Bach and Handel. At the age of thirty-four he became Master of the Royal Chapel in Portugal and harpsichord teacher to the King’s daughter, the Infanta Maria Barbara. On her marriage in 1728 to Fernando, heir to the Spanish throne, Scarlatti accompanied the Princess to the royal court of Spain. The majority of Scarlatti’s sonatas are single-movement works in binary form, showing the influence of the Spanish guitar, the distinctive songs and dances of flamenco, and the court music of Spain and Portugal. Contrasting with the contrapuntal style of Bach, Scarlatti explores new depths of virtuoso technique in an original way using devices such as the frequent crossing of hands, fast runs in thirds and sixths, large leaps, broken chords in contrary motion, rapidly repeated notes, and fast, wide-ranging arpeggios. Originally conceived for harpsichord, these works are often romanticized when played on the piano.
Joseph Haydn
Haydn, recognized as the father figure of Viennese Classicism, composed approximately sixty-two piano sonatas (seven are lost) from the 1750s to 1794, writing not only for the harpsichord but also for the expressive ability of the fortepiano. Anthony van Hoboken’s 1957 catalog is one of numerous numbering systems in use. (See Maurice Hinson’s Guide to the Pianist’s Repertoire for a detailed table.) Musicologist A. Peter Brown notes that, from the composer’s earliest years until just days before his death, “the keyboard was at the very center of Haydn’s musical life and interests.” Haydn’s contemporaries and biographers confirm that the clavier was used for creating works of every genre, including symphonies, oratorios, and operas. The Sonata in B Minor shows the influence of the musical aesthetics of Sturm und Drang (Storm and Stress) and Empfindsamkeit (Sensibility)—the later’s aim the expression and transmission of varying human emotions. The beautiful Sonata in A-flat Major is one of the more frequently played of Haydn’s sonatas; it is both technically and musically demanding. Now thought to be composed between 1768 and 1771, it was once dated about twenty years too late because of a supposed influence of Mozart on the slow movement. Philip G. Downs asserts that Haydn’s complete assimilation of C.P.E. Bach’s influence can be seen in the slow movement of this sonata. The spirit of empfindsamer Stil (sensitive style) can be seen in the melodic simplicity and refined expression of this work. An improvisatory quality pervades the the first movement of Sonata in C Major marked Andante con espessione. It has an unusual five-part structure in which the B-sections are different parallel minor variants of the A-section. A notable feature of the sonata is its profusion of dynamic markings, ranging from pianissimo to fortissimo. The finale is a smoothly controlled sonata-rondo form with witty figures and rhythms; it is an exuberant virtuoso piece with parallel thirds, sixths, and octaves.
(1770–1827) Sonata in F Major, Op.54 Sonata in E-flat Major, Op.81a Les Adieux Beethoven’s piano sonatas form one of the most important collections of works in the history of music. Spanning several decades of his life as a composer, the sonatas soon came to be seen as the first body of substantial serious works for piano suited to performance in large concert halls seating hundreds of people. Composed as much for private music-making as public recital, Beethoven’s sonatas have long formed a bridge between the worlds of the salon and the concert hall. The legacy of these piano sonatas is so vast and significant that this short article cannot possibly do it justice. Regarding performance of the sonatas, I will quote the close of Alfred Brendel’s essay Musical Character(s) in Beethoven’s Piano Sonatas: “Structure and character relate to one another: they may work hand-in-hand, or they may have a relationship of fruitful tension. But interpreters should never assume that understanding the structure of a work might automatically give them insight into the work’s character, atmosphere or spiritual state. The interpreter would do well to concern himself with structure and character as two functions that emanate, as it were, from different sides of the same work, in the hope that he might one day unite the two at a point where the pain of interpretation can be transformed into the relief of a satisfying experience.”
Program Guide
(1732–1809) Sonata in B Minor, Hob.XVI:32 Sonata in A-flat Major, Hob.XVI:46 Sonata in C Major, Hob.XVI:48
Ludwig van Beethoven
Rather than the customary designation of division into three parts (early, middle, late), Robert Taub prefers to consider five chronological periods, each defined by the dramatic and compositional content and the musical character of the works themselves: 1795–1800
Epitomizing classical style
(13 sonatas)
1801–1802 Experimentation (7 sonatas)
1803–1804
Post Heiligenstadt
(3 sonatas, including Op.54)
1809
Compression, homogeneity
(3 sonatas, including Op.81a)
1814–1822
Summation, transcendence
(6 sonatas)
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Franz Schubert
(1797–1828) German Ländler, D.790 Sonata in A major, D.959 Schubert was one of the most prolific and greatest composers. He established the Lied as major genre. His model inspired a host of successors, none of whom surpassed his scope of expression and variety of achievement. Long underestimated, Schubert’s compositions for piano have recently begun to assume their place beside Beethoven’s legacy. Kinderman describes them “as works of almost unparalleled expressive range and depth.” He cites several factors that contributed to their neglect: the fact that much of this music remained unpublished during his Schubert’s lifetime; the dominance, in these works, of musical expression over technical virtuosity; and the overpowering influence of Beethoven, whose works set standards that are not directly applicable to Schubert. Discussing the psychological symbolism in Schubert’s piano music Kinderman elaborates: “A key to this symbolism is found in Schubert’s songs, in which the protagonist, or Romantic wanderer—who assumes the role of lyrical subject—is often confronted by an indifferent or hostile reality. Musically, Schubert uses a combination of heightened thematic contrasts, juxtaposition of major and minor keys, and abrupt modulations to reflect this duality between internal and external, or imagination and perception—between the beautiful, bright dreams of the protagonist, on the one hand, and a bleak external reality on the other.” According to Hinson, Schubert wrote 452 short dances, including the set of 12 German Ländler, D.790. The Sonata in A Major, D.959 is one of three piano sonatas which makes up the group referred to as “Schubert’s last sonatas.” Numbered 958, 959, and 960 in the Deutsch catalogue these sonatas were written during the last months of Schubert’s life, between spring and autumn of 1828, but were not published until about ten years after his death. Regarded as a trilogy, the three sonatas have shown to be cyclically interconnected by diverse structural, harmonic, and melodic elements tying together all movements in each sonata. Similarities to Schubert’s song cycle Winterreise are apparent in the emotional turmoil inherent in the sonatas and often ascribed to the harsh reality of Schubert’s late life.
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Frédéric Chopin
(1810–1849) Ballade No.4 in F Minor, Op.52 Scherzo No.4 in E Major, Op.54 Barcarolle, Op.60 Chopin’s music is written almost exclusively for solo piano. The novelist George Sand remarked that “he made a single instrument speak a language of infinity.” Pianists and audiences have been fascinated by the breathtaking lyricism and originality of Chopin’s style, which explores novel textures and expressive extremes extending from the graceful to the grandiose, the intimately poetic to the tempestuously passionate. This unique style combines a chromatic polyphony, based on his admiration of Bach, with an approach to melody derived from the Italian operas of Bellini, Donizetti, and Rossini. Chopin’s ballades and scherzos dispel any doubt of his mastery of large forms, often illustrating his ingenious blending of different formal archetypes – sonata form, rondo, and variations. The smaller scale dances and character pieces reflect the vast range of expressive possibilities because of which Chopin is justifiably called the poet of the piano. As a pianist, Chopin was virtually self-taught. He was left to find his own way and did so with such natural aptitude that by the time he was twenty he was fully formed as a pianist. The four Ballades of 1831–42 rank among Chopin’s finest creations. These are substantial single-movement pieces notable for their wealth of content, which integrates nocturne-like lyric passages, waltz-like epic passages, and dramatic episodes. The term “ballade” suggests poetic overtones of a narrative nature, but Chopin’s Romanticism does not encourage extra-musical association. Chopin scholar Jim Sampson feels the Fourth Ballade is one of Chopin’s supreme achievements: “…it is a synthesis of many aspects of his art, ranging from the most popular to the most severe, from the elegance and grace of the waltz to the rigour and logic of strict counterpoint. Above all it is a triumph of architecture, one of the most goal-directed of all his structures.” Composed in 1842, the Scherzo in E Major, Op.54 would be his last.; the only scherzo in a major key, it is both joyous and poetic. The scherzo has a sonata-rondo form, moving to a trio in C-sharp Minor that is based on a Polish folk song; it ends with a triumphant coda. In the warm, lyrical Barcarolle, Op.60, the three songlike themes each bringing a slight increase in tempo, are eventually gathered together in an exultant apotheosis.
