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New Orleans International Piano Competition

Thirty-Sixth Keyboard Festival Nineteenth Piano Institute

July 22—29, 2018 C ompetition J ury

Jennifer Hayghe Igal Kesselman Alexandre Moutouzkine Nigel Grant Rogers Gregory Sioles Nancy Weems 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 Hosted by Loyola University College of Music and Fine Arts

S T E I N WAY & S O N S the Official Piano of the New Orleans International Piano Competition 11

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.

S T E I N WAY S O C I E T Y of New Orleans 1-800-STEINWAY

TABLE OF CONTENTS Schedule of Events Welcome Messages

4 7–16

About MASNO

MASNO Board of Directors/Competition Committee

Guest Artist and Recital Program Alexandre Moutouzkine Chloé Kiffer Performance Prizes

20–22 20 22 25

Competition Jurors Jennifer Hayghe Igal Kesselman Alexandre Moutouzkine Nigel Grant Rogers Gregory Sioles Nancy Weems Daniel Weilbaecher

26–28 26 26 27 27 27 28 28

New Orleans Piano Institute Kevin Chance Alan Chow Frank Heneghan Shearon Horton Joni Jensen Igor Resnianski

30–34 31 31 32 32 33 33

Master of Ceremonies

Competition Requirements

Judging Procedures

Semifinalists Sung Chang Yixiang Hou David Jae-Weon Huh Andreas Ioannides Robert Levinger Scott MacIsaac Arisa Onoda Misuzu Tanaka Alessandro Tosi Lin Ye Hyun Ji Serena You Ziang Xu

36–47 36 37 38 39 40 41 42 43 44 45 46 47

NOIPC Semifinal Repertoire: A Program Guide

48–57

Be Part of MASNO

Friends of MASNO

MASNO Endowment Fund

Acknowledgements Past Competition Winners Past Competition Jurors

67, 68 70 73, 74

MASNO Partners and Sponsors

MASNO 2018-19 Season Highlights

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. Proud supporter of the Musical Arts Society of New Orleans!

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SCHEDULE OF EVENTS

2018 New Orleans International Piano Competition, Keyboard Festival, & Piano Institute Schedule of Events SUNDAY, JULY 22 Master Class Guest Artist Recital

Frank Heneghan Alexandre Moutouzkine and Chloé Kiffer

1:15 PM 4:00 PM

MONDAY, JULY 23 Igor Resnianski Master Class Master Class Kevin Chance NOIPC Semifinal Round I, Day one

10:45 AM 2:45 PM 7:00 PM

TUESDAY, JULY 24 Shearon Horton Master Class Master Class Alan Chow NOIPC Semifinal Round I, Day two

10:45 AM 2:45 PM 7:00 PM

WEDNESDAY, JULY 25 Presentation Jennifer Hayghe Master Class Nancy Weems NOIPC Semifinal Round I, Day three

11:00 AM 2:45 PM 7:00 PM

THURSDAY, JULY 26 NOPI Concerto Competition

9:00 AM

Master Class Alexandre Moutouzkine NOIPC Semifinal Round II, Day one

3:00 PM 7:00 PM

FRIDAY, JULY 27 Presentation “The Juror’s Perspective” Master Class Gregory Sioles NOIPC Semifinal Round II, Day two

11:00 AM 3:00 PM 7:00 PM

SATURDAY, JULY 28 NOPI Showcase Recital

10:30 AM

SUNDAY, JULY 29 NOIPC Final Round

2:00 PM

Sponsored by Hall Piano Company and the Steinway Society of New Orleans

Master classes are made possible by a generous gift from the Wendell and Anne 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 Recital will be held in Roussel Hall. Supported by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation and Tourism in cooperation with the Louisiana State Arts Council as administered by the Arts Council New Orleans.

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Celebrating 300 Years of New Orleans As New Orleans celebrates its 300th anniversary, The Historic New Orleans Collection presents exhibitions that chronicle the city’s development and growth, a guided tour of an elegant French Quarter residence, and a museum shop with locally inspired gifts, books, prints, and jewelry. Discover the stories of New Orleans at The Historic New Orleans Collection. For more details, visit www.hnoc.org. Follow us! @visit_thnoc 533 Royal Street & 400–410 Chartres Street In the French Quarter (504) 523-4662 • www.hnoc.org

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6/29/18 9:25 AM

WELCOME MESSAGES

Dear Friends, I would like to personally welcome you to New Orleans for the 27th biennial New Orleans International Piano Competition. Louisiana is the home of world-famous music and food, unique outdoor environments and colorful Cajun and Creole culture. Our great state has something of interest that will captivate just about everyone: from music lovers to sportsman who love hunting and fishing to history buffs with a passion for exploring our one of a kind culture. Louisiana is a place to come to hungry, because we are certain to Feed Your Soul. Louisiana is the birthplace of America’s only indigenous art form-jazz, but Louisiana is also home to a host of musical styles ranging from country, gospel and blues to hip hop and rock ‘n’ roll. Check out LouisianaSoundtrack.com to find more information about music in Louisiana. Don’t forget to explore the rest of this beautiful state. Go to LouisianaTravel.com to learn more about all of the amazing activities offered here. We are honored to have representatives from around the world here to participate in this competition. Thank you all for coming. Remember, in Louisiana, you’re always welcome. Because anywhere can feed you. But we know how to Feed Your Soul. Whether it’s arts, music, history, or food – you can get your fill right here in our home – Louisiana Sincerely,

Billy Nungesser Lieutenant Governor

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WELCOME MESSAGES

Welcomeola! to Loy Loyolaâ€™s College of Music and Fine Arts trains artists! Students can study all aspects of music performance, as well as music education, music therapy, music industry, popular and commercial music, entertainment industry, urban and electronic music production, and graphic design. Here, students develop their talents with an intensely creative mix of people â€“ vocalists, rappers, playwrights, web designers, and performers of every type. The Faith in the Future campaign will enhance our academic programs, enrich campus life, ensure financial aid for deserving students, transform our physical campus, and strengthen our Jesuit identity. Visit loyno.edu/give to give and help us train the next generation of performers.

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WELCOME MESSAGES

Office of the Dean Greetings Arts Community! On behalf of Father Kevin Wildes, President of Loyola, I am pleased to welcome the Musical Arts Society’s 27th New Orleans International Piano Competition. Having recently joined the New Orleans community, it strikes me that very few artistic events in New Orleans have captured the attention and loyal support of the music community like the New Orleans International Piano Competition. Loyola University New Orleans and the College of Music and Fine Arts are indeed proud to be a part of this very successful and important cultural event. Loyola’s College of Music and Fine Arts is pleased to be this region’s leader in arts education. We pride ourselves on supporting, developing, and growing the capacity of a creative economy in one of the most distinguished cities in the world. Did you know Americans for the Arts ranked New Orleans as the fifth largest creative economy in the United States based on the percentage of creative jobs? That is comparable to destinations like New York City and Los Angeles. Our faculty are dedicated artists and educators who develop students into future creative professionals. We pride ourselves on providing the rigorous training and high expectations that are the hallmarks of a Jesuit education. Along with our own wonderful faculty-artist and student events, the College of Music & Fine Arts at Loyola University New Orleans has presented Sir James Galway, Wynton Marsalis, Emanuel Ax, Yo-Yo Ma, Alfred Walker, Ellen Taafe Zwilich, the Kronos Quartet, with plans for many more to come. Consider attending any of our wonderful events by traveling to cmfa.loyno.edu/loyola-presents. Our amazing programs and events in the College of Music and Fine Arts cannot operate without the generous contributions of our donors. Please consider giving a gift to support our students and faculty at giving.loyno.edu/cmfa. Sincerely,

Kern Maass, MFA David P. Swanzy Distinguished Professor Dean of the College of Music and Fine Arts Loyola University New Orleans

6363 St. Charles Avenue. Campus Box 8, New Orleans, LA 70118, 504.865.3039, FAX: 504.865.3851. www.loyno.edu

NOCTURNE XVI SUNDAY, DECEMBER 2, 2018 RITZ CARLTON, NEW ORLEANS

ANDERSON & ROE PIANO DUO

THE MOST DYNAMIC DUO OF THIS GENERATION. â€“ San Francisco Classical Voice

presented by

504-899-4826

www.masno.org

WELCOME MESSAGES

New Orleans International Piano Competitions

Dear Friends of the Musical Arts Society of New Orleans, Welcome to the 27th International Piano Competition...and to a week of tremendous talent and fantastic piano performances! As President of MASNO, on behalf of our Board of Directors, thank you for joining us this week! Throughout the week, twelve talented semi finalists, representing seven countries, selected from 153 applicants, will compete for the gold. Simultaneously, fulfilling the MASNO mission of musical education, we reach out to junior high, high school and college students for a week of master classes, lectures, and performances as part of the Keyboard Festival/ Piano Institute. All programs of the Piano Institute are free and open to the public. This week, you will enjoy the best that MASNO brings to our community! Throughout the year, MASNO brings to the Greater New Orleans Area musical events showcasing young rising and established talent. Please visit our website, www.masno.org for information about upcoming salon concerts and other exciting events sponsored by MASNO. Mark your calendars for our elegant fundraising gala featuring Anderson & Roe Piano Duo to be held at the Ritz Carlton Hotel on Sunday, December 2. This year’s competition’s winners will return to New Orleans to perform with the Louisiana Philharmonic Orchestra on Saturday, March 30, for the Concert Showcase. Many thanks to all of our sponsors and supporters for making it possible for MASNO to serve our community and bring such young talent for our enjoyment. Thank you and profound gratitude to Cara McCool Woolf, our dedicated Executive Director and to Daniel Weilbaecher, our long serving Artistic Director. A big thank you to the leaders of the Piano Institute. Thank you to the judges, Institute faculty, and all of our volunteers who provide housing, dinners, tours of our city, and assistance in so many other ways. We are grateful to Hall Piano, the Steinway Society of New Orleans, Loyola University College of Music and Fine Arts, WWNO 89.9 and classical 104.9 FM for their continuing support. Enjoy the week! Sincerely, Anne Gauthier President, Musical Arts Society of New Orleans

P.O. Box 750698 • New Orleans, LA 70175-0698 • Phone (504) 899-4826 • masno.org

WELCOME MESSAGES

New Orleans International Piano Competitions

Welcome to the 2018 New Orleans International Piano Competition, Keyboard Festival and Piano Institute! 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 27th year, the New Orleans International Piano Competition received over 150 outstanding auditions from around the world. With the extraordinary level of playing, it was no easy task for the preliminary jury to choose the 12 Semifinalists who you will hear this week. This biennial event has put New Orleans on the map in the world of classical piano and the musical arts, and has played an integral role in the 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 Alexandre Moutouzkine and Chloé Kiffer as part of our festival as well as our internationally esteemed NOIPC Jury and NOPI Faculty. I know that you will enjoy the guest artist recital 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 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, the New Orleans Civic Symphony, and the Wendell and Anne Gauthier Family Foundation for their partnership with and sponsorship of NOPI. I am also thrilled to mention a wonderful upcoming 2018–2019 MASNO Season full of fabulous concerts and events! These include our annual celebrated gala NOCTURNE XVI with internationally acclaimed Anderson & Roe Piano Duo, the return of 2016 NOIPC Gold Medalist Xiaohui Yang with the Acadiana Symphony Orchestra, a very cool performance by New Orleans pianist and composer Courtney Bryan, Concerto Showcase X with our 2018 NOIPC Medalists and the Louisiana Philharmonic Orchestra, 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 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 am honored to continue to build. To our Executive Intern, Millie Mince, I offer enormous thanks and deepest gratitude for all of her incredible work, support, and energy. I also want to thank our wonderful board President Anne Gauthier and all of the members of the MASNO Board of Directors for their strong dedication, continued support, and enthusiastic participation throughout the year. We surely could not operate without the incredibly generous support from our Partners and Sponsors. Huge thanks to our host Loyola University, Hall Piano and the Steinway Society of New Orleans, WWNO 89.9 and Classical 104.9 FM 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, Igal Kesselman and Merkin Hall for their NOIPC prize collaborations. Thank you to Dr. Keith Lescale, Robin and Bruce Crutcher, and all of our NOIPC prize sponsors. To all of the NOIPC dinner and Semifinalists Hosts, thank you for playing such a benevolent role. Thank you to all the staff, volunteers, and particularly to my husband Vance Woolf—you 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 MASNO! Best wishes! 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

WELCOME MESSAGES

New Orleans International Piano Competitions

The Musical Arts Society of New Orleans is proud to present the 2018 New Orleans International Piano Competition & Keyboard Festival/Piano Institute. As MASNO celebrates its 27th 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 March 30, 2019. 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 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 day-to-day operations. We look forward to Cara’s ongoing administrative role in MASNO’s future growth. The MASNO Board of Directors is especially grateful to Dr. Kern Maas, Dean of the Loyola College of Music and Fine Arts, for making Loyola’s excellent facilities available to us and to the college’s stagemanagement staff for facilitating the logistical challenges of producing an event of this scope. I would also like to congratulate 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 the Steinway Society of New Orleans for its sponsorship of the NOPI Concerto Competition.. Please mark December 2, 2018 on your calendars when MASNO will present Nocturne XVI at the RitzCarlton Hotel featuring the acclaimed piano duo Anderson & Roe. In the meantime, sit back and enjoy this week dedicated to celebrating the piano and its music!

