The 28th (2022) New Orleans International Piano Competition Program Book

“ Mu s i c i s e n oug h f or a w h o l e l i f e t i m e — but a lif e t im e i s n ot e n oug h f or mu s i c .” –SERGEI RACHMANINOFF

s t e i n way & s o n s i s p r o u d t o s u p p o r t T h e N e w O r l e a n s I n t e r n a t i o n a l P i a n o C o m p e t i t i o n .

o n e s t e i n wa y p l a c e , a s t o r i a , n y 1 1 1 0 5 T E L . 1 . 8 0 0 . s t e i n wa y S T E I N W A Y. C O M

TWENTY-EIGHTH NEW ORLEANS INTERNATIONAL PIANO COMPETITION THIRTY-NINTH KEYBOARD FESTIVAL “ Mu si c i s e n oug h

f or a w h o l e l i f e t i m e — but a life t im e i s n ot e n oug h f or mu s i c .”

–SERGEI RACHMANINOFF TWENTY-SECOND PIANO INSTITUTE

July 17—24, 2022 COMPETITION JURY

Brian Hsu Igal Kesselman Marina Lomazov Ursula Oppens Antonio Pompa-Baldi s t e i n way & s o n s i s p r o u d t o s u p p o r t Alan Chow, Chairman of the Jury

The New Orleans International Piano C ompetition.

Hosted by Loyola University College of Music and Media o n e s t e i n wa y p l a c e , a s t o r i a , n y 1 1 1 0 5 T E L . 1 . 8 0 0 . s t e i n wa y S T E I N W A Y. C O M

Presented by the

P.O. Box 750698 • New Orleans, LA 70175-0698 masno.org Cara McCool Woolf, Executive & Artistic Director

The Recording Prize: A studio recording on the Steinway & Sons Record Label

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TABLE OF CONTENTS

MASNO 2022-23 Season Highlights

4

Schedule of Events

5

Welcome Messages

7–15

About MASNO

17

MASNO Board of Directors/Competition Committee

19

Guest Artist and Recital Program Antonio Pompa-Baldi

20–21 20

MASNO Partners and Sponsors

22

Performance Prizes

23

Recorded/Preliminary Rounds Jurors Alan Chow Jonathan Bass Nancy Weems

24–25 24 25 25

Competition Jurors Brian Keng-Lun Hsu Igal Kesselman Marina Lomazov Ursula Oppens Antonio Pompa-Baldi

26–27 26 26 27 27 20

New Orleans Piano Institute Hristo Birbochukov Kevin Chance Alan Chow Dustin Gledhill Shearon Horton Faina Lushtak Igor Resnianski

28–31 29 29 24 30 30 31 31

Competition Requirements / Judging Procedures Semifinalists Sergey Belyavsky Rachel Breen Elia Cecino Tatiana Dorokhova Yedam Kim Jonathan Mamora Kyoungsun Park Davide Ranaldi Llewellyn Sanchez-Werner Alexey Sychev Zihao Wu Seho Young Past Competition Winners NOIPC Semifinal Repertoire: A Program Guide

33 34–45 34 35 36 37 38 39 40 41 42 43 44 45 47 49–62

Be Part of MASNO

64

Friends of MASNO

65

MASNO Endowment Fund

67

Acknowledgements

68, 69

Past Competition Jurors

71, 72

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Coming this season Bachtoberfest ft. Electric Yat Quartet + André Bohren October 5 at Margaret Place Hotel

Nocturne XIX ft. George Li November 6 at the Ritz-Carlton, New Orleans

Future concert dates to be announced

Concerto Showcase XI March 11, 2023, at Roussel Hall, Loyola University The three NOIPC medalists return to perform with the Louisiana Philharmonic Orchestra, conducted by Timothy Muffitt

For more information, visit www.masno.org

SCHEDULE OF EVENTS

2022 New Orleans International Piano Competition, Keyboard Festival, & Piano Institute Schedule of Events SUNDAY, JULY 17 Master Class Guest Artist Recital