Robert Schumann
Schumann was the son of a bookseller, a circumstance that brought him into close contact with the writings of the new Romantic movement during his formative years. After a period of law study and an unsuccessful attempt to become a concert pianist, he turned his efforts towards composition and musical journalism. Schumann, more than any other composer, became the spokesperson for the revolt against Classicism and the champion for revolutionary tendencies in music. In addition, he became the ardent supporter of such men as Chopin and Brahms, and it was through his writing that much of their music became known to the world. Schumann’s music can be identified by its lyric melody, its vague and imaginative formal structure, and its remarkable range of expression from the most tender to the most heightened passion. He showed his interest in Bach by using contrapuntal devices within the framework of Romantic harmony. His piano music is idiomatic, making full use of the harmonic and tonal possibilities of the instrument. Throughout his career Schumann was occupied by writing character-pieces, and though he wrote in larger forms, he continually favored that genre. Hinson lists characteristics of Schumann’s piano writing, including “his use of fast harmonic rhythm, unusual pedal effects, syncopation and cross rhythms, varied accompaniment figurations, chord doublings, and a unique exploitation of contracting and expanding the pianist’s hand.” Schumann’s dedicated the Abegg Variations to the Countess von Abegg. The five letters of the name can be represented as an ascending series of notes (B in German notation is the English B-flat), which Schumann employs first in animato rising octaves, then in sequence at lower pitch levels, and finally in inversion. The effective pianistic figurations in the variations are in the elegant style of Hummel or Field; there is a brilliant finale. Charles Rosen points out that in the last pages of the Abegg Variations Schumann plays the motto theme not by sounding the last four notes but by taking them away, one by one, from the chord of B-flat—E—G. He adds to the paradox by adding accents to the sustained notes.
Franz Liszt
(1811–1886) Années de Pèlerinage, Suisse, S.160 Vallée d’Obermann Années de Pèlerinage, Italie, S.161 Sposalizio Harmonies poétiques et religieuses, S.173 Funérailles Spanish Rhapsody, S.254
Program Guide
(1810–1856) Abegg Variations, Op.1 Humoreske, Op.20
In a letter to Simonin de Sire (1839), Schumann claimed that in humor was a concept deeply rooted in the German national consciousness involving “the fortunate union of geniality and wit.” Jean Paul, one of Schumann’s favorite writers viewed humor as “an infinite contrast.” The work contains the succession of larger movements, each of them unified by a network of recurrent but transformed themes.
In the chapter “Thunder, Lightning, Mesmerism, Sex” of his book The Great Pianists, Harold C. Schonberg describes the hysteria Liszt created: “When Liszt PLAYED the piano, ladies flung their jewels on the stage instead of bouquets. They shrieked in ecstasy and sometimes fainted. Those who remained mobile made a mad rush to the stage to gaze upon the features of the divine man. They fought over the green gloves he had purposely left on the piano. One lady fished out the stub of a cigar that Liszt had smoked. She carried it in her bosom to the day she died.” Schonberg concludes that Liszt did not give mere concerts; they were saturnalia. Regarding the composer’s music, Hinson states that “the piano works of Liszt are an essential ingredient of the pianist’s repertoire, and no pianist who desires to develop a complete equipment can ignore them.” Années de Pèlerinage (Years of Pilgrimage) is the title Liszt gave to the two large volumes of piano music he composed while traveling in Switzerland and Italy with his companion Marie d’Agoult between 1835 and 1839. These pieces are based on images of nature and literature in the first volume, Suisse, and on Italian poetry and works of art in the second volume, Italie. Funérailles is the best known of the ten pieces that make up the cycle Harmonies poétiques et religieuses. It was written in October 1849, the month Chopin died, and there seems to be good reason for the supposition that Liszt wrote it in mourning for his friend, especially in middle —
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section with its ostinato octaves in the bass reminiscent of a similar passage in Chopin’s A-flat Polonaise. From one of Liszt’s letters we learn that it was written in memory of his friend Prince Felix von Lichnowsky and the Hungarian counts Teleki and Barthyányi, all of whom had been killed in battle.
Johannes Brahms
The Spanish Rhapsody is an exuberant evocation of remembered impressions written almost two decades after a tour of the Iberian peninsular. It is based on two traditional melodies—La Folia and La Jota Aragonesca. The extroverted nature of the music shows that while Liszt may have foresworn the life of a virtuoso, he had lost none of his keyboard prowess.
Hinson believes a pianist should aim for a comprehensive acquaintance with Brahms’ complete piano works. They span his entire career and offer a complete view of his development. The piano was the instrument of choice for his earliest works and for his final period, the group of short character pieces of Op.116-119. Although universally recognized to be one of the greatest German composers, it was not until Arnold Schoenberg published his essay “Brahms the Progressive” that Brahms began to be viewed as a revolutionary and forward-looking composer.
Liszt Transcriptions
Schumann/Liszt Widmung Bellini/Liszt Réminiscences of Norma, S.394 It was during the nineteenth century that the transcriber’s art had its heyday. When the recital became a public institution, musical heroes such as Liszt were eager and willing to offer audiences their impressions and syntheses of the latest opera. Liszt frequently turned to songs as subjects for his piano transcriptions; more than a third, of the approximately 150, were songs by Schubert.
One of the most famous in Brahms’ late style is the heroic Ballade from Op.118. It has at its center a tender daydream. In the final Intermezzo in E-flat Minor, one can hear the Gregorian Dies irae motive, like a haunted dream, meditative and tragic. This is briefly interrupted by a hail of chord and octaves. With the Four Pieces Op.119, Brahms brings to focus some of his most characteristic moods in three Intermezzi and one Rhapsody with an ultimate concentration of means and effect.
The “concert version” of 1848 Widmung (Dedication), from Schumann’s Myrthen cycle, Op.25, was originally a gift to his wife Clara. The touching lyrics by Friedich Rückert embody Robert’s complete dedication and love for Clara.
Gabriel Fauré
Based on Bellini’s contemporary opera Norma, Liszt created a pianistic fantasy, incorporating the seven different themes from the opera, in a highly effective and dramatic way.
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(1833–1897) Six Piano Pieces, Op.118 No.3. Ballade in G Minor No.6. Intermezzo in E-flat Minor Four Piano Pieces, Op.119
(1845–1924) Nocturne No.11 in F-sharp Minor, Op.104, No.1 The French composer Gabriel Fauré wrote thirteen nocturnes during several decades in his long career that display the change in his style from uncomplicated youthful charm, to a turbulent period in his middle years, to a final enigmatic introspection. Though difficult to play, Fauré’s piano music is rarely virtuosic in style. He disliked showy displays, the predominant characteristic of his piano music is a classical restraint and understatement. Nocturne No.11 in F-sharp Minor was written in memory of Noémi Lalo; her widower, Pierre Lalo, was a music critic and friend and supporter of Fauré. Bryce Morrison suggests that its funereal effect of tolling bells may reflect the composer’s state of anguish, with deafness encroaching. The melodic line is simple and restrained, and except for a passionate section near the end is generally quiet and elegiac.
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Leos Janácek
(1854–1928) Piano Sonata 1.X.1905 ˆ
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It was the death of a worker killed during an anti-German demonstration in support of Brnu University which inspired the composer to write this dramatic work. Its subtitle, From the street, is taken from the title Janácek initially gave to the first movement Presetiment. The second movement is titled Death. ˆ
Claude Debussy
Enrique Granados
(1867-1916) Los Requiebros from “Goyescas” Granados studied in Barcelona and in Paris, returning to Barcelona to work as a teacher, pianist, and composer. His greatest success came with the piano suite Goyescas (1911), virtuoso studies inspired by the paintings of Goya. Here we find a world of majos and majas with their elaborate courtesy, brilliant attire, provocative sensuality, and knife-quick tempers. These piano tone poems were expanded to form an opera of the same title and produced at the Metropolitan Opera in New York in 1916. When President Wilson invited Granados to play a recital at the White House, plans for his return voyage to Spain were altered, and the ship Granados eventually boarded was torpedoed in the English Channel on March 24, 1916.
Program Guide
The Sonata in E-flat Minor 1.X.1905, composed in 1905, almost didn’t come down to us at all. Janácek had already destroyed the finale when he heard the other two movements played by pianist Ludmila Toutchkova at a concert in Brnu. The pianist had taken the trouble to copy out the first two movements or they would have been destroyed. In 1924, she suggested to Janácek that he should publish the movements.
beforehand. Book II was published in 1913: Feuilles mortes translates as “Dead leaves;” in the style of a cakewalk, the famous American juggler General Lavine entertains with wit; Feux d’artifice depicts a fireworks display in Paris with reference to “La Marseillaise.”