Daniel Weilbaecher MASNO Artistic Director

P.O. Box 750698 • New Orleans, LA 70175-0698 • Phone (504) 899-4826 • masno.org • director@masno.org

ABOUT MASNO

R ecitals

MASNO History 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 in its third year of presenting a full season of concerts and events 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. In 2017, Joni Jensen joined Igor as NOPI CoDirector, and Alan returned to his former position of NOPI Faculty Member. 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 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 every other year. In 2018, we present the 27th New Orleans International Piano Competition. As MASNO celebrates its 38th anniversary in 2018, 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, Festival PiaNOLA and Concerto Showcase in collaboration with the Louisiana Philharmonic Orchestra, Nocturne, Salon Concerts, and MASNO Artist Master Classes and Lecture Performances at area schools. 18

BOARD OF DIRECTORS & COMPETITION COMMITTEE

Board of Directors Executive Director Artistic Director Executive Intern

Cara McCool Woolf Daniel Weilbaecher Millie Mince

President President-Elect Immediate Past-President Treasurer Secretary

Anne B. Gauthier Keith Lescale James A.H. Farrow Susan Lafaye Elissa Bluth

Members

Mary Chapman Albert Hristo Birbochukov Andrea Brown Courtney Bryan Joan Coulter Alan Chow June Cognevich Peter Collins Bruce Crutcher Kathan Dearman Wilfred Delphin Arthur Dickerson Jep Epstein Meg Frazier

Joni Jensen Machelle Johnson Fred Kasten Steven Kinchen Allan Ledbetter Emily McWilliams Christopher Merrit Emel Songu Mize Hans Mulder Julianne Nice Igor Resnianski Barbara Sands Chris Waddington Casey Dietz Zainey

Competition Committee

Box Office/Ticket Sales Millie Mince, Cara McCool Woolf, Vance Woolf Boutique Anne Gauthier, Machelle Johnson, Susan Lafaye, Casey Zainey Competition Committee Chairs Daniel Weilbaecher, Cara McCool Woolf Competition Coordinators Daniel Weilbaecher, Cara McCool Woolf Competition Hospitality Coordinators Elissa Bluth, Cara McCool Woolf Master Classes and Presentations Joni Jensen, Igor Resnianski Marketing Fred Kasten, Millie Mince, Cara McCool Woolf Piano Technician Matt McWilliams Preliminary/Recorded Round Coordinator Cara McCool Woolf Adjudicators Raymond Gitz, Frank Heneghan, Brian Hsu, Lina Morita, Daniel Weilbaecher Program Book Design Noya Design, Inc. Production MPress Coordinator Cara McCool Woolf Advertisements Elissa Bluth, Millie Mince, Cara McCool Woolf Contributor Raymond Gitz, Daniel Weilbaecher, Cara McCool Woolf Editing Anne Bradburn, Connie Carroll, Kevin Chance, Emel Songu Mize, Glenn Noya, Daniel Weilbaecher, Cara McCool Woolf, Vance Woolf Recording and Live Streaming Hall Piano, Nathaniel Kinchen, Steven Kinchen, Rob Olmstead Stage and Facility Managers Philip Cramer, Priscilla Dardar, Jeff Zielinski Volunteers Mary Chapman Albert, Andrea Brown, Hristo Birbochukov, Betty Blanq, Elissa Bluth, Lou Bush, Anne Gauthier, Christopher Merritt, Beth McCool, Bruce Regeczi

GUEST ARTIST

Alexandre Moutouzkine, piano Guest Artist

In recognition of Russian-American pianist Alexandre Moutouzkine’s early participation in the prestigious Van Cliburn International Competition, where he won the Special Award for Artistic Potential at age 19, the Dallas Morning News stated that Mr. Moutouzkine “played Brahms’ Op. 117 Intermezzi more beautifully, more movingly, than I’ve ever heard them. At once sad, tender and noble, this was playing of heart-stopping intimacy and elegance.” Since then, Mr. Moutouzkine went on to win top prizes in more than 20 international competitions, including the Naumburg, Cleveland, Montreal, New Orleans, Iturbi (Valencia), Maria Canals (Barcelona) and Arthur Rubinstein (Tel Aviv). He also won the Astral Artists’ 2009 National Auditions. He has appeared as a soloist with the Berliner Philharmoniker, Brno Philharmonic Orchestra of the Czech Republic, Israel Philharmonic, Cleveland Orchestra and Radiotelevision Orchestra of Spain, among other orchestras around the world. Highlights of the 2017/18 season include Mr. Moutouzkine’s debut at Carnegie Hall’s Stern Auditorium, return engagements at Florida’s Kravis Center and Miami Music Festival, the CD release of Cuban works on the Steinway and Sons label, and performances and master classes in Shanghai, Taipei, Halle, Madrid, Havana, Bogotá, and Moscow. Alexandre Moutouzkine holds a Master’s degree and post-graduate degrees from Manhattan School of Music, where he studied with Solomon Mikowsky. He holds undergraduate degrees from the Hochschule für Musik und Theater in Hannover and Russia’s Nizhny Novgorod Music Academy. Most recently Alexandre received an “Artist of the Season Award” from Chamber Music International in Dallas, “Cubadisco 2017” award for the best classical music recording in Cuba, and a “Distinguished Alumni Award” from Manhattan School of Music, where he was appointed to its faculty in September 2013. www.moutouzkine.com

RECITAL

Sunday, July 22, 2018 4:00 PM Ravel Sonata in G Major for Violin and Piano Allegretto Blues Perpetuum mobile Stravinsky Firebird Suite (piano solo, transcription of A. Moutouzkine) The Firebird and its Dance Infernal Dance Berceuse Finale INTERMISSION Ravel

Sonata Posthume in A Minor for Violin and Piano

Stravinsky Trois mouvements de Petrouchka Danse Russe Chez Petrushka La Semaine Grasse M. Ravel

Tzigane for Violin and Piano

In 1910 Stravinsky and Ravel met at a premier of Stravinsky’s “The Firebird” in Paris. Composers instantly became friends and developed an artistic admiration for each other. In 2015, a conductor and Stravinsky’s longtime assistant, Robert Craft, wrote in his book: ”Stravinsky: Discoveries and Memories,” suggesting the relationship between Stravinsky and Ravel went far beyond friendship during three inspiring years of Diaghilev’s “Ballet Russe” in Paris. Their surviving letters to each other have an intimate and jocular tone which mark Stravinsky as one of the closest of Ravel’s acquaintances. This program is exploring repertoire written by both composers giving a personal insight into the emotional world of two great artists of the XXth century. 21

GUEST ARTIST

Chloé Kiffer, violin Guest Artist

Praised by press for her spellbinding and electrifying performances,violinist Chloé Kiffer claimed top prizes at multiple national and international competitions. An early success lead Chloé to solo and orchestra engagements throughout Europe, Canada, North and South America, the Middle East, and Asia playing in some of the world’s most prestigious concerts halls such as Théâtre des Champs-Élysées in Paris, Beethoven Hall in Bonn, Frankfurt Radio Symphony Hall. In October 2015 Chloé made her debut at Carnegie Hall’s Stern Auditorium with Tchaikovsky Violin Concerto under baton of David Gilbert. A native of France, Chloé graduated Conservatoire National Supérieur de Musique de Paris at the age of 17. She went on to earn an Artist Diploma in Germany and postgraduate degrees at Manhattan School of Music as a student of Pinchas Zukerman and Patinka Kopec. An enthusiastic chamber musician, Chloé is a frequent collaborator with artists such as Pavel Vernikov, Gustav Rivinius, Shmuel Ashkenasi, Joshua Epstein, Vladimir Mendelsohn, Timothy Eddy and the Emerson String Quartet. A frequent guest performer and faculty at various festivals Chloé has been closely associated with Heifetz Institute serving there as faculty and Artist in Residence since 2015. Currently Ms. Kiffer is a teaching artist at both Bard University (precollege division) and Stony Brook University, where she is concurrently completing her Doctor of Musical Arts Degree. Most recently Chloé has made a recording of Ravel Violin Sonatas on Steinway & Sons label, which was released in March 2018. www.chloekiffer.com

Congratulations to all pianists participating in the 2018 New Orleans International Piano Competition

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save the date

New Orleans International Piano Competition

July 19â€”26, 2020

Friday, October 5, 2018, 7:00 PM

Courtney Bryan in concert

New Orleans Jazz Museum, 400 Esplanade Avenue

Pianist and composer, Courtney Bryan will perform her works for solo piano and recorded sound including Songs of Laughing, Smiling, and Crying Presented by 24

PERFORMANCE PRIZES

2018 New Orleans International Piano Competition Prizes First Prize: $15,000 awarded by Dr. Keith Lescale ($5,000 cash award, $10,000 performance fees) • Louisiana Philharmonic Orchestra Season Subscription concert and Concerto Showcase* • Acadiana Symphony Orchestra • Baton Rouge Symphony Orchestra • Solo Recitals: – Performance on the Tuesday Matinee Series 2019–2020 Season at Kaufman Music Center’s Merkin Hall in New York – Solo Recital • An exclusive one-on-one career development consultation with executive leadership at Astral Artists Second Prize: $10,000 ($8,000 cash award, $2,000 performance fees) • Louisiana Philharmonic Orchestra: Concerto Showcase* • Solo Recital Third Prize: $5,000 awarded by Robin and Bruce Crutcher ($4,000 cash award, $1,000 performance fee) • Louisiana Philharmonic Orchestra: Concerto Showcase* Semifinalist Prizes (Nine at $750) awarded by: • Alan Chow in memory of Dr. James Ricciardi • Dr. James Farrow (2) • Dr. Edward Levy • Drs. Emel and Ranney Mize • Julianne Nice and Herb Larson in memory of Deborah Jo Nice • Ann Cox Strub • Norris and Robert J.A. Williams in honor of Elissa Bluth *Concerto Showcase X, March 30, 2019: A concert featuring the top three medalists of the 27th New Orleans International Piano Competition with Carlos Miguel Prieto and the Louisiana Philharmonic Orchestra 25

TWENTY-SEVENTH COMPETITION

COMPETITION JURORS Jennifer Hayghe

Jennifer Hayghe PRESENTATION Wednesday, July 25 11:00 AM

Igal Kesselman

Jennifer Hayghe has performed in solo recitals and made orchestral appearances throughout the world, including the United States, Europe and Asia. Hayghe received her bachelors, masters and doctorate degrees from The Juilliard School, where she was the last student of the legendary artist-teacher Adele Marcus. Hayghe won every award possible for a Juilliard pianist to receive, including the William Petschek Debut Award, resulting in her New York City recital debut at Alice Tully Hall. Hayghe has performed and taught as a soloist and chamber musician at universities and colleges throughout the country as well as appearing as a concerto soloist with various orchestras throughout the United States. She has performed in major chamber music series, including Bargemusic in New York and the Garth Newel Center for Music series in Virginia, and has taught chamber music throughout the United States and Central America. Hayghe is currently an Associate Professor at the University of Colorado in Boulder. Formerly an Associate Professor of Piano at Ithaca College and the Barineau Endowed Professor of Piano at Louisiana State University, Hayghe has served as a featured artist at music teachers’ conventions throughout the country as well as a presenter at the Music Teachers National Association national conference. Most recently, Hayghe has given masterclasses at the Manhattan School of Music and in the New York University Piano Master Class Series. She lives with her husband, Robert McGaha, and son William in Erie, CO.