Igor Resnianski Antonio Pompa-Baldi

2:00-3:30 PM 4:00 PM

MONDAY, JULY 18 Master Class Shearon Horton Master Class Alan Chow NOIPC Semifinal Round I, Day one

11:15 AM-12:45 PM 3:45-5:15 PM 7:00 PM

TUESDAY, JULY 19 Master Class Kevin Chance Master Class Antonio Pompa-Baldi NOIPC Semifinal Round I, Day two

11:15 AM-12:45 PM 3:45-5:15 PM 7:00 PM

WEDNESDAY, JULY 20 Master Class Dustin Gledhill Master Class Faina Lushtak NOIPC Semifinal Round I, Day three

11:15 AM-12:45 PM 3:45-5:15 PM 7:00 PM

THURSDAY, JULY 21 NOPI Concerto Competition

9:30 AM

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

Master Class Marina Lomazov NOIPC Semifinal Round II, Day one FRIDAY, JULY 22 Master Class Brian Hsu Master Class Ursula Oppens NOIPC Semifinal Round II, Day two

3:45-5:15 PM 7:00 PM

11:15 AM-12:45 PM 3:45-5:15 PM 7:00 PM

SATURDAY, JULY 23 NOPI Showcase Recital

10:30 AM

SUNDAY, JULY 24 NOIPC Final Round

2:00 PM

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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WELCOME MESSAGES

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WELCOME MESSAGES

City of New Orleans Mayor LaToya Cantrell Dear Attendees of MASNO's New Orleans International Piano Competition, As Mayor of the City of New Orleans, it is my pleasure to welcome you to our city for your 28th New Orleans International Piano Competition. The 12 semifinalists participating in this competition, selected from more than 200 applicants from 30 countries, represent the most talented pianists in the world. Thanks to the partnerships and sponsors of this event, those invited to take part in this competition will get the chance to demonstrate their artistry on an international stage. I would also like to extend a special thanks to this year's guest artist, Antonio Pompa-Baldi, who will kick off this year's competition with a special recital. We are thrilled to host such an internationally lauded artist as part of this event. On behalf of the residents of the City of New Orleans, you have my best wishes for an enjoyable event. I hope that you can take some time to enjoy all our great city has to offer, arid best of luck to this year's competitors!

LaToya antrell Mayor, City of New Orleans

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WELCOME MESSAGES

Office of the Dean Greetings ArtsCreative Community! Greetings Community!

On behalf of Father Kevin Wild pleased to welcome the Music International Piano Competitio Orleans community, it strikes m New Orleans have captured th music community like the New Competition. Loyola University Music and Fine Arts are indeed successful and important cultu

On behalf of Father Kevin Wildes, President of Loyola, I am th​ College of Music and F We aretoexcited the 28thLoyola’s New Orleans New Orleans pleased welcometo thewelcome Musical Arts Society’s 27​ International Piano Competition. Having recently joined the New in arts educatio region’s leader International Piano Competition. As the anchor Orleans community, it strikes me that very few artistic events in a creative econo institution for the creative in New Orleans supporting, developing, andeconomy growing the capacity of New Orleans have captured thealways attentionan and loyal support of the and the Gulf South, is honor toforhost cities in the world. Didit you know ​Americans the Arts​ ranked New music community like the New Orleans International Piano this spectacular event.States Like the Musical Arts Society of creative jo economy in Loyola the United percentage Competition. University New based Orleans on andthe the College of of New Orleans, the College of Music & Media is Music and Fine Arts are indeed proud to be a part of this very destinations like New York City and Los Angeles. Oura faculty are dedi magnet and showcase for developing and highlighting successfulstudents and important develop intocultural futureevent. creative professionals. We pride oursel

creative talent.

training and high expectations that are the hallmarks of a Jesuit educ Loyola’s College of Music and Fine Arts is pleased to be this region’s leader in arts education. We pride ourselves on