(1862–1918) Preludes, Book II Feuilles mortes Los Requeibros is a Spanish expression that is difficult to Général Lavine—“eccentric” translate into English. It signifies “a charming form of Feux d’artifice gallant conduct in which the lover praises the grace and beauty of his beloved in a whisper.” Manuel Valls offers Debussy created the unique and forward-looking style that that the aim of such a compliment “is not the conquest came to known as Impressionism (the realization in music of the lady but rather the reaffirmation of mutual love.” of the aesthetic of the symbolist poets and impressionistic painters), which constitutes one important facet of his style. He was fascinated with the exotic, the Orient, and the fantastic. He esteemed Russian composers, the Javanese and Cambodian musicians he heard at the Paris World Exposition of 1889, the color and rhythms of Spanish-Moorish folk music, and above all the symbolist poets from whom he received inspiration for exquisite sonorities and poetic lyricism. Melodically, he sometimes employs whole-tone, pentatonic, and modal scales. His keyboard style is characterized by parallel chordal treatment, layers of refined sound, and unusual pedal effects. Debussy’s Préludes consist of two books, each containing twelve preludes. The titles of the preludes are significant, both in terms of their descriptive quality, and in the way were placed in the written score. The titles are written at the end of each work, allowing the listener to experience the sound world, without being influenced by the title
Alexander Scriabin
(1872–1915) Etude in B-flat Minor, Op.8, No.11 Sonata No.5, Op.53 Sonata No.9, Op.68 “Black Mass” Scriabin was a fellow pupil of Rachmaninov’s in Zverev’s class from 1884 and at the Moscow Conservatory (1888–1992). An outstanding pianist with a fluent and spontaneous style of playing, his early piano composition and preference for miniature forms (etudes, preludes, mazurkas) show the influence of Chopin and Liszt. In 1905 Scriabin encountered Madame Blavatsky’s theosophy and evolved a highly individual style, closely related to his mystic-theosophic interests, These developments reached a critical stage in the Sonata No.5, Op.53 (1907), one —
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the the last pieces to carry a key signature. The static and ecstatic tendencies in his music are vividly expressed in Prometheus (subtitled The Poem of Fire) intended to be performed with a play of colored light. The last five piano sonatas and a number of shorter piano compositions written between 1908 and 1913 were intended to be preparatory for his Mysterium, a quasi-religious act that would transform humanity. This journey into the mystical hysteria and going beyond tonality to a floating dissonance is often based on the so-called “mystic chord”. (The most common form is C, F-sharp, B-flat, E, A, D.) The subtitle “Black Mass” of Sonata No.9 is the invention of Alexi Podgayetsky, a pianist, theosophist, and companion of Scriabin. Musicologist Simon Nicholls agrees that the title Black Mass certainly reflects the nature of the music, “the atmosphere is Satanic.” Scriabin seems to delight in mixing pain and pleasure; the composer describes one sensual passage as “poisonous.” Later in the march section, Scriabin describes the passage as a “parade of the forces of evil.”
Sergei Rachmaninov
(1873–1943) Moments muicaux, Op.16, Nos.1–4 8 Etudes-Tableaux, Op.33 Sonata No.2 in B-flat Minor, Op.36 (1913/1931) Etude-Tableau in E-flat Minor, Op.39 No.5 Polka de W.R. Variations on a Theme of Corelli, Op.42 Op. 16 comprises a group of six separate works which reproduce musical forms characteristics of previous eras. No.1 Andantino opens the set with a long reflective melody that develops into a rapid climax. The piece combines elements of the nocturne and variation. No.2 Allegretto is referred to as a “glittering showpiece” representing a typical nineteenth etude. No.3 Andante cantabile is structured as a three-part form and described as a mixture between the Song Without Words and funeral march genres. No.4 Presto is similar to the second in quality, revealing a resemblance to Chopin’s Revolutionary Etude (Op.10, No.12). Rachmaninov wrote two sets of Etudes-Tableaux, Op.33 (1911) and Op.39 (1916–17). These etudes mark a distinct development in Rachmaninov’s career as a composer. Persistently chromatic, his harmonic formations are complicated and sophisticated with varied use of altered chords and bold digressions within a given key. — 58
Irregular baring and chant-like melodies pervade these pieces. As a whole, they fully explore both the pianist’s and the instrument’s capabilities and show Rachmaninov’s ability to crystalize perfectly a particular mood or sentiment. The original 1914 edition of Op.33, published by A. Gutheil, announced nine pieces; however, only six were issued at that time (nos.1,2,6-9). In later reprints of Op.33 Gutheil tried to suppress the previously advertised nos.3,4,5. Rachmaninov withdrew three of the etudes before submitting the manuscript to the printer. The A Minor etude (No.4) was later rewritten in 1916 and incorporated (as No.6) into the second set (Op.39). The C Minor and D Minor etudes remained unpublished until after the composer’s death, but they are now included as part of the composer’s Op.33. In addition to the Dies irae of the Roman Catholic church, the chants of the Russian Orthodox church had an important influence on Rachmaninov ’s melodic style. As a young boy, he accompanied his maternal grandmother, Madame Boutakova, to services, where the choral singing and the sound of church bells greatly impressed him. These sources of imagery had an important influence on Rachmaninov throughout his life. Rachmaninov began work on his second sonata in the spring of 1913, simultaneously with his cantata The Bells. He was staying in the same apartment in the Piazza di Spagna where Tchaikovsky had composed during his many visits to Rome. The sonata’s kinship with The Bells is evident above all in the frequent occurrences of bell-like sonorities. One can hear thundering bells in the conclusion of the development section of the first movement and elsewhere throughout this work. Rachmaninov originally wrote this sonata in 1913 but revised it in 1931, tightening the structure, thinning the texture, and bringing it in line with his current thinking. Polka de W.R. was written for Wassili Rachmaninov, Rachmaninov’s father and an amateur pianist. The Variations on a Theme of Corelli were composed during a holiday in France in 1931. Rachmaninov had first encountered the theme in Liszt’s Spanish Rhapsody, which frequently appeared in his recital programs a dozen years earlier, but had renewed his acquaintance in 1928, while collaborating with Fritz Kreisler in a series of recordings. The theme, however, is not Corelli’s but an anonymous seventeenth-century Portuguese dance song La Folia. Only two of the twenty variations do not have D minor as their basic key, and the tautness of construction shows Rachmaninov’s compositional powers at their finest.
Maurice Ravel
Ravel was one of the most famous and most accomplished composers of his time; virtually every one of his works entered and has remained in the international repertory. He made a significant contribution to early 20th century piano literature; his Jeux d’eau (Fountains), 1901, opened a new era of piano sonority. Ravel, who was criticized during his lifetime for being an imitator of Debussy, made it clear that his Jeux d’eau was written two years before Debussy’s Jardins sous la pluie and four years before Reflet dans l’eau. Concerning Oiseaux tristes, Ravel wrote: “Here I evoke birds lost in the torpor of a dark forest in the hottest hours of the day. Gaspard de la nuit marks the summit of Ravel’s output for solo piano. The composer described the work as “a set of three romantic poems of transcendental difficulty.” He insisted that each of the poems be printed as a preface to the corresponding piece of music. In Ondine, Ravel evokes the shimmering moonlight on the lake. Angela Hewitt writes: “The repeated chords that open in the right hand have a tongue-twister of a rhythm that is enough to put off many a player from going any further. Yet it all has to sound easy!” Ravel beautifully evokes the fluid surrounding of the water sprite. In Le Gibet (the Gallows) the composer creates an atmosphere of tension and death (“the body of a hanged man, reddened by the setting sun”). The tolling of the bell is symbolized by the static B-flat which is heard over two hundred times at regular intervals. Hewitt writes that Scarbo is almost entirely constructed from three motifs: “the first is presented in the opening opening bar, the second which is the repeated-note figure, and the third which surely must be Scarbo’s claws, scratching the silk coverlet.” La Valse, set in a grand ballroom during the mid-1850s, portrays the heady decadence and catastrophic downfall of Imperial Vienna in one of the composer’s finest orchestral scores. Originally commissioned by Diaghilev’s Ballets Russe in 1919, the work charts the demise of Viennese society as the great waltz itself plummets headlong toward its own ecstatic collapse. Ravel’s 1921 piano version has become as popular as the original work.
Béla Bartók
(1881–1945) Improvisations on Hungarian Peasant Songs, Op.20 Out of Doors, Sz.8 With Drums and Pipes Barcarolla Musettes The Night’s Music The Chase Bartók is perhaps the foremost twentieth-century representative of Nationalism in music; he succeeded in bringing authentic folk elements into an unprecedented synthesis with the techniques of traditional art music. He developed five levels of complexity for using his newly discovered materials: from 1) Genuine folksongs are featured in a composition, and invented material is of secondary importance; to 5) The work is pervaded by the atmosphere of folk music.
Program Guide
(1875–1937) Oiseaux triste (Miroirs) Gaspard de la Nuit La Valse
Out of Doors is a set of five solo pieces written in 1926. Although the set is often referred to as a suite, Bartók did not always play the set in its entirely. Originally published in two volumes; one contained the first three pieces and the other the last two. With Drums and Pipes can be traced to a specific folk song. The Night’s Music is a loose rondo form in which the imitation of natural sounds of birds, cicadas, and the Hungarian unka frog randomly appear. The Chase is considered to be the most demanding piece in Bartók’s entire output for solo piano.