Igal Kesselman

Praised for his “kaleidoscopic” playing by the New York Times, pianist Igal Kesselman is one of today’s most forward-thinking performers and music educators. After making his American debut with the Washington Chamber Symphony at the Kennedy Center, he has performed throughout the country in such venues as Alice Tully Hall, Symphony Space and Merkin Concert Hall in NYC; the Corcoran Gallery in Washington, D.C.; and the Kravis Center in West Palm Beach. Dr. Kesselman was a top prizewinner at “Citta de Marsala” International Piano Competition in Italy and has performed as a soloist with many orchestras, including the Annapolis Symphony Orchestra and the Israeli Camerata. Highlights from the last few seasons include performance of Mozart Double Concerto with pianist Orli Shaham and Vancouver Symphony Orchestra USA, solo recitals for subscription series of Tel Aviv University and Arizona State University, and performances with Rob Kapilow on What Makes It Great series at Merkin Concert Hall. He also conducted Masterclasses at Oberlin Conservatory, the Colburn School in Los Angeles, Buchmann-Mehta School of Music at Tel Aviv University, Boston University Tanglewood Institute in Lenox MA, Jerusalem Academy of Music, and Arizona State University at Tempe. Dr. Kesselman is a past recipient of ten AmericaIsrael Cultural Foundation Scholarships. He received his B.M. degree, cum laude, from S. Rubin Academy of Music in Tel Aviv, and his M.M. and D.M.A. degrees from Peabody Conservatory of Music in Baltimore. His teachers have included Yoheved Kaplinsky, Emanuel Krasovsky and Irina Zaritskaya. Currently, he serves as the Director of the Lucy Moses School and Special Music School at the Kaufman Music Center in Manhattan and curates the popular Tuesday Matinee series at Merkin Concert Hall. Dr. Kesselman serves frequently as a judge in international competitions and auditions, including Concert Artist Guild, Astral Artists, Virginia Waring International Piano Competition and Boston University. He is also the Founder and Artistic Director of Kaufman Music Center International Youth Piano Competition. Dr. Kesselman is a member of the piano faculty at the Lucy Moses School, and at the Special Music School, New York’s public school for musically gifted children.

TWENTY-SEVENTH COMPETITION

COMPETITION JURORS Nigel Grant Rogers

Born in London, Nigel Grant Rogers studied singing with two legendary singers, the baritone George Baker and soprano Dame Isobel Baillie. He sang the baritone solo part of Mendelssohn’s “ Elijah” in the latter’s last public oratorio performance. At Cambridge University he sang and acted extensively and subsequently pursued a career as a concert and opera singer whilst running a successful antiques business and lecturing regularly on the subject of antiques. In 1995 he established a musical artists’ agency, Grant Rogers Musical Artists’ Management, building and managing the careers of young solo musicians, including the pianists Freddy Kempf and Yevgeny Sudbin, as well as representing established and renowned artists such as the cellist Natalia Gutman, pianists Paul Badura-Skoda, Abbey Simon, Sergei Babayan, Malcolm Bilson, and the Gabrieli String Quartet. An increasingly important part of his work was concert management and he became London’s leading concert manager, managing and promoting high profile concerts in the UK’s major concert halls including The Royal Festival Hall, Queen Elizabeth Hall, Cadogan Hall, Kings Place and particularly Wigmore Hall where he managed well over a hundred concerts. He adjudicates regularly and has been on an audition panel for The Royal Opera House and on the jury of international piano competitions, including for the past four years the London auditions for the New York Concert Artists piano prize.

Gregory Sioles

Gregory Sioles has concertized across three continents, appearing in recital at such venues as the Kennedy Center, London’s Purcell Room and the Shanghai Conservatory (China). An avid chamber musician, he has collaborated with famed artists Edgar Meyer, Barry Tuckwell and the Guarneri Quartet among others. Part of the Washington music scene for over a decade, Sioles has performed in many of the city’s most important halls from the Kennedy Center and National Gallery of Art, to the Cosmos Club and the Phillips Collection, where he has appeared both as a recitalist and chamber artist. Sioles also participated in the Smithsonian’s celebration of the piano’s 300th year. Recent international engagements have taken him to Taiwan with bassist Yung-Chiao Wei, where he performed and presented master classes in five major Taiwanese cities including Kaohsiung and Taipei. In summer, 2015, Sioles traveled to Panama and Costa Rica where he taught and gave both chamber and solo performances. He is currently an Associate Professor of Piano at Louisiana State University, and has previously taught at the University of Maryland, Peabody Conservatory, and the Levine School (Washington D.C.). Sioles records for Centaur.

Gregory Sioles MASTER CLASS Friday, July 27 3:00 PM

Nigel Grant Rogers

Alexandre Moutouzkine (see bio on page 20)

MASTER CLASS Thursday, July 26 3:00 PM

TWENTY-SEVENTH COMPETITION

COMPETITION JURORS Nancy Weems

Nancy Weems MASTER CLASS Wednesday, July 25 2:45 PM

Daniel Weilbaecher

Nancy Weems, pianist, has established herself as both a performer and a noted pedagogue across the nation and the world. She has performed extensively in the United States, Europe, Asia, Mexico, Central America, and Russia to wide critical acclaim. A graduate of Oberlin Conservatory and the University of Texas, her solo appearances include concerts in over fourteen foreign countries, in addition to the U.S. As a United States Artistic Ambassador, Ms Weems was invited to concertize in Iceland, Norway, Denmark, Russia, Mexico, Jamaica, Trinidad, Costa Rica, and Taiwan. After a recital in Reykjavik, Iceland, one critic called her “a rare treasure... Nancy Weems is an extraordinary pianist, grand in scope, and powerful in her interpretation, possessing fantastic technique.” Additional international tours followed, taking her to the United Kingdom, Korea, Malaysia, and most recently, to the People’s Republic of China. After her solo debut recital at the John F. Kennedy Center for the Performing Arts in Washington, D.C., The Washington Post praised her “powerful technique” and “delightful mix of strength and flexibility.” And the music critic of the Houston Post reported, “Nancy Weems put an amazing display of energy and keyboard technique into a recital that went from strength to strength.” As a respected pedagogue, Nancy Weems has given master classes in music schools and conservatories in the United States, Europe, Asia, and the West Indies. Ms. Weems was an exchange professor and guest performer at the Royal Academy of Music in London, England; Sungshin Women’s University in Seoul, Korea; and for the International Piano Master Class Series of Kuala Lumpur, Malaysia. In 2016, Ms. Weems performed and taught in a four-city tour of China including the cities of Beijing, Nanjing, Chengdu, and Shenzhen. Currently, Nancy Weems is the Madison Endowed Professor and Coordinator of the piano area at the University of Houston Moores School of Music in Houston, Texas, where she has taught since 1982. Her students have won top awards in many national and international competitions including top prizes in the MTNA Collegiate Artist Competition, the Van Cliburn International Piano Competition, the Leeds International Piano Competition, the Hastings International Piano Competition, the Bach International Piano Competition, the Dallas International Piano Competition, the New Orleans International Piano Competition, the Corpus Christi Young Artist Competition, and the Nena Wideman National Young Artist Concerto Competition. Many of her current and former students now hold positions in music schools and universities worldwide, and many have successful performing careers under professional artist management. A dedicated teacher, she was named the Outstanding Collegiate Teacher in l99l by the Texas Music Teachers Association, and received a University of Houston Teaching Excellence Award in 1995. Professor Weems regularly presents lectures and teacher workshops and has been a featured MTNA convention artist for the states of New York, Washington, Minnesota, Utah, New Mexico, Arizona, Wyoming, Louisiana, South Carolina, Mississippi, Arkansas, North Dakota and Texas. In addition, Ms. Weems has been a frequent presenter at the Music Teachers National Association Convention and the World Piano Pedagogy Conferences, and has served as a frequent adjudicator of national and international piano competitions. Ms. Weems has recorded for the Albany and the Bay Cities labels. The recording, “Classical Hollywood” was nominated for a Grammy award in 1990. In addition, she has been featured in recordings of American composers Arnold Rosner, Chris Theofanidis, and David Ashley White.

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.

1896 O’Malley House Bed and Breakfast

1-866-226-1896

120 South Pierce Street New Orleans, Louisiana 70119 www.1896omalleyhouse.com

Jerry & Rita Satawa send best wishes to all competitors.

LOYOLA PREPARATORY ARTS PROGRAM

Loyola’s Preparatory Arts Program provides enrichment and lifelong learning to the New Orleans Metropolitan Area. Instruction is offered in piano, guitar, voice, strings, dance, and Musikgarten™. LESSONS OPEN TO ADULTS AND CHILDREN. For more information, please call (504)-865-3037, email prep@loyno.edu, or visit cmfa.loyno.edu/prep-arts 29

ABOUT THE 2018 NEW ORLEANS PIANO INSTITUTE

New Orleans Piano Institute Institute Directors Joni Jensen Igor Resnianski Faculty/Clinicians Alan Chow Kevin Chance Frank Heneghan Shearon Horton

New Orleans Piano Institute Directors Igor Resnianski and Joni Jensen have selected thirty-five pianists to participate in the 2018 New Orleans Piano Institute—a piano academy taking place during the New Orleans Keyboard Festival. Being in its 19th year, NOPI invites talented college, high school and junior high pianists from across the United States and around the world participate in an intensive solo performance program, including private lessons with distinguished faculty, master classes, special presentations 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 sponsored by Hall Piano Company and The Steinway Society of New Orleans. The winner of the Concerto Competition will receive a $500 cash prize and an invitation to perform with the New Orleans Civic Symphony in the fall. The public is invited to attend all events of the Piano Institute and Keyboard Festival. Throughout this exciting event, there will be opportunities to hear eight master classes, the competition rounds of the New Orleans International Piano Competition, the NOPI Concerto Competition, two special presentations— NOIPC juror Jennifer Hayghe and Meet the Jury of NOIPC, the NOPI Student Showcase Recital, and the New Orleans Keyboard Festival guest artist recital of Alexandre Moutouzkine and Chloé Kiffer. All master classes and NOPI student performances are free of charge. The NOPI teaching faculty this year includes Kevin Chance (University of Alabama), Alan Chow (The Eastman School of Music), Frank Heneghan (Ireland), Shearon Horton (Austin), and Igor Resnianski (West Chester University of Pennsylvania). Master classes will be given by all NOPI faculty as well as NOIPC jury members and guest artists.

PIANO INSTITUTE FACULTY

Kevin Chance

Named Teacher of the Year by the Alabama Music Teachers Association, Kevin T. Chance has been hailed as “a superlative musician” playing “with musical conviction and muscularity.” He has performed throughout the United States, Canada, Mexico, Europe, and Asia as both soloist and collaborator. Recent concerto engagements include performances of Rachmaninoff ’s Rhapsody on a Theme by Paganini, Gershwin’s Rhapsody in Blue, Beethoven’s Choral Fantasy, Gerald Finzi’s Eclogue, and Saint-Saens’s Carnival of the Animals. Recital engagements have included the University of Oklahoma, the University of Colorado at Boulder, the University of Louisville, the Louisiana Piano Series International, and the Albion College International Piano Festival. He has also been presented in performances by the Mobile Opera, the Mississippi Opera, the Cedar Rapids Opera Theatre, and the Saratoga Arts Fest. Dr. Chance has been a prizewinner of several regional and national competitions including the National Society of Arts and Letters Career Awards Competition, the 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. Past seasons have taken them to Texas, Colorado, Wisconsin, New York, and Louisiana, and they were selected as artist fellows for the 2005 HampdenSydney Music Festival in Virginia, where they returned for a series of performances in 2008. They regularly perform in recital on the “Live from Hochstein” series, which is broadcast live on WXXI radio in Rochester, NY, and in 2014, they made their European debut in Paris. In August 2017, they will be premiering a new flute sonata by Christian Ellenwood at the National Flute Association Conference in Minneapolis. A sought-after teacher, Dr. Chance maintains a prizewinning studio, and his students are frequently named winners and finalists in local, state, regional, and national competitions. In demand as a clinician and adjudicator, he recently served on the jury of the International Institute for Young Musicians International Piano Competition, and he regularly presents workshops and lecture-performances on repertoire and pedagogy throughout the country. He has appeared as a guest clinician at the North Carolina, Mississippi, and Alabama Music Teacher Association Conferences, and he has presented at the MTNA National Conference, the College Music Society (CMS) National Conference, and the American Matthay Association Conference. 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. Serving as Assistant Professor of Piano and Coordinator of the Gloria Narramore Moody Piano Area 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. 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 include Barry Snyder, Constance Knox Carroll, Ann Schein, Anne Koscielny, Herbert Stessin, William DeVan and Betty Sue Shepherd.