The College of Music & Media today represents onesupporting, developing, and growingAlong the capacity ofour a creative economy in one of the most distinguished with own wonderful faculty-artist student events, the third of the undergraduate student body at and Loyola. cities in the world. Did you know ​Americans for the Arts​ ranked New Orleans as the fifth largest creative Loyola University New Orleans has presented Sir James Galway, Wyn Our musicians, actors, and vocalists. economy in the United States based on the students percentage are of creative jobs? That is comparable to Ma, Alfred Walker, Ellen Taafe Zwilich, the Kronos They areOur studio filmmakers, journalists, destinations like New York City and Los Angeles. facultyartists, are dedicated artists and educators whoQuartet, with plan designers, producers, rappers, recording engineers, develop students into future creativeattending professionals. Weofpride on providing the any ourourselves wonderful events by rigorous traveling to ​cmfa.loyno.ed training and high expectations that arevisual the hallmarks of a Jesuit education. communications artists, and leaders in public relations andprograms advertising. weCollege do in the Our amazing and Everything events in the of Music and Fine A Along with our own wonderful faculty-artist and student events, the College of Music & Fine Arts at college revolves around storytelling with the only generous of ourMarsalis, donors. PleaseAx,consider giving a gift to Loyola University New Orleans has presented Sir contributions James Galway, Wynton Emanuel Yo-Yo difference being the media we choose to tell it. Ma, Alfred Walker, Ellen Taafe Zwilich, the Kronos Quartet, with plans giving.loyno.edu/cmfa​ ​. for many more to come. C​onsider attending any of our wonderful events by traveling to ​cmfa.loyno.edu/loyola-presents​​.

Once again we welcome you and hope you enjoy

Sincerely, thisCollege one-of-a-kind Our amazing programs and events in the of Music andexperience. 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

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

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,

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

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WELCOME MESSAGES

New Orleans International Piano Competitions

Dear Music Lovers, Welcome to the 2022 New Orleans International Piano Competition. This year, the competition’s 28th, brings together twelve of the most talented pianists in the world, all selected from a pool of over 200 applicants representing 30 countries.– the most in the NOIPC’s history. In addition to being an internationally-renowned showcase for up-and-coming talent and a prestigious career launch pad, the event is an important reminder of music’s ability to unify. Again this year the competition highlights a passion that spans the globe. The event is also an important part of what makes New Orleans one of the greatest music cities on the planet. Few other events in our city showcase such a wide variety of talent from so many diverse places, exposing new visitors to the bounty of our musical heritage while introducing more of the influences that have helped the city evolve and thrive for more than three centuries. Beyond the NOIPC’s main stage, the New Orleans Piano Institute (NOPI) will also be taking place this week, underscoring MASNO’s mission to improve access to musical education. NOPI is an awardwinning, intensive solo performance program for advanced and intermediate college, high school, and junior high school pianists. The 2022 NOPI participants will receive private lessons, perform in master classes, attend lectures and discussions, have competition opportunities, and perform in the Showcase Recital. The public is invited to attend all masterclasses, the NOPI Concerto Competition, and the Showcase Recital free of charge. MASNO’s work continues after the NOIPC and NOPI end. We invite you to join us throughout the year at one of our Le Petit Salon concerts, our awesome Bachtoberfest, or our annual gala, Nocturne, which always features incredible performances. This year’s artist, George Li, promises to be no exception. More information about these upcoming events can be found on our website, www.masno.org. None of this would be possible without the generous and sustained support of our sponsors, supporters, Board of Directors, and other volunteers. Cara McCool Woolf, our Executive & Artistic Director, deserves special mention for her unswerving dedication and ceaseless work to bring the NOIPC and NOPI to fruition. A tremendous amount of work goes into realizing this week’s events, and it takes the efforts of many: reviewing applications and music samples, providing accommodations for visiting semi-finalists, and producing the main event at Loyola. Thank you to the competition judges (especially Chairman of the Jury Alan Chow), NOPI faculty, and all of our volunteers who stepped up to make this week a reality. We are especially grateful to Steinway & Sons, Hall Piano Company, the Steinway Society of New Orleans, Loyola University College of Music and Media, WWNO 89.9 and Classical 104.9 FM for their continuing support. The past couple of years have presented unprecedented challenges, but, thanks to you, the NOIPC, the NOPI, and MASNO are thriving. With your support, MASNO has been unwavering in its mission to support established and emerging artists and present world-class performances of the musical arts. On behalf of our Board of Directors, thank you for your support, and enjoy the music! Sincerely, William Marshall President, MASNO Board of Directors 13