Igor Stravinsky
(1882–1971) Trois mouvements de Pétrouchka Stravinsky/Agosti The Firebird Danse infernale du roi Kastchei Berceuse Finale Perhaps the greatest composer of the twentieth century, Stravinsky was certainly one of the most versatile and influential. His impact stemmed principally from his emancipation of rhythm, his orchestrations (especial his use of instrumental soloists), his revival of traditional forms and styles, his use of folk, popular, and jazz elements, and his ultimate recourse to serial techniques. One of his greatest gifts was that of realizing in sound the movements of dance. In his notes to the Kissin recording of Trois mouvements de Pétrouchka, Steven Wigler points —
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out that although this is one of the piano repertory’s most famously flashy works, Stravinsky was suspicious of what he called “go-getting and tyrannical virtuosi.” It was Arthur Rubinstein who inspired Stravinsky to transcribe three scenes from the ballet; the transcription was completed in 1921 and programmed for the first time in 1924. Wigler states that any pianist can understand what Rubinstein meant when he remarked that “proposing to a beautiful woman requires only slightly more courage than playing Pétrouchka on the piano.” The last three scenes of The Firebird have been brilliantly transcribed for piano by Guido Agosti (1901–1989).
Sergei Prokofiev
(1891–1953) Suggestions diabolique, Op.4, No.4 Sonata No.6 in A Major, Op.82 Blending lyricism and dissonance, Prokofiev developed an individual, percussive style of writing for the piano. He strove for simple melodic expression and for the proper subordinate position of dissonance within an essentially tonal orientation: “All my work is founded on melodies.” Prokofiev lists five principal elements in his musical composition: “1) the classical (related specifically to Beethoven’s piano sonatas); 2) the search for innovations and new harmonic idioms for strong emotional expression; 3) the toccata or motor element (the use of insistently repeated rhythmic patterns); 4) the lyrical; and 5) the satirical or grotesque (qualified in stages as scherzoness, jest, laughter, mockery).” Suggestions diabolique is the last of four pieces of Op.4. Hinson describes it as “mocking, bravura, driving” and the most difficult of the set.
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Taken as a whole, the nine sonatas of Prokofiev are a monument in twentieth-century piano literature. It is through a survey of the sonatas that Prokokiev’s musical evolution is most clearly and fully presented. The sixth, seventh, and eighth were written during World War II and were finished in 1940, 1942, and 1944. The first movement of Sonata No.6 in A Major grabs the listener’s attention immediately with its conflict of A major versus A minor, and its principal opening motive of descending major thirds (this motive later recurs in the third and fourth movements). Reflecting the violence of wartime, Prokofiev directs the performer at one point to play col pugno (with the fist). This demanding movement involves difficult leaps and hand-crossings.
Olivier Messiaen
(1908–1992) Vingt Regards sur l’Enfant Jésus No.10 Regard de l’Esprit de joie Messiaen continued the development of the whole line of French piano music from Debussy. Although an organist, Messiaen wrote with enthusiasm for piano throughout his career. After his mid-thirties, his piano writing benefitted from his artistic collaboration with Yvonne Loriod, who became his second wife. For Messiaen, the concept of harmony and color were always intertwined, and like Scriabin he heard and composed his music in terms of visual colors. In an age when others exploited the percussive attack of the piano’s timber, Messiaen’s music is notable for its exploration of resonant decay of the sound. Messiaen worked with terraced dynamics, so that the melody is often colored by the quieter sounds that surround it; these composed-in resonances are barely heard in themselves but serve instead to transform the color of the main strand of sound. His music was influenced by his beliefs as a Catholic mystic; bird calls and Hindu ragas also had an important effect on his compositional style. Vingt Regards sur l’Enfant Jésus (Twenty Contemplations or Glimpses on the Infant Jesus) was composed in 1944. Messiaen described his work: “Contemplation of the Child-God of the Manger and Looks cast on Him: from the multiple Look of the Church of Love, to the ineffable Look of the Spirit of Joy, the very tender Look of the Virgin, then to that of the Angels, of the Magi and of symbolic creatures (Time, the Elevation, Silence, the Star, the Cross). Apart from these specific to each of the twenty pieces, four cyclical themes run through the work: the Theme of God, the Theme of Mystic Love, the Theme of the Star and of the Cross, the Theme of Chords.”
Elliott Carter
Pierre Boulez
Carter was an American composer who was twice awarded the Pulitzer Prize. After an early neoclassical phase, his style shifted to an an emphasis on atonality and rhythmic complexity. He was hailed as “America’s great musical poet” by Andrew Porter and noted as “one of America’s most distinguished creative artists in any field” by his friend Aaron Copland.
During the winter of 1945, the twenty-year-old Pierre Boulez composed Douze Notations. The piano pieces offer a fascinating insight into the early development of the musical language of one the leading composers of the twentieth century. Notations was dedicated to Serge Nigg, an individual Boulez came to know through his work with Messiaen and Leibowitz. The work explores many of the different aspects of musical composition and thought. Michael Blostein characterizes those aspects as ranging “… from the mixture of tempo extremes in the first movement to the toccata in number 6 and groups of ostinato spread throughout.” He continues: “over a period of time, the listener can observe many of the musical issues and ideas which would come to define Boulez’ style such as alternations between simplistic ideas and extremely thick sonorities, abrupt gestures, and a mixture of different traditional ideas used in new ways.” This was the first of Boulez’s works to be published.
(1908–2012) 90+
Program Guide
90+ was composed in 1994. During Carter’s several residences over the years in the American Academy in Rome, his friendship with the Italian composer Goffredo Petrassi deepened. To celebrate Petrassi’s 90th birthday, Carter wrote this first of his late miniatures. In his program note for the premier, Carter writes: “90+ for piano is built around ninety short, accented notes played in a slow regular beat. Against these, the context changes character continually.” However, this slow tactus is out of sync with the mostly 4/4 bar structure of the score, so that the regular beats seem “to play hide and seek” with their surrounding figures and chords. Toward the center of the piece, the texture thins; events then accumulate to a brief climax, breaking off for the 90th beat. In a charming coda the beats continue at a quickening pace, as through Carter were wishing Petrassi to live on for many years.
(1925–2016) 12 Notations
Nikolai Kapustin (b.1937) Variations, Op.41
The Variations, Op.41 (1984) encompasses Kapustin’s style in microcosm. A brief introduction leads into a thirty-two bar theme in D-flat Major that moves between a jazzed-up rendition of the solo bassoon theme that opens Stravinsky’s Rite of Spring and a descending bluesy gesture. Like the Concert Etudes, Op.40 written in the same year, Kapustin’s style is at its broadest and most inventive, ranging from jazz to blues, boogie-woogie to stride, and is full of energy and excitement.
“Music expresses that which cannot be said and on which it is impossible to remain silent.”
– Victor Hugo
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2016 New Orleans International Piano Competition 61
in memoriam
Deborah Jo Nice August 25, 1950—February 21, 2016
In loving memory of Debbie, and to recognize the New Orleans International Piano Competition for the joy it gave her, Debbie’s family gives our warmest thanks to: • Raymond Gitz, Debbie’s wizard of a piano teacher, one of the two founders of the competition, • All of the board members, staff, Institute faculty, competition jurors, and volunteers of the Musical Arts Society who provided a wonderful, welcoming community for her throughout the years, and • Many people who kindly and generously made donations to MASNO in her memory.
Debbie’s family also extends our heartiest congratulations to all of the 2016 competition semi-finalists, for bringing great music to New Orleans, and for continuing the tradition of pursuing the highest standards of artistry in classical piano.
We cannot all do great things, but we can do small things with great love. — 62
– Mother Teresa, Nobel Peace Prize winner, 1979
WISHING YOU THE SUCCESS AT LEAST EQUAL TO YEVEGNY SUDBIN OR YUJA WANG. — Robert Pope
Best of luck to the contestants of the 26th New Orleans International Piano Competition.
Susan Jeanfreau, M.D. Thomas Ryan, M.D. 3040 33rd Street Metairie, LA 70001 Tel. 504-897-4287
4429 Clara Street, Ste. 500 New Orleans, LA 70115 —
2016 New Orleans International Piano Competition 63
Charitable Giving
Become a part of MASNO! We at MASNO are privileged to be able to present these kinds of musical opportunities in New Orleans as well as play significant roles in the development of young talent and future musical careers through our programming. However, we could not do so without the generous support of our Friends, Donors, Partners and Sponsors. Membership Our annual membership level starts with a tax-deductible donation of $35 per year. This annual membership includes a subscription to MASNO’s E-Newsletter, Advance Notice and Pre-sale Privileges for exclusive MASNO events, and Recognition in the program book of the New Orleans International Piano Competition and New Orleans Keyboard Festival. Monetary donations can be made by mail, by phone (call 504.899.4826 or text “MASNO” to 256.542.9309), or securely online at masno.org. Levels of donations can be found on the following pages of this book or on our website. Corporate and Individual Event Sponsorship Opportunities MASNO offers multiple levels of Corporate and Individual Event Sponsorship Opportunities. These levels of donation are accompanied by benefits to the sponsor. Examples of Individual Event Sponsorships include the sponsorship of Artist Fees, Salon Concert Events, Nocturne, Prizes for the New Orleans International Piano Competition and more. More information is available for download on our website. Please note the IRS requires that the Fair Market Value of certain benefits be subtracted from the amount of your gift on your tax return. You may waive any benefits by notifying our office. Volunteering and Hosting MASNO very gratefully acknowledges and relies on the support of our volunteers and hosts to ensure the success of our events. Examples of some of these volunteering and hosting opportunities are: • Volunteering at events including the New Orleans International Piano Competition • Hosting a contestant for the New Orleans International Piano Competition • Hosting a Juror and Faculty Dinner for the New Orleans International Piano Competition • Hosting a Salon Concert Event* • Other volunteer opportunities *Salon Concert Events feature internationally acclaimed as well as emerging MASNO artists in intimate concert settings often accompanied by delectable food and drink. From private homes to art galleries, these performances outside of the traditional concert hall have become some of MASNO’s most popular offerings.