Alan Chow

A Steinway Artist, Alan Chow has performed to critical acclaim in recital and in concert in such major venues as New York’s Lincoln Center and Merkin Hall and Chicago’s Symphony Center and Ravinia and with orchestras in the United States and Asia, included concerto performances with the National, Pan Asian, Utah, Oakland, Kansas City, and Omaha Symphonies and the Hong Kong, Shanghai, and Tulsa Philharmonics. Mr. Chow won First Prize at the Concert Artists Guild International Competition and the Silver Medal and Audience Favorite Prize at the Gina Bachauer International Piano Competition. Formerly a member of the artist faculty at the University of Arkansas and Northwestern University’s Bienen School of Music, Mr. Chow currently teaches at the Eastman School of Music. As a chamber musician, he has collaborated with the American, Pacifica, and Miami String quartets and been a guest artist at numerous festivals. Mr. Chow regularly tours Asia with performances in Japan, Hong Kong, Taiwan, Singapore, and China, where he also presented master classes and lectures at major conservatories. In addition, he appears in recital in the Cheng-Chow Trio with pianists Angela Cheng and his twin brother Alvin Chow. Mr. Chow has given master classes throughout North America and Asia at conservatories, universities, and summer festivals and is active as a juror for many piano competitions. He has served as guest professor at the Central Conservatory in Beijing, honored visiting professor at the Shenyang Conservatory, and Visiting Associate Professor at Oberlin Conservatory. His former and current students have been winners in many national and international piano competitions. Mr. Chow’s awards also include First Prize in the UCLA and Palm Beach Invitational International piano competitions, and he was a prizewinner in the William Kapell International Piano Competition.

Kevin Chance MASTER CLASS Monday, July 23 2:45 PM

Alan Chow MASTER CLASS Tuesday, July 24 2:45 PM

PIANO INSTITUTE FACULTY

Frank Heneghan

Frank Heneghan MASTER CLASS Sunday, July 22 1:15 PM

Shearon Horton MASTER CLASS Tuesday, July 24 10:45 AM

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

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 and throughout Louisiana. In 2010 she presented master classes 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. Ms. Horton 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 back to Austin, Texas in 2007. 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 three finalists in the MTNA National Piano Competition. Her students have performed often with the Louisiana Philharmonic Orchestra and also with the Austin Civic Symphony. Three of her students have been featured on the nationally syndicated 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.

PIANO INSTITUTE FACULTY

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 Associationâ€™s college faculty forum chair.

Igor Resnianski

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. Resnianskiâ€™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.

Joni Jensen

NOPI Director

Igor Resnianski NOPI Director

MASTER CLASS Monday, July 23 10:45 AM

MASTER OF CEREMONIES

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 Prize-winning 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.

Fred Kasten

COMPETITION REQUIREMENTS

Competition Requirements 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.

Semifinal Round I A memorized public recital, not to exceed 35 minutes in length, consisting of works chosen by the competitor. 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.

JUDGING

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 153 to 29. 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 six voting 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 jurorsâ€™ 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; should a juror withdraw or if needed to break a tie, the chair becomes a voting member. Final Round At the completion of the Final Round of the competition, the six voting 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 jurorsâ€™ 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.

COMPETITORS

Sung Chang • South Korea SEMIFINAL ROUND I Haydn

Sonata in E Major, Hob.XVI:31

Chopin

Scherzo in C-sharp Minor, Op.39

Liszt

Rhapsodie espagnole, S.254

Scriabin

Sonata No.4 in F-sharp Major, Op.30

SEMIFINAL ROUND II Sung Chang was born in Seoul, Korea, and began playing the piano at the age of three. At age five, he gave his debut concert and became the youngest winner of the Nagoya International Piano Competition in Japan. Chang won first prize and the special award for the ‘Best Performance of a Virtuoso Piece’ at the 7th Bösendorfer USASU International Piano Competition, as well as first prize at the Valsesia Musica International Competition in Italy. At Germany’s International 13. Wettbewerb der Chopin-Gesellschaft Hannover, he was also awarded first prize and the audience prize. Most recently, he was awarded silver medal at the 12th San Antonio International Piano Competition, along with two special prizes. Chang completed his undergraduate studies at the Korea National University of Arts and successfully completed the Musical Performance and Postgraduate Program courses at the University of Music Drama and Media Hannover in Germany.

Field

Nocturne Caractéristique in E Major, “Noontide”

Ravel

La valse

FINAL

ROUND

Bach/Busoni Chorale Prelude “Wachet auf, ruft uns die Stimme,” BWV 645 Granados Eight Valses poeticos Chopin

Twelve Etudes, Op.10

COMPETITORS

Yixiang Hou • China SEMIFINAL ROUND I Haydn

Sonata in D Major, Hob.XVI:42

Schumann

Carnaval, Op.9

SEMIFINAL ROUND II Liszt

Transcendental Etude No.10 Transcendental Etude No.12 “Chasse-neige”

Alkan

Le Festin d’Esope

FINAL ROUND

Scriabin

Sonata No.9, Op.68

Balakirev

Islamey, Op.18

Beethoven

Sonata in C Minor, Op.111

Chinese pianist Yixiang Hou has performed in China, Japan and the U.S. Yixiang has appeared as soloist with the Taiwan Sanchong Orchestra, the Shanghai Conservatory Orchestra and NEC Philharmonia. He has worked with such conductors as Xiaoou Zhao, Jiahong Liao and Andrew Litton. At only nine years of age, Yixiang became a prize winner of the 2004 Shanghai Haydn Piano Competition, and in 2009, Yixiang won the Wiesbaden Piano Competition in Shanghai. Yixiang has also received awards in the Tianjin “Flying Melody” Competition and the Steinway Competition of China in Beijing, both in 2009. In 2016, he won NEC Piano Concerto Competition and NEC Piano Honors Competition and a finalist of Serge & Olga Koussevitzky Young Artist Award in 2018. Yixiang moved to Shanghai at the age of Nine to study with Dachun You and Ting Zhou at Shanghai Conservatory. He is currently studying with Wha Kyung Byun at the New England Conservatory on a full tuition scholarship.

COMPETITORS

David Jae-Weon Huh • South Korea SEMIFINAL ROUND I Enescu Suite No.2, Op.10 Toccata Pavane Rachmaninov

Variations on a Theme of Corelli, Op.42

Strauss/Grünfeld Concert Paraphrase from Die Fledermaus and others, Op.56

Praised by the El Mundo “He demonstrated variety, color and comprehensiveness, fantasy and freedom of approach”, David JaeWeon Huh began attracting international attention after winning the first prize at the China Shanghai International Piano Competition. Subsequently, he has been a prize winner at many international piano competitions such as Hamamatsu (3rd prize) and Morocco (2nd prize and special prizes), and Cleveland (Russian prize). In 2015, he captured the Second prize at the Paloma O’Shea Santander International Piano Competition. He studied at Korea National University of Arts under Choong Mo Kang between 2003 and 2010 and was awarded a full scholarship to the Master’s Program in Music at New England Conservatory in Boston, studying with Wha Kyung Byun and Russell Sherman. He currently pursues a Konzertexamen program at Hochschule für Musik Hannover under Bernd Goetzke and Ewa Kupiec.

He has performed extensively throughout Europe, Asia and the United States including recitals at the internationally notable concert halls, such as Salle Cortot Paris, Royal Concertgebouw Amsterdam, and Auditorio Nacional de Musica Madrid. He has also performed with many major orchestras, including Tokyo symphony, Monterey symphony, Radio Televisión Española symphony, Dominican Republic national symphony, Morocco philharmonic, Bremerhaven philharmonie, and Shanghai phiharmonic orchestra.

SEMIFINAL ROUND II Haydn

Sonata in C Major, Hob.XVI:48

Liszt

Mephisto Waltz, No.1, S.514

FINAL ROUND

Ravel

Valses nobles et sentimentales

Schumann

Fantasie in C Major, Op.17

COMPETITORS

Andreas Ioannides • United Kingdom SEMIFINAL ROUND I Scarlatti

Sonata in A Major, K.208

Liszt

Three Petrarchan Sonnets, S.161

Copland

Piano Variations

SEMIFINAL ROUND II Debussy Six

Etudes, Book I No.1 “for Five Fingers after ‘Monsieur Czerny’” No.2 “for Thirds” Cypriot pianist Andreas Ioannides No.3 “for Fourths” is currently a Fellowship recipient at No.4 “for Sixths” the Jacobs School of Music at Indiana No.5 “for Octaves” University, where he is pursuing a Doctor No.6 “for Eight Fingers” of Music degree under Menahem Pressler. His playing has been heard in such diverse venues as the Grosser Saal of the Hamburg Konzerthaus, the Culture and Congress FINAL ROUND Center of Lucerne, the Temppeliaukio Kirkko in Helsinki, Municipal Theater of Bach Three-part Sinfonia in G Minor, BWV 797 Rio de Janeiro and the Kennedy Center in Washington, D.C. Ioannides has made Handel Chaconne in G Major, HWV 435 orchestral appearances under maestros Neil Varon, David Effron, Paul Nadler and Schubert Sonata in A Major, D.959 Roberto Tibiriçá, and has also collaborated on chamber music projects with such artists as Joseph Swensen, Atar Arad and Peter Stumpf. A passionate chamber musician, he served as Fellow at the Tanglewood Music Center in the summer of 2016. During the same year he was awarded the British Prize in the Hastings Competition in the UK and Third Prize at the prestigious BNDES International Piano Competition in Rio, Brazil. Upcoming projects include his debut recording under the Naxos label in the summer of 2018.

COMPETITORS

Robert Levinger • United States SEMIFINAL ROUND I Bach

Prelude and Fugue in E-flat Minor, WTC I

Beethoven

Sonata in A-flat major, Op.110

Liszt

Transcendental Etude No.12 “Chasse-neige”

SEMIFINAL ROUND II Prokofiev Robert (Bobby) Levinger, a Wisconsin native, resides in Houston, Texas, where he pursues a Bachelor of Music degree in Piano Performance at the Moores School of Music of the University of Houston. There, he studies with internationally recognized pianist Nancy Weems. Pre-college studies included approximately five years in Minneapolis, Minnesota with Paul Wirth. Robert has performed with several orchestras, including the Mississippi Valley, Austin Symphony, Madison Symphony, and Moores Symphony Orchestras. His performance of the Grieg Concerto with the Madison Symphony in Overture Hall was presented live on Wisconsin Public Television and Radio in 2014. In 2016, Robert was a national finalist in the MTNA Steinway and Sons Young Artist Competition. His awards include medals in the Young Texas Artists’, Houston Tuesday Musical, and San Antonio Young Artist competitions. Most recently, Robert was a semifinalist in the 2017 San Jose International Piano Competition, and won the Moores School of Music Concerto Competition. Aside from music, Robert enjoys being a Green Bay Packers’ fan, Star Wars aficionado, and an avid word game player among other things.

FINAL

ROUND

Sonata No.7 in B-flat Major. Op.83

Chopin

Three Mazurkas, Op.56

Medtner

Sonata in F Minor, Op.5

COMPETITORS

Scott MacIsaac • Canada SEMIFINAL ROUND I Haydn

Sonata in D Major, Hob.XVI:24

Chopin

Nocturne in C Minor, Op.48, No.1

Prokofiev

Sonata No.4 in C Minor, Op.29

SEMIFINAL ROUND II Schubert

Impromptu in G-flat Major, Op.90, No.3

Scriabin

Sonata No.5, Op.53

FINAL ROUND

Haydn

Sonata in E-flat Major, Hob.XVI:52

Schumann

Carnaval, Op.9

“Hailed as a pianist with “brio and imagination” (The New York Times), Canadian pianist Scott MacIsaac has performed internationally as a soloist throughout North America, Asia, and in much of Western Europe. His successes include top prizes at Dudley International Piano Competition, the Brant International Competition, and Royal Overseas League Competition. He was most recently awarded the Grand Prize in the Orchestre Symphonique de Montréal Manulife (OSM) Competition. While a student at Yale University, he won the Prokofiev Competition there and made his Carnegie Hall debut performing in Weill Recital Hall. As a concerto soloist, he has performed with several top orchestras including collaborations with the City of Birmingham Symphony Orchestra, Guildhall Symphony Orchestra, Young Musicians Symphony Orchestra, Calgary Philharmonic Orchestra, Edmonton Symphony Orchestra, Newfoundland Symphony Orchestra, the Montreal Symphony Orchestra, and the YOA Orchestra of the Americas. Scott holds degrees from the Guildhall School of Music and Yale University, where he studied with Ronan O’Hora, Boris Berman, and Peter Frankl.