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WELCOME MESSAGES

New Orleans International Piano Competitions

Welcome to the 2022 New Orleans International Piano Competition, Keyboard Festival and Piano Institute! How wonderful it is to gather again for this magnificent and inspirational week of music making! Returning for its 28th presentation, the New Orleans International Piano Competition received an enthusiastic response with the preliminary round garnering a record number of applicants at an extraordinary level. Chosen solely based on their artistry with no known information beyond their audition performances, the twelve pianists you will hear this week rose to the top out of over 200 applicants from 30 different countries. The NOIPC continues to put New Orleans on the map in the world of classical piano and the arts, and is highly regarded as playing an integral role in the careers and livelihoods of many top artists. I want to convey my deepest appreciation to our Chairman of the NOIPC Jury, Alan Chow. Alan has been a part of the NOIPC since its very beginning as a jury member, guest artist, NOPI director and faculty, and now as Chairman of the Jury. I am so honored to work along side someone of such stellar character and talent. Presented also this week, is the annual New Orleans Piano Institute (NOPI) and Keyboard Festival. We are so pleased this year to welcome festival guest artist Antonio Pompa-Baldi and our internationally esteemed NOIPC Jury and NOPI Faculty. I know that you will enjoy Antonio’s recital as well as the wonderful master classes and student performances presented by NOPI. I would like to extend my personal thanks to NOPI Directors Igor Resnianski and Hristo Birbochukov for their excellent work in organizing this internationally regarded institute for young pianists. I also want to thank Hall Piano Company, the Steinway Society of New Orleans, the New Orleans Jazz and Heritage Foundation, and the New Orleans Civic Symphony, for their partnership with and sponsorship of NOPI. We could not produce this event without generous support from our Partners and Sponsors. Many thanks to our host Dean Maass and Loyola University, Vivian Chui and Steinway & Sons, Steve Kinchen and Hall Piano, and to 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, Igal Kesselman/Merkin Hall, and Chuck Taylor/University of New Orleans for their NOIPC prize collaborations. Thank you to all of our individual prize sponsors with very special thanks to Madelyn and Bruce Trible. As with all arts organizations and events of this scope, it would be impossible to succeed without the work and dedication of many – many who have faithfully served year after year. As always, my sincerest gratitude extends to Director Emeritus Daniel Weilbaecher. Daniel’s outstanding vision and leadership of MASNO and the NOIPC for many years established it with a foundation that secured its future. To my Executive Assistant, Stefan Moll, thank you for your incredible work, support, and energy. I also want to thank our brilliant board President William Marshall and all of the members of the MASNO Board of Directors for their strong dedication, continued support, and enthusiastic participation throughout the year. To all of the NOIPC dinner and Semifinalists Hosts, your benevolence sets the tone of the week. Thank you to all the staff and volunteers, with particular gratitude to Lou Bush, Kevin Chance, Glenn Noya, Matt McWilliams, Rob Olmstead, Priscilla Dardar, Joni Jensen, Tiffany Adler, Victoria Zangara, and my husband Vance Woolf. And to all of YOU, our donors and friends, we would not be here without you! So please sit back, enjoy this wonderful week, and make plans to join us again in the upcoming season! 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 & Artistic Director, Musical Arts Society of New Orleans 15