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Company Matching Many companies have programs in place to match or even double the donations of their employees or their employees’ spouses. You can acquire a Matching Gift Form from your company’s Human Resources Office. Charitable Remainder or Charitable Lead Trusts Gifts that generate income are excellent vehicles for your retirement plan. By placing assets in a Charitable Remainder Trust for the benefit of the Musical Arts Society, one or another beneficiary may: • Receive fixed or variable income payments for life • Enjoy a current income tax deduction • Eliminate capital-gains tax when using appreciated assets • Convert low-income property or securities into a higher income stream • Reduce estate taxes With a Charitable Lead Trust, you may provide income to the Musical Arts Society for a period of time, passing on the assets to your heirs in the future. Lead Trusts can also help save estate or gift taxes while at the same time providing a major contribution. Bequests, Retirement Planning, Life Insurance, and Securities Gifts If you already have an established will, or will soon be having one prepared, consider leaving a bequest to the Musical Arts Society. If you already have a will, naming MASNO can be done very simply by an amendment (codicil) so that your entire will does not need to be redrafted. To leave a bequest to the MASNO Endowment Fund, please name the beneficiary as the Musical Arts Society of New Orleans. Qualified retirement plan benefits are excellent choices for funding a testamentary charitable gift. Because such benefits are subject to estate taxes and income tax liability to the ultimate recipient, directing those assets to the Musical Arts Society could be eligible to bypass double taxation. Naming MASNO as the beneficiary of a life insurance policy will allow an estate tax deduction for your estate. Contributions of stocks or bonds can be designated for the MASNO endowment Fund, directed to benefit a specific aspect of programming or directed to the support of MASNO’s general operating expenses. For more information, visit masno.org, call 504.899.4826, or email director@masno.org
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Jerry & Rita Satawa send best wishes to all competitors. —
2016 New Orleans International Piano Competition 65
Law Office of Dale Edward Williams Employment Law With over 20 years of experience in employment law, Dale Williams handles important cases and gives each one the individual, specialized attention it deserves.
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212 Park Place Covington, Louisiana 70433 985.898.6368 — 66
Prestissimo $5000+ Loyola Univeristy Dr. Keith Lescale and Henrique Paraizo Mr. J. Robert Pope Steinway Society of New Orleans WWNO 89.9
Presto $2500+ Advantage Capital Partners Arts Council New Orleans Dr. and Mrs. Edward Bluth Charlie Bohn Drs. Andrea and Archie Brown Darlene and Jody Dickerson Dana Honn
Dr. and Mrs. Christopher B. Merritt Drs. Emel and Ranney Mize New Orleans Jazz and Heritage Foundation Sandy and Steve Rosenthal Madelyn and Bruce Trible
D on a t i on s
Robin and Bruce Crutcher Anne B. Gauthier Richard Goula Hall Piano Company Julianne Nice and Herb Larson
Vivace 1000+ Mr. and Mrs. Charles Booker Mrs. Donald Muir Bradburn Dr. Anthony Decuir Mignon Faget Dr. James Farrow
Gauthier Family Foundation Dr. Edward D. Levy Robert and Sharon N. Weilbaecher Family Fund Robin and Dale Williams
Allegro $500+ Mary Lee and Hampton Carver Alan Chow Joan Coulter Mr. and Mrs. William Drezdzon Dr. and Mrs. Charles L. Dupin Jep Epstein Robin and Scott Kropog Julia Volaufova and Lynn Roy La Motte Theodore and Mary Merle Laborde Susan Lafaye Toni and Allan Ledbetter Mr. and Mrs. Clay LeJeune Marie Breaux and Peter Martinat
Mr. and Mrs. Jonathan McCall William Mindak Mrs. Mary Monsted Joni Jensen and Bruce Regeczi Dr. Igor Resnianski Dr. and Mrs. James Ricciardi Barbara and Thomas Sands Betty and Greg Speyrer UNO Foundation Melanie and Steve Usdin Daniel Weilbaecher Mr. and Mrs. Robert John Axtell Williams Cara McCool Woolf and Vance Woolf
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2016 New Orleans International Piano Competition 67
D on a t i on s
Allegretto $250+ Milton Anderson Larry Watts and Joey Bennett Dr. and Mrs. Ted Bloch III Ramona Bond Dr. and Mrs. Kenneth Boulton Louise and Henry Bush Constance Carroll Mary Chapman Scott Chotin Dr. R.W. Culver Alexandra Shikhris and Eduard Danilyants Debbie Danna Kathan Dearman Malise and Eddie Dennard Dr. and Mrs. Juan Gershanik Raymond Gitz Greater New Orleans Music Club Herman Kohlmeyer Jr.
Paul J. Leamann, Jr. Mr. and Mrs. Thomas Lemann Mrs. Jacquelyn S. Lothschuetz Theresa Lutostanski Andrea and Hans Mulder Guillermo Nanez Vernon Palmer Mary B. Reidy Dr. and Mrs. Perry Rigby Dr. and Mrs. James Rioppelle Phyllis Robert Rita and Gerald Satawa Karen and Leopold Sher Mr. and Mrs. Frank Stewart George Van Hoose Connie and Casey Willems Ann B. Yarborough
Moderato $100+ Drs. Barbara and Edwin Beckman Emily Clark and Ron Biava Roselyn Boneno James Boyd Florence Brown Mary Jane Butera Mary Sue Chambers Claudia Champagne Dee Clubb Dr. Raquel Cortina Phillip Delony Catherine Durnin Mr. and Mrs. George Freeman Anita Garcia Mr. and Mrs. Samuel Giberga Melissa and Bruce Gordon Mariko Gunge Michael Harold Margarita and Kim Harvey Kathleen Hebert Susan and Bill Hess Dr. and Mrs. Thomas Irwin, Jr. Dr. and Mrs. Bernard Jaffe
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Betty Karam Fred Kasten Mary and Lee Longstreet Faina Lushtak Beth and Charley McCool Mary Lee McKee Dr. Judith G. Miranti Marsha Rapfogel Ben Rauch Mary Alma Riess Barbara Robinson Van Dalton Jenkins and Barbara Robinson Eduardo E. Rodriquez Cynthia A. Samuel Sheila Schwartzmann Robert Skinner Marly Sweeny Elaine Thompson Martha Treen Robert Whann III Mrs. Claire Whitehurst Beth Turner and Clarence Wolbrette
CTH • Columbia Theater, Hammond FBC • First Baptist Church, Covington JPAC • Jefferson Performing Arts Center OT • Orpheum Theater SMA • Slidell Municipal Auditorium
LOUISIANA PHILHARMONIC
ORCHESTRA
CARLOS MIGUEL PRIETO, MUSIC DIRECTOR
Don’t miss these 2016-2017
keyboard artists performing with the LPO!
OPENING WEEKEND:
SYMPHONIE FANTASTIQUE OT
Thursday, Sept. 15, 7:30 p.m.
FBC Friday, Sept. 16, 7:30 p.m. OT
Saturday, Sept. 17, 7:30 p.m.
Carlos Miguel Prieto, conductor Lilya Zilberstein, piano ADAMS: Short Ride in a Fast Machine SAINT-SAËNS: Piano Concerto No. 5, “Egyptian” BERLIOZ: Symphonie Fantastique
TCHAIKOVSKY PIANO CONCERTO NO. 1
ANNE-MARIE MCDERMOTT PLAYS MOZART
BEETHOVEN ‘PASTORAL’ SYMPHONY
JPAC Thursday, Oct. 13, 7:30 p.m.
OT
Thursday, Jan. 5, 7:30 p.m.
OT
CTH
FBC
Friday, Jan. 6, 7:30 p.m.
Andrew Grams, conductor William Wolfram, piano
Friday, Oct. 14, 7:30 p.m.
SMA Saturday, Oct. 15, 7:30 p.m. Aram Demirjian, conductor Sean Chen, piano 2013 Van Cliburn Competition Crystal Award Winner BEETHOVEN: Overture to Coriolan KORNGOLD: Overture to Much Ado About Nothing TCHAIKOVSKY: Piano Concerto No. 1
Carlos Miguel Prieto, conductor Anne-Marie McDermott, piano
Friday, Feb. 3, 7:30 p.m.