COMPETITORS

Arisa Onoda • Japan SEMIFINAL ROUND I Chopin

Twelve Etudes, Op.25

SEMIFINAL ROUND II Bach

Toccata in G Major, BWV 916

Ravel Miroirs Noctuelles Alborada del gracioso Born in Japan, Arisa Onoda started to learn the piano at age two and the violin at age six. After studying at the Juilliard School under Prof.Choong Mo Kang, currently she is studying under Prof. Christopher Elton at Royal Academy of Music, and Pascal Roge. She has performed extensively throughout Europe, the US, UAE and Japan with major orchestras and chamber musicians including Polish Silesia Orchestra, Panocha Quartet, Nash Ensemble and Yomiuri Nippon Symphony Orchestra. Arisa’s achievements in competitions are 1st prize at the Chopin International Competition in Asia, 3rd prize at Ettlingen International Competition, 1st prize and Grand Prix at the Juliusz Zarebski International Competition, amongst others. Also, she received the 2nd round diplomas at Geneva Competition in 2014, Chopin Competition in Warsaw in 2015, and she was selected as a finalist in Busoni Competition in 2017. The 2017/2018 season opened with threenight sold out concerts in Germany. Also, she was selected as a CHANEL Pygmalion Days Artist of 2017, and performed all different programmes in 6 recitals in CHANEL Nexus Hall.

FINAL

ROUND

Haydn

Variations in F Minor, Hob.XVII:6

Albeniz

Triana from “Iberia”

Schumann

Kreisleriana, Op.16

COMPETITORS

Misuzu Tanaka • Japan SEMIFINAL ROUND I ˆ

Janácek

Piano Sonata 1.X.1905 “From the Street”

Prokofiev

Sonata No.2 in D Minor, Op.14

SEMIFINAL ROUND II

Bach Italian Concerto, BWV 971

FINAL ROUND Beethoven

Sonata in E Major, Op.109

Rachmaninov Variations on a Theme of Corelli, Op.42 Preludes, Op.23 No.5 in G Minor No.4 in D Major No.2 in B-flat Major

Hailed by international press for her “exceptionally high technical level” General-Anzeiger Bonn (Germany), Misuzu Tanaka has established herself as an artist of remarkable individuality with a rare combination of poetic sensitivity and breathtaking virtuosity. Her recent live debut album, “Misuzu Tanaka in Concert” features works by Leoš Janácek and J. S. Bach, two composers who have been a constant source of her musical inspiration. The album received stellar reviews from Canadian and American press. Misuzu has performed in prestigious concert venues throughout the world, from the Gewandhaus in Leipzig to Alice Tully Hall in New York. Most recent highlights include appearances with the Amadeus Festival Orchestra and maestro John Zoltek as well as recitals at California State University Sacramento Piano Series, Distinguished Artists Series in Santa Cruz, Dame Myra Hess Memorial Concerts, Pro Musica in San Miguel de Allende and Chamber Music Society of Maryland. Misuzu Tanaka is a graduate of The Juilliard School and University of Michigan. ˆ

Beethoven Rondo a capriccio in G major, Op.129 “Rage over a lost penny”

COMPETITORS

Alessandro Tosi • Italy SEMIFINAL ROUND I Beethoven

Sonata in E Major, Op.109

Rachmaninov

Etude-Tableau in C Minor, Op.39, No.1

Liszt

Transcendental Etude No.11 “Harmonies du soir”

SEMIFINAL

Alessandro Tosi was born in Rimini in 1991. He started playing piano at age of 9 with M° Bartolucci. In 2005 he continued his studies under the guidance of M° Valentini at the “G.Rossini” Conservatory in Pesaro, where he graduated in 2012 with full marks, honours and honorable mention, receiving a scholarship reserved to the best graduates of the year. He is currently attending the International Piano Academy “Incontri col Maestro” in Imola with M°Enrico Pace and M°Igor Roma. Alessandro took part in masterclasses of M° Jasinski, Lupo, Plano, Gamba, Lucchesini, Margarius, Cappello, Masi, Risaliti.

ROUND II

Ravel Miroirs Oiseaux tristes Une Barque sur l’océan Alborada del gracioso

FINAL

Haydn

ROUND

Sonata in F Major, Hob.XVI:23

Debussy Images, Book I Reflets dans l’eau Hommage à Rameau Mouvement Chopin

Sonata No.3 in B Minor, Op.58

He has distinguished himself in the music scene by winning the First Prize in more than 20 National and International Competitions in Italy, like “Città di Riccione”, “Città di Cesenatico”, “G.Rospigliosi” (in four different edition), “Città di Pesaro”, “Città di Castiglion Fiorentino”, “A.M.A. Calabria”, “Città di Moncalieri”, “Lia Tortora” in Città della Pieve, Award “Lamberto Brunelli” in Vicenza, reserved to the best graduates in Italy, after which he held a concert at the Festival “Settimane Musicali al Teatro Olimpico”, “Maria Giubilei” in Sansepolcro, “Città di Firenze—Premio Crescendo” (also winner of the “Premio Crescendo” among all the categories of the piano section) in Florence, “Città di Piove di Sacco” in Padua, “Carlo Vidusso” in Milan. He also took part at important festivals and venues in Riccione, Firenze, Livorno, Lucca, Roma, Milano, Salzburg, Madrid, London, Hamburg, Padova, Vicenza, Venezia, Pesaro, Urbino, Spoleto, Gradara, Ischia and many others. In 2014 he made his debut with the orchestra playing Chopin Piano Concerto No.1.

He has also studied composition with M° Lamberto Lugli. Hobbies and other interests: every kind of sports (swimming, gym, pilates, running) and TV series.

COMPETITORS

Lin Ye • China SEMIFINAL ROUND I Haydn

Sonata in E Major, Hob.XVI:31

Prokofiev

Sonata No.6 in A Major, Op.82

SEMIFINAL ROUND II Liszt

Ballade No.2 in B Minor, S.171

Rachmaninov

Etudes-Tableaux in C Minor, Op.39, No.1

FINAL

ROUND

Debussy Images, Book I Reflets dans l’eau Hommage à Rameau Mouvement Mussorgsky

Pictures at an Exhibition

In 2008 at the age of 15, pianist Lin Ye left his native China to study at the the Hochschule für Musik in Hannover, Germany. During this time, he studied with prof. Vladimir Krainev, Prof. Markus Groh, Prof. Matti Raekallio and Prof. Teppo Koivisto. He has won prizes including the 1st prize of the 71st Anthony Steinway International Youth Piano Competition, the 5th prize in 13th Ettlingen International Competition for Young Pianists, top prize of International Anton Rubinstein Competition in Dusseldorf, the audience prize of the Chopin-Gesellschaft International Piano Competition, 1st prize of Troisdorf International Piano Competition, 1st prize of Chopin International Piano Competition Hartford CT, 3rd prize of Artist Series National Competition in Sarasota, Florida, 3rd prize of New York Piano Competition 2017 and 1st prize of High Point University Piano Competition. He has also played numerous recitals in Asia, Europe and the United States including Richard Jakoby Hall in Hannover Germany, Dalian People’s Culture Theater in Dalian China, Merkin Hall, Carnegie Weill Hall in New York USA and Yokohama Minato Mirai Hall in Yokohama Japan. In March 2016, he was admitted to the Artist Diploma program at the Cleveland Institute of Music and is currently under the guidance of Professor Antonio Pompa-Baldi.

COMPETITORS

Hyun Ji Serena You • South Korea SEMIFINAL ROUND I Schumann

Fantasiestücke, Op.12

Debussy Preludes, Book I No.3 Le vent dans la plaine No.4 Les sons et les parfums tournent dans l’air du soir No.7 Ce qu’a vu le vent d’Ouest

SEMIFINAL ROUND II Born in Seoul in 1986, Dr. 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. She pursued a Doctoral degree at Sejong Univeristy in South Korea where she studied with Jae Hee Hyun. 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 currently teaches at South Seoul Conservatory, Su Won Women’s University, and many arts high schools in South Korea.

Haydn

Sonata in F Major, Hob.XVI:23

Scriabin

Sonata No.5, Op.53

FINAL

ROUND

Beethoven

Sonata in C Major, Op.53 “Waldstein”

Chopin

Nocturne in B Major, Op.62, No.1

Rachmaninoff

Sonata No.2 in B-flat Minor, Op.36

COMPETITORS

Ziang Xu • China SEMIFINAL ROUND I Liszt Sonata in B Minor, S.178

SEMIFINAL ROUND II

Chopin Nocturne in C Minor, Op.48, No.1 Bach French Suite No.1 in D Minor, BWV 812

FINAL ROUND Beethoven

Q Sonata in B-flat Major, Op.106

Glass Metamorphosis No.2

Chinese-born pianist, Ziang Xu, has distinguished himself in several international competitions. His prizes and awards include first prizes in the Rondo Young Artist Competition, The East Coast International Piano Competition, The Princeton Festival Piano Competition, and The Grand Prize at Steinway Society of Puerto Rico Award. He has also been awarded top prizes at the New England Conservatory Honors Competition, the Five Towns Music and Arts Foundation, and the International Keyboard Institute and Festival. He has performed widely including at Carnegie (Weill) Hall, Ukrainian Institute, Hunter College in New York, and at New England Conservatory`s Jordan Hall in Boston. His performances of the complete Chopin Etudes, a feat for any pianist, were described as “extraordinary.” Making his solo debut at age eleven, he studied at the Shenyang Conservatory of Music and pursued undergraduate studies at the Mannes School of Music, as a student of Vladimir Feltsman and Victor Rosenbaum, with whom he continues to study at the New England Conservatory as he pursues his Master of Music degree.

2018 NOIPC PROGRAM GUIDE

Exploring the Semifinal Repertoire: 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 outstanding literature performed by twelve of the worldâ€™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 Bach to Wiesenberg, with brief analytical notes designed to help listeners unlock the intense beauty of this music.

2018 NOIPC PROGRAM GUIDE

Johann Sebastian Bach

(1685-1750) Prelude and Fugue in C-sharp Minor, WTC I French Suite, No.1 in D Minor, BWV 806 Italian Concerto in F Major, BWV 971 Toccata in G Major, BWV 916 In 1715 Johann Caspar Fischer composed a set of preludes and fugues in twenty different keys entitled Ariadne Musica, but it was Bach who first composed quality music in keys like C-sharp major and E-flat minor. Bach wrote the date 1722 on the title page of his The Well-Tempered Clavier, which contains the subtitle “Preludes and Fugues through all the tones and semitones including those with a major third Ut Re Mi as well as those with a minor third or Re Mi Fa, for the profit and use of musical youth desirous of learning and especially for the pastime of those already skilled in this study.” The word clavier in the title is derived from the Latin clavis and is the general term for any keyboard instrument. During Bach’s time the principal keyboard instruments were the harpsichord, clavichord, organ, and the newly invented piano. The adjective welltempered is a result of the change from the meantone system for tuning a keyboard instrument, which preserved the purity of the major third but made it impossible to play in all twenty-four keys due to the incompatibility of the third with the perfect fifth and the pure octave. Gradually musicians turned to equal temperament, which favors the interval of the perfect fifth and makes each key tolerable. Twenty-two years later, Bach compiled another set of twenty-four preludes and fugues, bringing the total to 48. The Prelude and Fugue in C-sharp Minor, WTC I is undoubtedly complex, containing one of the two five-voice fugues in Book I, and the first written in stile antico (the Baroque adaptation of Renaissance polyphony); the mood is one of solemn introspection. Considered a triple fugue, there are 30 entries of the first subject, 16 entries of the second subject, and 36 entries of the third subject—which

often overlap, with sometimes as many as four entries of different subjects running around at the same time in the five voices. Angela Hewitt points out that the prelude is, in fact, a loure—a French theatrical dance, related to the French gigue but much more languid. 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 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 from Clavier-Übung, Bach left another twelve 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 preludium (Bach used a different title for each of the partitas), followed by an allemande, courante, sarabande, and gigue, with assorted lighter danced inserted along the way. Part II of the Clavier-Übung contains the French Overture and the Italian Concerto. The French Overture begins with a lengthy introduction, a gigue-like middle section, and a return to the opening idea. The order of the other dances is different than that of the partitas. The Italian Concerto is a three-movement solo work for a two-manual harpsichord although it is often performed successfully on the piano. The outer movements are in ritornello form; the middle movement is a florid arioso in D Minor. Bach wrote seven toccatas, all multi-movement works. The G Major Toccata has three clear movements: an opening allegro in concerto-like ritornello form, a lyrical adagio, and a final fugue marked allegro e presto. The gigue is in the French style using characteristic dotted rhythms.

2018 NOIPC PROGRAM GUIDE

Domenico Scarlatti

(1685–1757) Sonata in B Minor, K.27 Sonata in B Minor, K.87 Sonata in C Major, K.159 Sonata in G Major, K.208 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

(1732–1809) Sonata in F Major, Hob.XVI:23 Sonata in D Major, Hob.XVI:24 Sonata in E Major, Hob.XVI:31 Sonata in D Major, Hob.XVI:42 Sonata in C Major, Hob.XVI:48 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. An improvisatory quality pervades the first movement of Sonata in C Major, Hob.XVI:48. 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 second and final movement is a smoothly controlled sonata-rondo form with witty figures and rhythms; it is an exuberant virtuoso piece with parallel thirds, sixths, and octaves.