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ABOUT MASNO

MASNO History 2022 Originally founded in 1980 as the New Orleans Institute for the Performing Arts (NOIPA) by Melvin Alford and Julianne Nice, the organization aimed to provide students and teachers in the performing arts with masterclasses and workshops, as well as 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, until its one-year postponement in 2020 due to the Covid-19 pandemic. In 1989, Madelyn Trible and Raymond Gitz founded the New Orleans International Piano Competition (NOIPC) as an augmentation to the summer keyboard festival. Without delay, the competition began expanding in scope, attracting competitors and audiences from around the globe, and quickly becoming regarded as one of the finest showcases of pianistic talent. In the fall of 1994, Melvin Alford stepped down as NOIPA’s first Executive/Artistic Director, and Daniel Weilbaecher was asked to take this position. At that time, NOIPA was renamed the Musical Arts Society of New Orleans. In 1999, the New Orleans Piano Institute (NOPI) was begun as the educational component of MASNO’s summer event. NOPI is an award-winning, intensive solo performance program for talented college, high school, and junior high pianists that includes private lessons, masterclasses, special presentations, performance, and competition opportunities. All of this is within the inspirational context of the biennial NOIPC and the annual Keyboard Festival. Shearon Horton and Raymond Gitz were the first directors of NOPI, and in 2010, Joni Jensen replaced Raymond as NOPI Local Director. Upon Shearon’s retirement in 2013, Alan Chow and Igor Resnianski accepted the Co-Director positions. In 2017, Joni Jensen joined Igor as NOPI Co-Director. Since 2020, Hristo Birbochukov has served with Igor as Co-Director. The institute format continues to expand and now includes a solo competition on alternate years of the NOIPC as well as virtual components. In addition, the Steinway Society of New Orleans 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 featuring the three medalists of the preceding NOIPC to each perform concerti with the Louisiana Philharmonic Orchestra. Since only solo repertoire is heard during the competition, Concerto Showcase was envisioned as an extension of the NOIPC allowing our top three prizewinners to be heard in concert with the LPO. From the strategic viewpoint, a new path was established for the evolution of MASNO’s premiere offering in 2009. The 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. Despite its postponement in 2020 due to the Covid-19 pandemic causing a 4-year pause, the NOIPC continues as a biennial event. In 2013, after 20 years as both Executive and Artistic Director of MASNO, Daniel Weilbaecher resigned his position as Executive Director while continuing to serve as Artistic Director. In the fall of 2014, Cara McCool was named MASNO’s Executive Director, and in 2018, she also took the position of Artistic Director upon Daniel’s retirement. At this time, Alan Chow was named Chairman of the Jury of the New Orleans International Piano Competition, as it had formerly been one of Daniel’s roles. One of Cara’s goals was to broaden MASNO’s presence in the New Orleans musical community extending beyond the summer-centered events. During her tenure, she has led the organization to expand their presence locally, nationally and internationally by extending their calendar to a full annual season featuring an increasingly diverse roster of talent presented in collaboration with a growing number of partners. Under her leadership and with the support of the Board of Directors, MASNO continues increasing the number of educational and community outreach opportunities they provide throughout the area, and has most recently added their virtual mini-concert series MASNOtes, Le Petit Salon series and other online offerings in an effort to stay connected to the community while continuing to support artists through and beyond the Covid-19 Pandemic. Celebrating its 42nd anniversary in 2022, MASNO proudly holds true to its vision and mission continuing its efforts to make New Orleans a vital and vibrant center for the musical arts by supporting artists, encouraging supportive audiences, nurturing the development of talent, and championing music education.