THEOFANIDIS: Dreamtime Ancestors (co-commission) LISZT: Piano Concerto No. 1 BEETHOVEN: Symphony No. 6, “Pastoral”
SCHNITTKE: Moz-Art à la Haydn MOZART: Piano Concerto No. 21 SIBELIUS: Symphony No. 5
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LPOmusic.com • 504.523.6530
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D on a t i on s
Andante $35+ Mrs. Bethlehem K. Andrews Ann Babington Norton Berman William R. Cullison Connie Dahlberg Terressa Davis Autry P. Dore Martin Drell Ernestine and Michael Eckstein Dana Eness Jane Eyrich Henry Folse Peggy and Ray Fransen Evelyn Grijak Seth Harris Sheldon Hersh Irene Klinger Charles Kunz III Mrs. James C. Landis Rachelen Lien Mr. and Mrs. Roger Peck Virginia Roddy Pamela Rogers Beth Bloch Rosenthal Mrs. James F. Roy Margaret and Wade Shields Charles Rodney Smith Charles R. Smith Dr. and Mrs. Terence Walsh Margot Markle Wilkinson Dr. and Mrs. Lawrence Zaslow
LOYOLA PREPARATORY ARTS PROGRAM Loyola Preparatory Arts Program offers instruction in piano, guitar, voice, string instruments, trumpet, saxophone, dance, and Musikgarten™.
COURSES OPEN T O A D U LT S A N D CHILDREN.
cmfa.loyno.edu/prep-arts For questions or to register, call (504) 865-3627 or email prep@loyno.edu
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An endowment fund has been established to honor the memory of friends and loved ones or to celebrate their lives or special occasions. Interest realized from this untouched principal investment will help fund various projects of the Musical Arts Society of New Orleans. Gifts have been made in memory and in honor of: Melvin G. Alford Elissa Bluth Robin and Bruce Crutcher Fritz Dahlberg Midge Dean Dr. and Mrs. Arthur Dickerson Frank Gonzalez Lois Chalona Hawkins Bernard Hirsch Herman Viktor Khalimsky Mary Lou MacDowell
Mrs. Hazel Melancon Betty and Dick Mize Deborah Jo Nice Fay and Joe Rosenberg Rahmiye and Celalettin Songu Dianne Tell Merlyn Weilbaecher Daniel Weilbaecher, Sr. George W. Wilkins and Marilyn Wilkins Clarence Pete Wolbrette John M. Yarborough, Jr., M.D.
E ndo w m e n t F und
MASNO Endowment Fund
Contributions to the Endowment Fund have been made by: June Aiken Melvin G. Alford Bellsouth Norton Berman Emily Clark and Ron Biava Dr. and Mrs. Edward Bluth Charles Bohn Roselyn Boneno Mrs. Donald Muir Bradburn E. John Bullard Brad Buras Charlotte Buras Mr. and Mrs. Peter G. Burke Hope Cantrelle Linton Carney Mary Lee and Hampton Carver Mary Sue Chambers Mr. and Mrs. Edgar Chase III Mr. and Mrs. William Coe Mary Wilkins Costa Joan Coulter Robin and Bruce Crutcher Janet Daly Virginia Darmstadter Dr. and Mrs. Arthur Dickerson Anita and William Drezdzon Dr. and Mrs. Charles L. Dupin Dana Eness Dr. and Mrs. Stuart Farber
Dr. James Farrow Mr. and Mrs. Darwin C. Fenner Richard Ford Anne B. Gauthier Dr. Raymond Gitz Melissa and Bruce Gordon Richard Goula James O. Gundlach Liz Hampton George Van Hoose Jhane Barnes Menswear, Inc. Lynn Johnston Cosette Kaufmann Nina Kelly Brenda and Lance Lafargue Dr. and Mrs. Alphonse Landry Julianne Nice and Herb Larson Dr. and Mrs. Ricardo Leoni Dr. Edward D. Levy, Jr. Rachelen Lien Jacquelyn Lothschuetz Theresa Lutostanski Robert J. MacDowell Sandie and Jim McNamara Dr. Thomas Melancon Drs. Emel and Ranney Mize Phillip and Babs Mollere Ava Rosenberg Nowalsky J. Robert Pope
Dr. and Mrs. James Ricciardi Van Dalton Jenkins and Barbara Robinson Cynthia A. Samuel Mr. and Mrs. Jack Scheinuk Mr. and Mrs. Jeff Scurlock Karen and Leopold Sher Dr. Eduard Danilyants and Mrs. Alexandra Shikhris Michelle and Oren Smith Mr. and Mrs. Warren Stern Mr. and Mrs. Frank B. Stewart Rachel and Ron Tell Philip Fuselier and Anthony Terranova The Lupin Foundation Mr. and Mrs. Bruce C. Trible Mr. and Mrs. Mark Vile Dr. Daniel Weilbaecher Dr. and Mrs. Robert Weilbaecher Jay Welch Mr. and Mrs. Robert J.A. Williams Mr. and Mrs. Dale Williams Sam Wong Dr. David G. Wood Cara McCool Woolf and Vance Woolf Dr. Roger Wortham Dr. and Mrs. John Yarborough —
2016 New Orleans International Piano Competition 71
A c k no w l e d g e m e n t s
Competition Housing and Dinner Hosts
An event of this scope is dependent on finding comfortable housing with access to a piano in excellent working order for the visiting artists. We have been fortunate to have always been able to rely on the generous and hospitable nature of this city’s music lovers. The Musical Arts Society is grateful to the following people for opening their homes to this year’s visiting musicians: Larry Watts and Joey Bennett Elissa and Eddy Bluth Charlie Bohn Joan Coulter Robin and Bruce Crutcher Debbie Danna Malise and Eddie Dennard Darlene and Jody Dickerson Jim Farrow Anne Gauthier Susan Lafaye
Julie Nice and Herb Larson Marie Breaux and Peter Martinat Evie and Chris Merritt Mary and Scott Monsted Keith Lescale and Henrique Paraizo Robert Pope Pamela and James Ricciardi Sandy and Steve Rosenthal Barbara and Thomas Sands Lizbeth Turner
Macbeth
Madnns, Muuer, and Sweeney tODD dmmtion.
vanni o i G n o D Oct. 7 & 9, 2016 Nov. 11 & 13, 2016
Feb. 10 & 12, 2017
t ה2016-2017
aan
NewOOeansOpee.oo . 504-529-3000
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Faust
Mar. 31 & Apr. 2, 2017
LOUISIANA PHILHARMONIC
ORCHESTRA
CARLOS MIGUEL PRIETO, MUSIC DIRECTOR
Concerto Showcase IX
presented by the Musical Arts Society of New Orleans
Louisiana Philharmonic Orchestra Carlos Miguel Prieto, conductor 2016 New Orleans International Piano Competition Medalists Enjoy an afternoon of piano concertos as the three medalists from the 2016 New Orleans International Piano Competition perform with the LPO.
Adult tickets from $20 Students $10 at the door
Introducing
presented by the Musical Arts Society of New Orleans and the Louisiana Philharmonic Orchestra
January 3 - 8, 2017 2017 Festival Artist
Anne-Marie McDermott SCHEDULE Community Masterclass
LPO Events
MASNO Events
Tuesday, January 3
Thursday, January 5
Saturday, January 7
Masterclass Auditions
LPO Open Rehearsal
Salon Concert featuring Anne-Marie McDermott
Time TBA I Location TBA Play for a chance to participate in a community masterclass with famed pianist Anne-Marie McDermott. Application to participate required. Register online at LPOmusic.com.