2018 NOIPC PROGRAM GUIDE

Ludwig van Beethoven

(1770-1827) Sonata in E major, Op.109 Rondo a capriccio in G major, Op.129 “Rage over a lost penny” 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.” “That the character of music (or at least of Beethoven’s music) incorporates psychological and moral components, as contemporary writers on aesthetics maintained, is an idea that confirms itself for the performer today. One can talk or argue about the psychological components; about the moral ones, it is better remain silent. At most, one can attempt to demonstrate them.”

John Field

(1782–1837) Nocturne Caractéristique in E Major, “Noontide” John Field dedicated his Op.1 (three piano sonatas) to his teacher Muzio Clementi, but the nocturnes established Field’s reputation as a composer. These nocturnes opened a completely original path in his piano writing. The ornate melodies accompanied by widely-spaced left hand chords were written between 1814 and 1835. Liszt edited Field’s nocturnes and wrote an highly complementary forward.

Franz Schubert

(1797-1828) Impromptu in G-flat Major, Op.90, No.3 Impromptu in F Minor, Op.142, No.1

Schubert was one of the most prolific and greatest of composers. He established the Lied as a 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 rightful 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 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 the 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 experience, or imagination and perception–between the beautiful, bright dreams of the protagonist, on the one hand, and a bleak external reality, on the other.” The Impromptus (Op.90 and Op.142) show Schubert at the very peak of his mastery.

2018 NOIPC PROGRAM GUIDE

Frédéric Chopin

(1810-1849) 12 Etudes, Op.25 Scherzo No.3 in C-sharp Minor, Op.39 Nocturne in C minor, Op.48, No.1 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 keyboard 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. He started to compose his 12 Etudes, Op. 10 (1829-32) when he was nineteen simply to give himself new technical problems to solve. Chopin scholar Jim Samson explains, “In all of them Chopin addressed himself systematically to the world of pianistic technique which had spawned the virtuoso style. But the result rises far above the dry exercises of a Czerny or the flashy acrobatics of a Thalberg. To a degree barely approached in earlier piano studies he gave substance and poetry to the genre, conquering virtuosity on its home ground, and in doing so lifting himself clear of the surrounding lowland of mediocrity.”

The Op. 25 Etudes were published in 1837 and dedicated to Liszt’s mistress, the Countess Marie d’Agoult. Bryce Morrison suggests, “No less technically arduous than opus 10, they achieve even greater imaginative heights.” No. 1 prompted Schumann’s admiration–“an aeloian harp having all the scales and an artist’s hand combining them with all kinds of fantastic embellishments, but always with an audible deeper tone in the bass and a softly flowing cantilena in the treble.” No. 5 commences with an attack of musical hiccoughs later transmuted into a broad melody of rare beauty. No. 7 is like a nocturne, with a duet between a cantabile melody in the left hand and a subordinate

melody in the right hand, which also accompanies with quiet chords. No. 12, often known as the Ocean Etude, presents a series of parallel arpeggios building to a mighty climax. Hinson points out that the right hand thumb brings out the booming B-A-C-H chorale theme.

Robert Schumann

(1810–1856)  Carnaval, Op.9 Fantasiestücke, Op.12 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 sometimes wrote under pseudonyms, Eusebius (representing his lyrical, contemplative side) and Florestan (his fiery, impetuous nature). Schumann typically assembled his character pieces for piano into collections with some general title and, often, some musical means of connection among them. Carnaval is a set of twenty short pieces that really are characters or musical portraits of masked guests at a Mardi Gras ball. The sad clown Pierrot arrives, followed by the pantomime figures Harlequin and

2018 NOIPC PROGRAM GUIDE Columbine, as well as Schumann himself in the dual role of Florestan and Eusebius, Clara Wieck (in the number called Chiarina), Paganini, and Chopin. Schumann’s Fantasiestücke, Op.12 is a set of eight piano pieces written in 1837. The title was inspired by the 1814– 1815 collection of novellas, essays, treatises, letters, and lectures about music. Schumann composed the pieces with the characters Florestan and Eusibus in mind, representing the duality of his personality. These two characters interact with one another throughout the collection ending with a self-reflection by Eusibus at the end.

Franz Liszt

(1811–1886) Années de Pèlerinage, Italie, S.161 No.4 Sonetto 47 del Petrarca No.5 Sonetto 104 del Petrarca No.6 Sonetto 123 del Petrarca 12 Trancendental Etudes, S.139 No.10 in F Minor No.11 Harmonies du soir No.12 Chasse neige Spanish Rhapsody, S.254 Mephisto Waltz, No.1, S.110 Ballade No.2 in B Minor, S.171 Sonata in B Minor, S.178 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 Pélerinage (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 images as nature and literature in the first volume, Suisse, and on Italian poetry and works of art in the second volume, Italie. The three Petrarchan Sonnets are contained in this volume. The Piano Sonata in B Minor, S.178 was published in 1854 with a dedication to Robert Schumann. It is often considered Liszt’s greatest composition, and one of the greatest solo piano pieces of all time. There are five motivic elements that are woven into an enormous musical architecture. The motivic elements change character throughout the work and undergo thematic transformation. Charles Rosen and Alan Walker have fascinating insights into the structure of this great work. Although it can be said that the sonata has four movements, there is no gap between them. Liszt was influenced by the structure of Schubert’s Wanderer Fantasy, a work he also arranged for piano and orchestra. The Rhapsodie espagnole, an exhuberant evocation of remembered impressions written almost two decades after a tour of the Iberian peninsula, is based on two traditional melodies: La folia and La jota aragonesca. The extraverted nature of this music shows that, while Liszt may have foresworn the life of a virtuoso, he had lost none of his keyboard prowess. The Twelve Etudes d’execution transcendante, epitomize Liszt’s command of brilliant technical writing for the piano. The form of the studies was largely achieved by 1837, when Liszt’s fame as a virtuoso pianist was without compare. When, in 1851, Liszt revised the collection, his purpose was two-fold: to title ten studies and to modify some extremely difficult passages that might render the studies unplayable. Ballade No.2 in B Minor was composed in the spring of 1853, shortly after Liszt completed his sonata. The Ballade No.2 is a continuation of the composer’s thoughts in B Minor. In comparing, these two works, Tim Perry states this Ballade “similarly explores subtle methods of thematic transformation to achieve a range of evocative moods, bounded by their motivic coherence.” The work has been linked with the story of Hero and Leander, but it is more likely to have been inspired by Gottfried Bürger’s ballad Lenore, in either case, there is certainly great happenings on an epic scale.

2018 NOIPC PROGRAM GUIDE Liszt’s Mephisto Waltz, No.1 was written in 1860. This is picturesque music and one of the most effective of Liszt’s compositions. It reinforces the belief that Liszt, like Faust, had made a pact with Mephisto. Hinson describes the necessary virtuoso requirements for mastering this piece, including “strong fingers, untiring broken octaves, granitic chordal playing, and accurate large skips.”

Charles-Valentin Alkan (1813–1888) Le Festin d’Esope, Op.39, No.12

Le Festin d’Esope completes the cycle of twelve etudes Op.39. The Symphonie and Concerto for solo piano are included in this cycle. Alkan expanded the etude form to the dimensions of a symphonic poem. Le Festin d’Esope consists of a series of variations on a theme similar to traditional Jewish melodies. The variations, apart from dealing with various technical problems, illustrates many of the possible transformations that a theme can undergo.

(1862-1918) Preludes, Book I Le vent dans la plaine No.3 No.4 Les sons et les parfums tournent dans l’air du soir No.7 Ce qu’a vu le vent d’Ouest 6 Etudes, Book I Debussy created the unique and forward-looking style that came to known as Impressionism (the realization in music 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 SpanishMoorish 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.

Leoš Janácek

(1854-1928) Piano Sonata 1.X.1905

There is no first-hand evidence to suggest that Debussy intended his preludes to be played as a cycle. Yet, he took meticulous care over the order of the pieces for publication. Twelve Preludes, Book I were written between 1909 and 1910. The titles appear at the end of the preludes not wanting to over influence the performer or the listener.

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.

The three pieces from the first set of Images almost set a pattern for Debussy’s future in that they deal respectively with nature, with the past, and with abstract patterns. The small wave-forms of Reflet dans l’eau and the key of D-flat Major would suggest the future composition of La Mer. Hommage à Rameau is noble, lyric, and expressive. Mouvement has vigorous and continuous motion in triplets.

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 Presentiment. The second movement is titled Death.

Dating from 1915, the Twelve Etudes are as much studies in composition as in technique. The six pieces of the first book are largely based on principles of harmony. Book II concerns itself primarily with principles of texture, sonority, and tone color. Recognizing the formidable challenge to the performer, Debussy confessed that some of the pieces were technically beyond him, “bringing his fingers to a halt.” He told Durand, “Truly, this music hovers on the limits of performance. There will be some fine records to set.”

Claude Debussy

2018 NOIPC PROGRAM GUIDE

Alexander Scriabin

Sergei Rachmaninov

(1872-1915) (1873-1943) Sonata No.4 in F-sharp Major, Op.30 Etudes-Tableaux in C Minor, Op.39, No.1 Sonata No.5, Op.53 Variations on a Theme of Corelli, Op.42 Scriabin was a fellow pupil of Rachmaninov’s in Zverev’s Rachmaninov wrote two sets of Etudes-Tableaux, Op.33 class from 1884 and at the Moscow Conservatory (1911) and Op.39 (1916–17). These etudes mark a distinct (1888-1992). An outstanding pianist with a fluent and development in Rachmaninov’s career as a composer. spontaneous style of playing, his early piano composition Persistently chromatic, his harmonic formations are and preference for miniature forms (etudes, preludes, complicated and sophisticated with varied use of altered mazurkas) show the influence of Chopin and Liszt. In chords and bold digressions within a given key. Irregular 1905 Scriabin encountered Madame Blavatsky’s theosophy barring and chant-like melodies pervade in these pieces. and evolved a highly individual style, closely related to his As a whole, they fully explore both the pianist’s and the mystic-theosophic interests, These developments reached instrument’s capabilities and show Rachmaninov’s ability a critical stage in the Sonata No.5, Op.53 (1907), one to crystallize perfectly a particular mood or sentiment. The the the last pieces to carry a key signature. The static original 1914 edition of Op.33, published by A. Gutheil, and ecstatic tendencies in his music are vividly expressed announced nine pieces; however, only six were issued at in Prometheus (subtitled The Poem of Fire) intended to that time (nos.1,2,6-9). In later reprints of Op.33, Gutheil be performed with a play of colored light. The last five tried to suppress the previously advertised nos.3, 4, and piano sonatas and a number of shorter piano compositions 5. Rachmaninov withdrew three of the etudes before written between 1908 and 1913 were intended to be submitting the manuscript to the printer. The A Minor preparatory for his Mysterium, a quasi-religious act that etude (No.4) was later rewritten in 1916 and incorporated would transform humanity. This journey into the mystical (as No.6) into the second set (Op.39). The C Minor and hysteria and going beyond tonality to a floating dissonance D Minor etudes remained unpublished until after the is often based on the so-called “mystic chord”. (The most composer’s death, but they are now included as part of the common form is C, F-sharp, B-flat, E, A, D.) composer’s Op.33. In addition to the Dies Irae of the Roman Catholic church, the chants of the Russian Orthodox Sonata No.4 In F-sharp Major, Op.30, dates from1903. church had an important influence on Rachmaninoff ’s For this work Scriabin wrote a program—a poem melodic style. As a young boy, he accompanied his describing flight to a distant star. It reflects the startling maternal grandmother, Madame Boutakova, to services, new philosophies he was assimilating: where the choral singing and the sound of church bells greatly impressed him. These sources of imagery had an Thinly veiled in transparent cloud important influence on Rachmaninov throughout his life. A star shines softly, far and lonely How beautiful! The azure secret Op.39, No.1, in this turbulent and stormy etude the Dies Of its radiance beckons, lulls me… Irae motive sounds in the bass. The tonality of this piece is ambiguous until the final cadence. It may have been Vehement desire, sensual, insane, sweet… based on a Böcklin painting of the ocean. Op.39, No.9 opens with powerful alarm bells introducing a march and Now! Joyfully I fly upward toward you, trio. Changing keys and time-signatures unexpectedly Freely I take wing. throughout the piece present a challenge for the pianist. Listen for the bells at the climax. Mad dance, god-like play… I draw near in my longing… Drink you in, sea of light, you light of my own self…

2018 NOIPC PROGRAM GUIDE Variations on a Theme of Corelli, Op.42, were composed during a holiday in France in 1931. He 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 17th century Portuguese dance song, La folia. The tautness of construction shows Rachmaninov’s compositional powers at their finest; in my opinion, the composer’s most successful extended work for solo piano.