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BOARD OF DIRECTORS & COMPETITION COMMITTEE

Board of Directors Executive & Artistic Director Chairman of the Jury NOIPC Director Emeritus Executive Assistant

Cara McCool Woolf Alan Chow Daniel Weilbaecher Stefan Moll

President Immediate Past President President-Elect Treasurer Corresponding Secretary

William Marshall Mary Albert Jason Burge Bruce Crutcher Allan Ledbetter

Members

Hristo Birbochukov Michael Boucree Peter Collins Joan Coulter Julie Doan Robert Edgecombe Meg Frazier Anne B. Gauthier David Greenhouse Brian Hsu Joan Jensen Machelle Johnson

Competition Committee

Box Office/Ticket Sales Boutique Competition Committee Chair Competition Coordinators Competition Hospitality Coordinators Master Classes Marketing Competitor Medals Photography Competition Poster Artwork Pianos Piano Technician Preliminary/Recorded Round Program Book Design Production Coordinator Advertisements Contributors Editing Recording and Live Streaming Stage and Facilities Semifinalist Coordinator Volunteers

Steven Kinchen Leo Landry Hans Mulder Igor Resnianski Pamela Ricciardi Barbara Sands Megan Shannon Charles Taylor Chris Waddington Casey Dietz Zainey

EMERITUS MEMBERS Mary Sue Chambers (1928-2021) Julianne Nice Bruce Trible (1927-2022) Madelyn Trible

Vance Woolf, Manager; Susan Lafaye, Cara McCool Woolf Joni Jensen Cara McCool Woolf Alan Chow, Cara McCool Woolf Cara McCool Woolf, Coordinator; Stefan Moll, Joni Jensen, Susan Lafaye, Barbara Sands Hristo Birbochukov, Igor Resnianski William Marshall, Stefan Moll, Glenn Noya, Cara McCool Woolf, Victoria Zangara Tiffany Adler, Adler’s Jewelry Victoria Z Photography Robin Crutcher, artist; William Marshall, design Hall Piano Company, Steinway & Sons Matt McWilliams Alan Chow, Cara McCool Woolf Noya Design, Inc. MPress Cara McCool Woolf Stefan Moll, Cara McCool Woolf Kevin Chance, William Marshall, Cara McCool Woolf Jason Burge, Louise Bush, William Bush, Kevin Chance, Bruce Crutcher, Joni Jensen, William Marshall, Stefan Moll, Glenn Noya, Charles Taylor, Cara McCool Woolf, Vance Woolf Rob Olmstead, Media Droids, LLC Priscilla Dardar, Brianna McMorris Cara McCool Woolf Louise Bush, Bruce Crutcher, Joni Jensen, Susan Lafaye, Millie Mince, Barbara Sands, Anne Sumich, Larsen Vincent, Nora Wetzel