10 a.m. I Orpheum Theater Tickets: $10
Thursday, January 5 LPO Concert
Wednesday, January 4
Anne-Marie McDermott Community Masterclass 6 p.m. I Orpheum Theater Three winners selected from the masterclass audition participate in session led by McDermott at the Orpheum Theater on the LPO’s newly dedicated John M. Yarborough Steinway grand piano. Reception to follow. Free Admission
Anne-Marie McDermott Plays Mozart
Anne-Marie McDermott Plays Mozart 7:30 p.m. I Orpheum Theater SCHNITTKE: Moz-Art á la Haydn MOZART: Piano Concerto No. 21 SIBELIUS: Symphony No. 5 Tickets: From $20
Friday, January 6 LPO Concert
Anne-Marie McDermott Plays Mozart 7:30 p.m. I First Baptist Covington SCHNITTKE: Moz-Art á la Haydn MOZART: Piano Concerto No. 21 SIBELIUS: Symphony No. 5 Tickets: From $20
6:30 p.m. I 2702 Saint Charles Ave. Home of Keith Lescale and Henrique Paraizo Tickets: $175 Includes a preferred seating ticket to Piano Concerto Showcase
Sunday, January 8
Concerto Showcase IX 2:30 p.m. I Roussel Hall, Loyola Univ. Featuring the three medalists of the 2016 New Orleans International Piano Competition. Tickets: $20-$55 Reception to follow
USE ONLINE PROMO CODE PIANOLA TO PURCHASE TICKETS BEFORE THEY GO ONSALE TO THE PUBLIC AUGUST 1 AT LPOMUSIC.COM
Tickets and Information at LPOmusic.com • 504.523.6530
A c k no w l e d g e m e n t s — 74
Acknowledgements Acadiana Symphony Orchestra Advantage Capital Partners Alink-Argerich Foundation Arts Council New Orleans Astral Artists Carmen Balthazar Baton Rouge Symphony Orchestra Larry Watts and Joey Bennett Ron Biava Scott Bickford Hristo Birbochukov Elissa and Eddy Bluth Charlie Bohn James Boyd Andrea and Archie Brown Lou Bush Cary Byrd Rebecca Cain Constance Carroll Mary Sue Chambers Kevin Chance Alan Chow City of New Orleans Clavier Companion Dee Clubb Peter Collins Cheryl Conway Joan Coulter Robin and Bruce Crutcher Debbie Danna Kathan Dearman Anthony Decuir Malise and Eddie Dennard Darlene and Jody Dickerson Anita and William Drezdzon Danny Driver Judy and Elroy Eckhardt Jep Epstein Mignon Faget Jim Farrow Gambit Buddy Ganier Anne B. Gauthier Gauthier Family Foundation GetAcceptd.com Raymond Gitz Dustin Gledhill Julie Gorham Richard Goula Hall Piano Company
Katie Hallman Margarita Harvey Kathy Hebert Judy Heinrich Frank Heneghan Shearon Horton Brian Hsu Fred Kasten Clinton Keene Mimi Kruger Susan Lafaye Lisa Lafleur Julie Nice and Herb Larson Ben Lazich Le Petit Theatre Ed Levy Louisiana Division of the Arts Louisiana Philharmonic Orchestra Loyola University New Orleans Faina Lushtak Theresa Lutostanski Paul Maassen Diane Mack Marie Breaux and Peter Martinat Jonathan McCall Beth McCool Mark McCreary Mary Lee Murphy McKee Matt McWilliams Emily McWilliams Evie and Chris Merritt Emel and Ranney Mize Mary and Scott Monsted Lina Morita Marie Kuebel Morris Alexandre Moutouzkine Timothy Muffitt New Orleans Center for Creative Arts (NOCCA) New Orleans Civic Symphony New Orleans Friends of Music New Orleans Jazz and Heritage Foundation New Orleans Music Teachers Association NOLA.com Nell Nolan Noya Design Rob Olmstead Al Palumbo
Keith Lescale and Henrique Paraizo Parkview Guest House Katherine Poche J. Robert Pope Carlos Prieto Marianna Prjevalskaya Ben Rauch Joan Jensen and Bruce Regeczi Igor Resnianski Joycelyn Reynolds RHR Photography Pam and Jim Ricciardi Susan Roesgen Nigel Rogers Jessica Roma Sandy and Steve Rosenthal Julia Rubio Barbara and Tom Sands Scott Myers Photography Dean Shapiro Margaret Shields Talmadge Singer Karen and Jimmy Smith Mariusz Smolij Sean Snyder St. Charles Avenue Magazine Steinway and Sons Steinway Society of New Orleans Sue Strachen Sally Suthon Saegan Swanson Charles Taylor The Advocate The Ritz Carlton The Times-Picayune Madelyn and Bruce Trible Nelita True Viktor Valkov George Van Hoose Chris Waddington Daniel Weilbaecher Wigmore Hall Robin and Dale Williams Lizbeth Turner and Pete Wolbrette Cara and Vance Woolf John Wright Amanda Wuerstlin WWLTV WWNO 89.9 WWOZ
LOOKING FORWARD: The Age of Enlightenment MARIANNA PRJEVALSKYA,
PIANO
2014 New Orleans International Piano Competition Gold Medalist Thursday, February 23, 2017 | 7:30 PM HAYDN Symphony No. 69 in C major MOZART Piano Concerto No. 21 in C Major, K. 467 BEETHOVEN Symphony No. 7
BRSO PEOPLE + MUSIC T � OGETHER
BATON ROUGE SYMPHONY ORCHESTRA BRSO.ORG |
225.383.0500
Application Deadlines and Contact Undergraduates: November 15 Graduates: December 1 music.lsu.edu/admissions 225-578-9291
LSU Fall 2016 Piano Concerts School of Music Recital Hall at 7:30 p.m. September 12 – Zachary Lopes, Manship Guest Artist, Piano October 2 – Lin He and Gregory Sioles, LSU Faculty, Violin and Piano November 3 – Willis Delony, LSU Faculty, Piano Tickets at cmda.lsu.edu
Bachelor of Music Bachelor of Music Education Bachelor of Arts in Music Master of Music Doctor of Musical Arts
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Member of
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2016 New Orleans International Piano Competition 77
Past Competition Winners — 78
2014 1st Marianna Prjevalskaya 2nd Florian Feilmair 3rd Kenny Broberg
Spain Austria USA
2000 1st Stanislav Ioudenitch 2nd Dmitri Teterin 3rd Ketevan Badridze
Uzbekistan Russia Republic of Georgia
2012 1st Viktor Valkov 2nd Sejoon Park 3rd Evgeny Brakhman
Bulgaria USA Russia
1999 1st Sergey Schepkin 2nd Petronel Malan 3rd Won Kim
Russia South Africa Korea
2011 (Young Artist Series) 1st Anna Han USA 2nd Yutong Sun China 3rd Angie Zhang USA
1998 1st Eun-Jung Shon 2nd Natalia Lavrova 3rd Thomas Pandolfi
Korea Russia USA
2010 1st Eduard Kunz 2nd Andrey Ponochevy 3rd Stanislav Khristenko
1997 1st Csaba Kiraly 2nd Anton Mordasov 3rd Yoshikazu Nagai
Hungary Russia Japan
2009 (Young Artist Series) 1st Sean Yeh USA 2nd Alexsandra Swigut Poland 3rd Connie Kim-Sheng USA
1996 1st Igor Resnianski 2nd Lydia Brown 3rd Franklin Larey
Russia USA South Africa
2008 1st Spencer Myer 2nd Dmitri Levkovich 3rd Vakhtang Kodanashvili
1995 1st James Nalley 2nd Pasquale Iannone 3rd Alexander Tselyakov
USA Italy Russia
2007 1st Konstantin Soukhovetski Russia 2nd Alex McDonald USA 3rd Christopher Atzinger USA
1994 1st James Giles 2nd Irina Morozova 3rd Jun Eui Chun
USA Russia Korea
2006 1st Dustin Gledhill 2nd Chetan Tierra 3rd Dmitri Levkovich
USA USA Canada
1993 1st Rafael Guerra 2nd Natalia Bolshakova 3rd So-Yeun Ahn
Mexico Russia Korea
2005 1st Tanya Bannister 2nd Alexandre Pirojenko 3rd Luca Trabucco
England Russia Italy
1992 1st Richard Dowling 2nd Bridget Olavson 3rd Kevin Ayesh
USA USA USA
2004 1st Alexandre Moutouzkine Russia 2nd Jae-Hyuck Cho United States 3rd Darrett Zusko Canada
1991 1st Brent Runnels 2nd Rosa Park 3rd Aviva Aranovich
USA Korea Lithuania
2003 1st Dmitri Vorobiev 2nd Hsiang Tu 3rd Spencer Myer
Russia Taiwan United States
1990 1st Peter Mack 2nd Mark Puckett 3rd Chao-Yin Chen
Ireland USA Republic of China
2002 1st Hee Sung Joo 2nd Lev Vinocour 3rd Esther Jung-A Park
South Korea Germany/Russia South Korea
1989 1st William Koehler 2nd David Brunell 3rd Andrew Cooperstock
USA USA USA
2001 1st Robert Henry 2nd Anton Mordasov 3rd Yuri Blinov
USA Russia Belarus
Russia Belarus Russia/Ukraine
USA Canada Republic of Georgia
CELEBRATING OVER 100 YEARS OF EXCELLENCE IN MUSIC Tulane University School of Liberal Arts Newcomb Department of Music http://tulane.edu/liberal-arts/music
Del Musical Classical Classic Marmol Jazz Ensemble Theatre Music at Choral Orchestra Piano Guitar Vocal Performances Workshop Midday Concerts Concerts Series Series Series Performances
For more information or to be added to the mailing list, please call 504.865.5267, or visit us at http://tulane.edu/liberal-arts/music
Tulane Marching Band
Past Competition Jurors
2014 Natalya Antonova Alan Chow Jennifer Hayghe Igor Resnianski Viktor Valkov
Eastman School of Music Northwestern University of Illinois Ithaca College, New York West Chester University of Pennsylvania Houston
2012 Alan Chow Northwestern University of Illinois Faina Lushtak Tulane University Alexandre Moutouzkine Manhattan School of Music Igor Resnianski West Chester University of Pennsylvania Sandra Rivers Univ. of Cinncinnati College- Conservatory 2011 Peter Mack Trinity College Dublin John Murphy Loyola University New Orleans Andrey Ponochevny University of Dallas, Irving 2010 Philippe Bianconi Louis Nagel Pamela Mia Paul Igor Resnianski Nelita True
France University of Michigan University of North Texas, Denton West Chester University of Pennsylvania Eastman School of Music