Maurice Ravel

(1875-1937) La Valse Miroirs Noctuelles Oiseaux tristes Une barque sur l’océan Alborada del gracioso 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. In his autobiographical sketch, Ravel refers to a new development in his style and writing: “The collection of piano pieces making up Miroirs (1905) marks a change in my harmonic development pronounced enough to have upset those musicians who till then had had the least trouble

in appreciating my style. The first piece to be written was the second of the set Oiseaux triste. [Here I evoke] birds lost in the torpor of a dark forest in the hottest hours of the day.” The set begins with Noctuelles (Owl-moths). The piece was dedicated to the poet Léon-Paul Fargue, having been inspired by one of the poet’s lines, “The owl-moths leave their hangers in irregular flight, to ornament other rafters.” Une barque sur l’océan is likely inspired by a tiny boat in the middle of cardboard waves, enclosed by a glass bell. A crank activated the waves, transforming them into a turbulent ocean. A favorite automatic toy of Ravel, it continues to sit on the composer’s piano. Alborada del gracioso is a Spanish guitar serenade with difficult repeated notes and double glissandi. La Valse, set in a grand ballroom during the mid-1850s, portrays the heady decadence and catastrophic downfall of Imperial Vienna. Originally commissioned by Diagalev’s Ballet Russe, in 1919, the work charts the demise of Viennese society as the great waltz itself plummets headlong toward its own collapse. Originally for orchestra, Ravel’s 1921 piano version has become as popular as the original work.

George Enescu

(1881–1955) Suite No.2 for Piano, Op.10 Toccata Pavanne Enescu is best known as a Romanian composer, conductor, violinist, and pianist. He is regarded as Romania’s most important musician. The style features of his music are expressive modal melodies, parlando rhythmic passages, complex polyphony, and fluent harmonies.

2018 NOIPC PROGRAM GUIDE

Sergei Prokofiev

(1891–1953) Sonata No.2 in D Minor, Op.14 Sonata No.4 in C Minor, Op.29 Sonata No.6 in A Major, Op.82 Sonata No.7 in B-flat Major, Op.83 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 innovative 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).” 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 Prokofiev’s musical evolution is most clearly and fully presented. The sixth, seventh, and eighth were written concurrently 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. The seventh sonata, Op.83, was begun in the summer of 1939 and finished on may 2, 1942 in Tiblisi, Georgia, where Prokofiev had been evacuated along with other artists to escape the Nazi onslaught. The young Soviet pianist Sviatoslav Richter gave the world premiere in Moscow on January 18 1943; the sonata was enthusiastically received, bringing Prokofiev a Stalin Prize. Richter later wrote, “The sonata immediately throws one into the anxious situation of the world losing its equilibrium. Anxiety and uncertainty reign (but alternately) the impetuous advancing race, full of the will for victory, sweeps away everything in its path.”

Aaron Copland (1900–1990) Piano Variations

Copland, one of the leading American composers, did not write a large amount of piano literature, but it is very significant. His style is a blend of classical, folk, and jazz elements; this became the “American” sound. In 1930, he experimented with a quasi-serial style using extreme dissonance. The Variations open with a slow and simple ten-bar theme and is followed by 20 variations, which progressively go from the theme toward more complex rapidly moving textures, leading to a coda. Leonard Bernstein reported that he adored the piece, which was “hard as nails” and that “he used it at parties to empty the room, guaranteed, in two minutes.” The work is now regarded as one of the most highly regarded in contemporary piano literature.

Menachem Wiesenberg

Metamorphosis II

Weisenberg is a composer, arranger, pianist, violinist, and educator; he is considered one of Israel’s most varied and acclaimed musicians. Weisenberg is the winner of the Israeli Society of Authors, Composers, and Music Publishers 2010 Lifetime Achievement Award. He writes in a contemporary style. Metamorphosis refers to Escher’s woodcut prints entitled “Blocks” in which figures gradually change.

“Music expresses that which cannot be said and on which it is impossible to remain silent.”

– Victor Hugo

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 2018 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.

– Mother Teresa, Nobel Peace Prize winner, 1979

CHARITABLE GIVING

BE 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 504.899.4826, 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.

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

FRIENDS OF MASNO The following are gratefully acknowledged for their gifts made to MASNO between July 1, 2017, and June 30, 2018. Prestissimo $5000+ Drs. Archie and Andrea Brown Robin and Bruce Crutcher Hall Piano Company Dr. Keith Lescale Loyola Universtiy New Orleans Steinway Society of New Orleans Anne B. Gauthier Wendell and Anne Gauthier Family Foundation WWNO 89.9 and Classical 104.9 FM

Presto $2500+ Anne S. Bradburn Dr. James Farrow Hancock Whitney Bank Julianne Nice and Herb Larson Drs. Emel and Ranney Mize New Orleans Jazz and Heritage Foundation James Robert Pope Sandy and Stephen Rosenthal Mr. and Mrs. Bruce Trible

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Moderato $100+ Florence Brown Mary Ann Bulla Claudia Champagne Barbara Cohn Dr. Raquel Cortina Mary Wilkins Costa William Cullison R.W. Culver, M.D. Kathan Dearman Dr. Philip F. Fuselier Clare Giesen Lawrie Gulley Keith Hardie Michael Harold Kathleen Hebert Stephen and Alexis Hellman Chad Hille Susan Lafaye Joan R Landry Faina Lushtak Louise and Edward Martin Dr. Judith Miranti Mary Monsted Dr. K. Thomas Noell Pamela Ortiz Bernard J. Rauch, Jr. Mary B. Reidy Mary Alma Reiss Pamela Rogers Karen and Leopold Sher Earl J. Sonnier Marly L. Sweeney W. Howard Thompson Elaine Thompson Robert J. Whann, III Patrick and Betsy Widhalm

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504-861-7564 or 888-533-0746 7004 St. Charles Avenue, New Orleans Visit us online at ParkViewNOLA.com

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Congratulations to the participants of the 27th New Orleans International Piano Competition and Keyboard Festival. 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

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ENDOWMENT FUND

MASNO Endowment Fund 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 Alford Ruby Rome Barrios Norton L. Berman Elissa Bluth Edgar â€˜Dookyâ€™ Chase Jr. Robin and Bruce Crutcher Fritz Dahlberg Midge Dean Dr. and Mrs. Arthur Dickerson Anne B. Gauthier Frank Gonzalez

Richard Goula Lois Chalona Hawkins Bernard Hirsch Herman Viktor Khalimsky Dr. Alphonse D. Landry Dr. Keith Lescale Mary Lou MacDowell Mrs. Hazel Melancon Betty and Dick Mize Deborah Jo Nice Dr. James Ricciardi

Fay and Joe Rosenberg Rahmiye and Celalettin Songu Dianne Tell Merlyn Weilbaecher Daniel Weilbaecher, Sr. George W. Wilkins and Marilyn Wilkins George W. Wilkins Clarence Pete Wolbrette John M. Yarborough, Jr., M.D.

Contributions to the Endowment Fund have been made by:

June Aiken Melvin G. Alford Ann Babington Bellsouth Norton Berman Emily Clark and Ron Biava Dr. and Mrs. Edward Bluth Charles Bohn Roselyn Boneno James Boyd Mrs. Donald Muir Bradburn E. John Bullard Brad Buras Charlotte Buras Mr. and Mrs. Peter G. Burke Hope Cantrelle Linton Carney Constance Knox Carroll Mary Lee and Hampton Carver Mary Sue Chambers Mr. and Mrs. Edgar Chase III Alan Chow Mr. and Mrs. William Coe Mary Wilkins Costa Joan Coulter Robin and Bruce Crutcher Janet Daly Virginia Darmstadter Wilfred Delphin 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 Wendell and Anne Gauthier Family Foundation 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 Noonie and Clay LeJeune Dr. and Mrs. Ricardo Leoni Dr. Edward D. Levy, Jr. Rachelen Lien Jacquelyn Lothschuetz Theresa Lutostanski Robert J. MacDowell Mr. and Mrs. Charles E. McCool Sandie and Jim McNamara Dr. Thomas Melancon Drs. Emel and Ranney Mize Phillip and Babs Mollere Dennis and Nodie Murphy Ava Rosenberg Nowalsky J. Robert Pope

Joni Jensen and Bruce Regeczi 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 Rachel Bluth and Derek Smith 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 Martha Treen Mr. and Mrs. Bruce C. Trible Beth Turner Mr. and Mrs. Mark Vile Eileen Wallen 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

ACADEMY OF ST MARTIN IN THE FIELDS

LERA AUERBACH, PIANO

February 5, 2019

October 8, 2018

CHAMBER MUSIC SOCIETY OF LINCOLN CENTER

November 5, 2018

PAVEL HAAS STRING QUARTET

March 13, 2019

WINDSYNC

April 1, 2019

BENJAMIN APPL, BARITONE

EBENE STRING QUARTET

January 16, 2019

April 30, 2019

SUBSCRIPTIONS NOW AVAILABLE! VISIT FREINDSOFMUSIC.ORG

Touro 3434 Prytania Street, Suite 105, New Orleans 504.897.8213

Westchester 600 Mamaroneck Ave, Ste 110, Harrison, NY 914.670.0500

Manhattan 523 East 72nd St, 9th Floor, NY, NY 212.249.1788

We also offer • Genetic & Diabetic Counseling • Chorionic Villus Sampling (CVS) • Nuchal Translucency Screening • Non-Invasive Prenatal Screening • Targeted Ultrasound • Amniocentesis • Consultations

Dutchess 68 West Cedar St, 1st Lvl, Poughkeepsie, NY 845.483.0500

LESCALE MFM Maternal-Fetal Medicine

Keith B. Lescale, MD, FACOG, Medical Director Selected as a Top Doctor – Westchester Magazine and New York Magazine

St. John’s Riverside Hospital 967 North Broadway, Yonkers, NY 914.964.4646

www.lescalemfm.com

Westchester 600 Mamaroneck Ave, Ste 110, Harrison, NY 914.670.0500 Manhattan 523 East 72nd St, 9th Floor, NY, NY 212.249.1788

Dutchess 68 West Cedar St, 1st Lvl, Poughkeepsie, NY 845.483.0500 St. John’s Riverside Hospital 967 North Broadway, Yonkers, NY 914.964.4646

Merkin Hall is the perfect location for your next concert. Located on Manhattan's Upper West Side, Kaufman Music Center’s Merkin Hall is known industry-wide as one of New York's finest venues. The 450-seat hall is excellent for: • conferences • gala evenings • business presentations • concerts and other performances Our state-of-the-art sound and multi-media equipment supports presentations, and there are stylish reception areas as well as versatile spaces for smaller meetings and other events. Merkin Hall was the location for Glamour Magazine’s 2017 International Day of the Girl Celebration, and is a collaborating venue for the New York Times’s TimesTalks Series.

129 West 67th Street, New York, NY 10023 • KaufmanMusicCenter.org/merkinhall • 212 501 3345

Globally Inspired Local Cuisine 900 City Park Ave | Mid-City 504.488.1000

lunch - dinner - weekend brunch - parties

“Top 10 Most Popular Restaurants in NOLA!” - NOLA.com Readers “Best Restaurant with a View!” - Gambit “Top Ranked Power Lunch Spot” - New Orleans Citybusiness - Executive Chef Chip Flanagan

ACKNOWLEDGEMENTS

Competition Housing and Dinner Hosts

An event of this scope is dependent on the benevolence of many. We are fortunate to have always been able to rely on the generous and hospitable nature of this cityâ€™s music lovers who welcome our semifinalists into their homes as their host families while others welcome our jury, faculty and staff members for wonderful meals. MASNO is grateful to the following people for extending their incredible generosity to this yearâ€™s visiting musicians: Elissa and Eddy Bluth Charlie Bohn Peter Collins Joan Coulter Robin and Bruce Crutcher Wilfred Delphin Darlene and Jody Dickerson Jim Farrow Anne Gauthier and Sanford Pailet Keith Lescale and Henrique Paraizo Judith and Marc Loudon Julianne Nice and Herb Larson Joyce Park J. Robert Pope Sandy and Stephen Rosenthal Pamela Ricciardi Barbara and Thomas Sands Sheila Schwarzmann Lizbeth Turner Larry Watts Emery Whalen and William Marshall

Concerto Showcase X

Welcome! to New Orleans

The New Orleans Music Teachers Association

Saturday, March 30, 2019, 7:30 PM

Roussel Hall, Loyola University New Orleans The top three medalists of the 2018 New Orleans International Piano Competition return for an evening of piano concerti with Carlos Miguel Prieto and the Louisiana Philharmonic Orchestra

T M O N

An affiliate of the Music Teachers National Association, committed to providing opportunities for teachers and students to develop their musical gifts to a level of excellence. 67

Robin Benton Crutcher, PhD., is a practicing psychotherapist, who has also pursued an education in fine arts, including ceramics, painting, and sculpture at LSU, Tulane University, and The New Orleans Academy of Fine Arts. In addition, she is an avid art collector, especially of local artistsâ€™ work. 504.905.6576 â€˘ Email: rbentoncrutcher@aol.com

ACKNOWLEDGEMENTS

Acknowledgements 1896 O’Malley House Acadiana Symphony Tiffany Adler Adlers Mary Chapman Albert Alink-Argerich Foundation Anderson & Roe Piano Duo James Arey Arts Council New Orleans Astral Artists Carmen Balthazar Baton Rouge Symphony Orchestra Tina Beachler Ron Biava Hristo Birbochukov Elissa and Eddy Bluth Charlie Bohn James Boyd Marie Breaux and Peter Martinat Dan Brett Kenny Broberg Drs. Andrea and Archie Brown Courtney Bryan Lou Bush Carmo Constnace Carroll Mary Sue Chambers Kevin Chance Edgar Chase III The Edgar “Dooky” Jr. and Leah Chase Family Foundation Alan Chow City of New Orleans Classical 104.9 FM Clavier Companion Amy Clipp Dee Clubb June Cognevich Peter Collins Joan Coulter Will Coviello Philip Cramer Robin and Bruce Crutcher Cheryl Conway Sam Cross Priscilla Dardar Kathan Dearman Anthony Decuir Wilfred Delphin Darlene and Jody Dickerson Chalon Dominick Anita and William Drezdzon Jep Epstein Mignon Faget James Farrow Fox 8 News Meg Frazier Gambit Buddy Ganier Kelly Gaubert Anne B. Gauthier Wendell and Anne Gauthier Family Foundation Béatrice Germaine

GetAcceptd.com Raymond Gitz Dustin Gledhill Greater New Orleans Music Teachers Association Hall Piano Company Hancock Whitney Bank Amina Harvey Jennifer Hayghe Kathy Hebert Frank Heneghan Holly Hobbs Dana Honn Shearon and Paul Horton Brian Hsu Annie Irvin Emily Jensen Joni Jensen and Bruce Regeczi Machelle Johnson Misha Kachkachishvili Fred Kasten Kaufman Music Center Igal Kesselman Chloé Kiffer Nathaniel Kinchen Steven Kinchen Mimi Kruger Susan Lafaye Greg Lambousy Hannah Lawrence Allan Ledbetter Alfred Lemmon Le Petit Theatre Keith Lescale and Henrique Paraizo Ed Levy Louisiana Division of the Arts Louisiana Philharmonic Orchestra Judith and Marc Loudon Loyola University of New Orleans College of Music and Fine Arts Faina Lushtak Paul Maassen Kern Maass Diane Mack Dora Martinez Merkin Hall Beth McCool Emily McWilliams Matt McWilliams Evie and Chris Merritt Scott Mickford Caroline Milling Millie Mince Emel and Ranney Mize Anita Montero Lina Morita Alexandre Moutouzkine Timothy Muffitt Hans Mulder Spencer Myer Scott Myers Photography The New Orleans Advocate New Orleans Center for Creative Arts (NOCCA) New Orleans Civic Symphony

New Orleans Friends of Music New Orelans Jazz and Heritage Foundation New Orleans Music Teachers Association Julianne Nice and Herb Larson NOLA.com Nell Nolan Noya Design Rob Olmstead Morgan Packard Joyce Park and Family Parkview Historic Hotel J. Robert Pope Linda Potter Carlos Prieto Marianna Prjevalskaya Ralph’s On the Park Adrienne Flament Resh Igor Resnianski Joycelyn Reynolds Pamela Ricciardi The Ritz-Carlton New Orleans Anne Robichaux Lakia Robinson Nigel Grant Rogers Sandy and Stephen Rosenthal Julia Rubio Barbara and Thomas Sands Sheila Schwartzmann Dean Shapiro Caitlin Sheehan Gregory Sioles Annette Sisco Karen and Jimmy Smith Kerry Smith Mariusz Smolij Sean Snyder St. Charles Avenue Magazine Steinway and Sons Steinway Society of New Orleans Diane Stengle Sue Strachan Ann Cox Strub Charles Taylor The Times-Picayune Madelyn and Bruce Trible Lizbeth Turner George Van Hoose Victoria Vega Chris Waddington Larry Watts Nancy Weems Daniel Weilbaecher Emery Whalen and William Marshall Cara McCool Woolf Vance Woolf John Wright Amanda Wuerstlin WWNO 89.9 Xiaohui Yang Brianna Young Casey Dietz Zainey Jeff Zeilinski

PAST WINNERS

2016 1st Xiaohui Yang 2nd Re Zhang 3rd Scott Cuellar

China China USA

2001 1st Robert Henry 2nd Anton Mordasov 3rd Yuri Blinov

USA Russia Belarus

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

Russia Belarus Russia/Ukraine

USA Canada Republic of Georgia

LOUISIANA PHILHARMONIC

ORCHESTRA

CARLOS MIGUEL PRIETO, MUSIC DIRECTOR

OT • Orpheum Theater FBC • First Baptist Church, Covington DT • Danos Theater, Nicholls State Univ.

Don’t miss these 2018-2019 LPO performances!

BEETHOVEN’S NINTH

PICTURES AT AN EXHIBITION SCHEHERAZADE

OPENING WEEKEND

WITH BEETHOVEN’S PIANO CONCERTO NO. 2

Thursday, Sept. 13, 7:30 p.m.

Thursday, Nov. 29, 7:30 p.m.

FBC

Friday, Sept. 14, 7:30 p.m.

FBC

Friday, Nov. 30, 7:30 p.m.

Saturday, Sept. 15, 7:30 p.m.

Louisiana Philharmonic Orchestra Carlos Miguel Prieto, conductor Anne-Marie McDermott, piano

Louisiana Philharmonic Orchestra Carlos Miguel Prieto, conductor Katherine Whyte, soprano Susan Platts, mezzo-soprano Thomas Studebaker, tenor Raymond Aceto, bass NOVA Masterworks

WEIGEL: A New Orleans Concerto - for Orchestra (world premiere) BEETHOVEN: Piano Concerto No. 2 MUSSORGSKY: Pictures at an Exhibition

SCHUBERT: Symphony No. 8, “Unfinished” BEETHOVEN: Symphony No. 9

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FEATURED SOLOIST FOR THE ROYAL WEDDING! OT

Thursday, Jan. 10, 7:30 p.m.

FBC

Friday, Jan. 11, 7:30 p.m.

Saturday, Jan. 12, 7:30 p.m.

Louisiana Philharmonic Orchestra Carlos Miguel Prieto, conductor Sheku Kanneh-Mason, cello REINKEMEYER: New Work (world premiere) ELGAR: Cello Concerto in E minor RIMSKY-KORSAKOV: Scheherazade

VISIONS OF VIENNA & SALZBURG OT

Thursday, Feb. 14, 7:30 p.m.

FBC

Friday, Feb. 15, 7:30 p.m.

Saturday, Feb. 16, 7:30 p.m.

Louisiana Philharmonic Orchestra Francesco Lecce-Chong, conductor Orion Weiss, piano MAZZOLI: Sinfonia (for Orbiting Spheres) MOZART: Piano Concerto No. 20 J. STRAUSS, JR: Where the Citrons Bloom R. STRAUSS: Suite from Der Rosenkavalier

Become an LPO Bronze Subscriber - 5 concerts for AS LOW AS $85

LPOmusic.com • 504.523.6530

A Professional Corporation of Financial Advisors Energy Center 1100 Poydras Street, Suite 1150 New Orleans, Louisiana 70163 Tel: 504.832.8100 Fax: 504.832.8199 www.stokeshubbell.com

We make you look good on paper.

504-524-8248 4100 Howard Avenue New Orleans, LA 70125

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PAST COMPETITION JURORS 2016 Peter Collins, Missouri State University Danny Driver, United Kingdom Faina Lushtak Tulane University Marianna Prjevalskaya Spain Nelita True Eastman School of Music 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

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

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 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

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

Engraved pewter Julep cup. $100.00

Adler's signature 18" pearl necklace with 14kt gold clasp. $150.00

Goblet. 8¼". $28.00 Flute. 9". $28.00

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University of Arkansas Peabody Conservatory of Music USA Brigham Young University, Provo, Utah Oberlin

Adler’s exclusive Galatoire's water carafe. $65.00

A D L E R’S 74

Washington University, St. Louis England Baylor University, Waco Indiana University, Bloomington New Jersey

Adler’s exclusive restaurant recipe soup bowls. Set of 4. $85.00

722 Canal Street|2937 Veterans 504-523-5292|AdlersJewelry.com Validated Parking JW Marriott 600 Common

7/2/18 11:19 AM

As a member of the Steinway Society of New Orleans you join an exceptional circle of and join with us as more P A R T Nfriends. E R S For AN D information S P O N Scall O 1-800-STEINWAY, RS we support the Arts and Artists of our communities.

MASNO is proud to thank our partners and sponsors S T E I N WAY S O C I E T Y of N ew O r l eans 1-800-STEINWAY

The most important thing in your life, is her life. Specializing in the care of women with the difficult diagnosis of a high risk pregnancy. With emphasis on prenatal screening and diagnosis, Dr. Lescale uses the latest technologies in ultrasound imaging & procedures throughout each trimester of your pregnancy. We will manage all aspects of your pregnancy in conjunction with your obstetrician. We also offer • Genetic & Diabetic Counseling • Chorionic Villus Sampling (CVS) • Nuchal Translucency Screening • Non-Invasive Prenatal Screening • Targeted Ultrasound • Amniocentesis • Consultations

LESCALE MFM Maternal-Fetal Medicine

Keith B. Lescale, MD, FACOG, Medical Director Selected as a Top Doctor – Westchester Magazine and New York Magazine

Westchester Dutchess 600 Mamaroneck Ave, Ste 110, Harrison, NY PHILHARMONIC 68 West Cedar St, 1st Lvl, Poughkeepsie, NY LOUISIANA 914.670.0500 845.483.0500 Manhattan St. John’s Riverside Hospital 523 East 72nd St, 9th Floor, NY, Yonkers, NY CARLO S MNY I G U E L P R I E T O , M967 U S I CNorth D I R E Broadway, CTOR 212.249.1788 914.964.4646

ORCHESTRA www.lescalemfm.com

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2018/2019

Season Highlights

Friday, October 5, 2018, 7:00 PM

New Orleans Jazz Museum, 400 Esplanade Avenue Songs of Laughing, Smiling, and Crying original works for solo piano and recorded sound Pianist and composer, Courtney Bryan Presented by MASNO and the New Orleans Jazz Museum

March 23, 2019, 7:00 PM

Heymann Performing Arts Center, Lafayette, LA 2016 New Orleans International Piano Competition Gold Medalist Xiaohui Yang with the Acadiana Symphony Orchestra

Saturday, March 30, 2019, 7:30 PM

Roussel Hall, Loyola University New Orleans Concerto Showcase X Featuring the top three medalists of the 2018 New Orleans International Piano Competition with Carlos Miguel Prieto and the Louisiana Philharmonic Orchestra

Fall of 2018, TBD

University of New Orleans Performing Arts Center 2018 New Orleans Piano Institute Concerto Competition Winner with the New Orleans Civic Symphony

Sunday, December 2, 2018, 5:00 PM NOCTURNE XVI Ritz Carlton, New Orleans Annual gala featuring internationally acclaimed Anderson & Roe Piano Duo

Sunday, January 13, 2019, 3:00 PM

Beauregard-Keyes Historic House and Garden Classical pianist and composer Lera Auerbach in a salon concert Presented by MASNO and the Beauregard-Keyes Historic House and Garden

504-899-4826

Tuesday, April 9, 2019, 2:00 PM Kaufman Music Center â€˘ Merkin Hall, 129 W. 67th Street, New York 2014 New Orleans International Piano Competition Gold Medalist Marianna Prjevalskaya in concert

July 20â€“27, 2019

Roussel Hall, Loyola University, New Orleans New Orleans Keyboard Festival and Piano Institute featuring master classes, performances and competition rounds of the piano institute as well as Guest Artist recitals performed by former winners of the New Orleans International Piano Competition