2009 Constance Carroll Louisiana State University, Baton Rouge Christopher Elton Royal Academy of Music, London Douglas Humpherys Eastman School of Music Faina Lushtak Tulane University Igor Resnianski West Chester University of Pennsylvania 2008 Stanislav Ioudenitch Park University Paul Pollei Gina Bachauer Foundation Ann Schein Aspen Music Festival and School Nelita True Eastman School of Music Nancy Weems University of Houston 2007 Constance Carroll Louisiana State University, Baton Rouge Alan Chow Northwestern University of Illinois Anne Koscielny University of Maryland Igor Resnianski West Chester University of Pennsylvania Klauspeter Seibel Louisiana Philharmonic Orchestra 2006 Gregory Allen University of Texas, Austin James Giles Northwestern University of Illinois Jennifer Hayghe Ithaca College, New York Frank Heneghan Ireland Robin Williams University of New Orleans
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2005 Andrew Ball Royal College of Music, London Alan Chow Northwestern University of Illinois Sean Duggan, O.S.B. State University of New York at Fredonia Nelita True Eastman School of Music Nancy Weems University of Houston 2004 Angela Cheng Oberlin Conservatory of Music Alvin Chow Oberlin Conservatory of Music Paul Pollei Gina Bachauer Foundation Sandra Rivers Univ. of Cinncinnati College- Conservatory Klauspeter Seibel Louisiana Philharmonic Orchestra 2003 Mark Anderson John Barstow James Giles Robin McCabe Nelita True
United States England Northwestern University of Illinois University of Washington Eastman School of Music
2002 Anne Epperson University of California, Santa Barbara Faina Lushtak Tulane University, New Orleans Bryce Morrison England Daniel Sher University of Colorado-Boulder Robert Weirich University of Missouri, Kansas City 2001 Andrew Cooperstock University of Colorado-Boulder Jennifer Hayghe Louisiana State University, Baton Rouge Frank Heneghan Ireland Martin Jones England Pamela Mia Paul University of North Texas, Denton 2000 Jeffrey Biegel Alan Chow Anne Koscielny Bryce Morrison Nancy Weems
New York Northwestern University of Illinois University of Maryland England University of Houston
1999 Frank Heneghan Alfred Mouledous Aiko Onishi Ruth Tomfohrde Diane Walsh
Ireland Southern Methodist University, Dallas Japan/California University of Houston Mannes School of Music, New York
1998 Jeffrey Biegel New York Constance Carroll Louisiana State University, Baton Rouge Robin McCabe University of Washington, Seattle John Murphy Loyola University, New Orleans Hanni Schmid Wyss Switzerland 1997 Robert Roux Bela Siki Logan Skelton
Rice University, Houston University of Washington, Seattle University of Michigan, Ann Arbor
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visitors with grace and superb southern hospitality. Ourhistoric historicinn innononSt.St.Charles Charles hospitality. Our Avenue overlooks the the majestic majesticoak oak Avenue overlooks trees of Audubon Audubon Park. Park.Through Throughour our trees of windows you can cansee seethe thestreetcar streetcaronon windows you way to to the the French FrenchQuarter. Quarter.Visit Visitthe the its its way Audubon Zoo, the theaquarium, aquarium,museums, museums, Audubon Zoo, restaurants andshops shopsthat thatare areuniquely uniquely restaurants and New Orleans. Orleans. On Onyour yourreturn, return,indulge indulge in a sweet sweet treat treat and and complimentary complimentary libations on libations on our ourbeautiful beautifulshaded shadedporch. porch. Our newly Our newly renovated renovatedtwenty-one twenty-oneguest guest rooms are furnished with period antiques, rooms are furnished with period antiques, are non-smoking are non-smokingand andinclude includecontinental continental breakfast, modern amenities and breakfast, modern amenities andstylish stylish private baths. private baths.
Park View Guest House
Timeless elegance, modern amenities and superb Park View Guest Housesouthern hospitality.
Timeless elegance, amenities and superb southern hospitality. Call (504) modern 861-7564 or Toll Free 1-888-533-0746 7004 Charles Avenue, Orleans, LA 70118 Call St. (504) 861-7564 or New Toll Free 1-888-533-0746 Visit the webAvenue, at parkviewguesthouse.com 7004usSt.onCharles New Orleans, LA 70118
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1995 Alan Chow Northwestern University of Illinois Sean Duggan, O.S.B. St. Joseph Abbey, Covington, LA Jean-Pierre Marty France Madelyn Trible University of Louisiana at Lafayette Nancy Weems University of Houston
1992 Dolores Fredrickson Chicago Raymond Jackson Howard University, Washington, D.C. Eugene Rowley International Festival Institute, Texas Brent Runnels Rollins College, Florida Oxana Yablonskaya Juilliard School of Music, New York 1991 Seth Carlin Martin Jones Krassimira Jordan Joseph Rezits Eleanor Statmore
Washington University, St. Louis England Baylor University, Waco Indiana University, Bloomington New Jersey
1994 Constance Carroll Rafael Guerra Ray Luck Paul Pollei Robert Roux
Louisiana State University, Baton Rouge Mexico Randolph-Macon College, Virginia Brigham Young University, Provo, Utah Rice University, Houston
1990 William Koehler University of Northern Illinois, Dekalb Mack McCray San Francisco Conservatory Louis Nagel University of Michigan, Ann Arbor Michi Hirata North Pacific Northwest School of Music, Seattle Robert Silverman Piano Quarterly, Editor
1993 Richard Dowling Tristan Foison Faina Lushtak Barry Snyder Eleanor Statmore
New York France Tulane University, New Orleans Eastman School of Music, Rochester New Jersey
1989 Alan Chow Lillian Freundlich Paul Maillet Paul Pollei S. Zakarin-Rutstein
Past Competition Jurors
1996 Martin Jones England Peter Collins Southwest Missouri State University, Springfield Michael Gurt Louisiana State University, Baton Rouge Krassimira Jordan Baylor University, Waco Anne Koscielny University of Maryland, College Park
University of Arkansas Peabody Conservatory of Music USA Brigham Young University, Provo, Utah Oberlin
Best of Luck to all Competitors in the 26th New Orleans International Piano Competition Compliments of British Acadian Ltd., Inc. Specialists in the acquisition and development of producing properties.
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2016 New Orleans International Piano Competition 83
2016-2017 SEASON HIGHLIGHTS
Saturday, October 22, 2016, 7:00 PM University of Louisiana, Lafayette New Orleans International Piano Competition 2014 Gold Medalist Marianna Prjevalskaya performs with the Acadiana Symphony Orchestra. Sunday, October 23, 2016, 3:00 PM 1133 Margaret Place, New Orleans MASNO presents acclaimed classical guitarist Pavel Steidl of the Czech Republic in a Salon Concert Event.
Sunday, November 20, 2016, 5:00 PM Ritz-Carlton New Orleans NOCTURNE XIV Having become one of the most anticipated evenings of the year, MASNO’s annual black-tie gala and fundraiser includes a champagne reception, salon recital and sit down dinner. This year, MASNO welcomes renowned Israeli pianist Inon Barnatan. January 3–8, 2017 New Orleans, Louisiana
More information available at www.lpomusic.com Saturday, January 7, 2017, 6:30 PM 2702 Saint Charles Avenue MASNO partners with the Louisiana Philharmonic Orchestra to present acclaimed American pianist Anne-Marie McDermott in a special Salon Concert Event.
Sunday, January 8, 2017, 2:30 PM Roussel Hall, Loyola University, New Orleans Concerto Showcase IX The top three Medalists of the 2016 New Orleans International Piano Competition return to New Orleans for an afternoon of piano concertos with Carlos Prieto and the Louisiana Philharmonic Orchestra. Thursday, February 23, 2017, 7:30 PM River Center Theatre, Baton Rouge New Orleans International Piano Competition 2014 Gold Medalist Marianna Prjevalskaya performs Mozart Piano Concerto No. 21 with the Baton Rouge Symphony Orchestra. Sunday, March 12, 3:00 PM Le Petit Théâtre du Vieux Carré, New Orleans GREAT SCOTT! - Joplin in the Quarter! In commemoration of the 100th Anniversary of the King of Ragtime’s death in 1917, American pianist and former New Orleans International Piano Competition Gold Medalist Richard Dowling performs a selection of Scott Joplin’s best-known and most beloved piano masterpieces in recital at the historic Le Petit Théâtre. July 23–30, 2017 Roussel Hall, Loyola University, New Orleans New Orleans Piano Institute and Keyboard Festival Talented college, high school, and junior high pianists from across the United States and around the world are invited to New Orleans for a week of intensive study, performances and competition opportunities including the NOPI Solo Competition and Concerto Competition. In addition, the Keyboard Festival presents Guest Artist Recitals performed by former winners of the New Orleans International Piano Competition.
Official Sponsors Member of Alink - Argerich Foundation
For more information and to purchase tickets, visit masno.org or call 504.899.4826