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GUEST ARTIST

Antonio Pompa-Baldi, piano Guest Artist

Born and raised in Foggia, Italy, Antonio Pompa-Baldi won the Cleveland International Piano Competition in 1999 and embarked on a career that continues to extend across five continents. A top prize winner at the 1998 Marguerite Long-Jacques Thibaud Competition in Paris, France, Antonio Pompa-Baldi also won a silver medal at the 2001 Van Cliburn International Piano Competition. Mr. Pompa-Baldi appears at the world’s major concert venues including New York’s Carnegie Hall, Cleveland’s Severance Hall, Milan’s Sala Verdi, Boston’s Symphony Hall, Shanghai’s Grand Theatre, and Paris’ Salle Pleyel, to name a few. He has collaborated with leading conductors including Hans Graf, James Conlon, Miguel Harth-Bedoya, Theodore Kuchar, Benjamin Zander, Louis Lane, and Keith Lockhart. He has performed with ensembles and colleagues such as Takacs String Quartet, Alison Balsom, Sharon Robinson, Areta Zhulla, and principals of the Cleveland Orchestra, Dallas Symphony, and New York Philharmonic, among others. With a concerto repertoire including more than 60 works, Mr. Pompa-Baldi recently performed cycles of all the Rachmaninoff Piano Concertos, the five Beethoven Piano Concertos, and both Brahms Concertos with various orchestras. He has played recitals in most major venues over the world. Mr. Pompa-Baldi has recorded over 30 CDs to date, for various labels including Centaur Records, Harmonia Mundi, Steinway, TwoPianists, Azica, and Brilliant Classics. Among them, the complete piano and chamber music works of Grieg, the Josef Rheinberger Piano Sonatas, the complete Hummel Piano Sonatas, and CDs dedicated to Brahms, Schumann, Liszt, Respighi, and Rachmaninoff. For the Steinway label, Pompa-Baldi recorded a disc of songs by Francis Poulenc and Edith Piaf, arranged for solo piano, to commemorate the 50th year of the passing of both French musical icons, as well as a CD titled “Napoli”, which features new piano versions of famous Neapolitan songs. His latest releases feature Concertos for Violin, Piano and Orchestra by Mendelssohn, Haydn, and Hummel, as well as a CD of newly composed Opera Fantasies on La Bohème and Carmen, by Roberto Piana. Antonio Pompa-Baldi is a Steinway Artist since 2003. He is often invited to judge international piano competitions such as the Cleveland, Hilton Head, E-Competition (Minneapolis), BNDES Rio de Janeiro, and Edward Grieg (Bergen), among many others. He serves as president of the jury and artistic advisor for the San Jose International Piano Competition since 2006. Pompa-Baldi is on the Piano Faculty of the Cleveland Institute of Music. His students have been prizewinners in important competitions such as Marguerite Long, Hilton Head, Isang Yun, and Gina Bachauer. He is regularly invited to teach masterclasses in countless Universities, Music Schools, and Festivals in the US and all over the world. He holds honorary professorships from the Beijing China Conservatory, Shenyang Conservatory, and several other institutions. From 2009 to 2012, Pompa-Baldi worked in Santo Domingo with Fundación por la Musica, mentoring young Dominican pianists through the Manuel Rueda program. In 2015, Pompa-Baldi founded the Todi International Music Masters festival, of which he is also Artistic Director and Faculty Member. This summer festival takes place every August in the beautiful Italian town of Todi. It features 15 concerts in 15 days, with internationally renown faculty members, and students from all over the world.

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RECITAL

Sunday, July 17, 2022 4:00 PM Bach-Busoni

Chaconne

Howard Ferguson

Sonata in F minor, Op.8 I. Lento-Allegro inquieto II. Poco adagio III. Allegro non troppo-Allegro molto, ma non presto-Lento

INTERMISSION Roberto Piana (b.1971)

F. Liszt

Glances on the Divine Comedy” (2021) Part One: INFERNO I. Mosé II. Cleopatra III. Cerbero IV. Fortuna V. Messo Celeste VI. Epicuro VII. Arpie VIII. Penelope IX. Lucifero Après une lecture du Dante”-Fantasia quasi Sonata

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PERFORMANCE PRIZES

2022 New Orleans International Piano Competition Prizes FIRST PRIZE given by Bruce Trible

• $15,000 • ($5,000 cash award, $10,000 performance fees*, $40,000 value of Studio Recording on the Steinway & Sons Label) • Louisiana Philharmonic Orchestra: • Season Subscription concert and Concerto Showcase • Acadiana Symphony Orchestra • Baton Rouge Symphony Orchestra • Solo Recitals: • Solo Recital on the Tuesday Matinee Series in New York’s Merkin Concert Hall for the 2023-2024 Season • Solo Recital on the University of New Orleans Musical Excursions Series, 2023-2024 Season • A Studio Recording on the Steinway and Sons Label (value of $40,000)

SECOND PRIZE

• $10,000 • $8,000 cash award, $2,000 performance fees • Louisiana Philharmonic Orchestra: • Concerto Showcase • Solo Recitals: • TBD

THIRD PRIZE given by William Marshall and Tessa Izdepski

• $5,000 • $4,000 cash award, $1,000 performance fee • Louisiana Philharmonic Orchestra: • Concerto Showcase

SEMIFINAL PRIZES (Nine at $750) given by: • • • • •

Alan Chow in memory of Nelita True Dr. James Farrow (3) Drs. Elizabeth and Leo Landry Dr. Edward Levy (3) Julianne Nice and Herb Larson in memory of Deborah Jo Nice

JURY DISCRETIONARY PRIZE

given by Drs. Andrea and Archie Brown in honor of Daniel Weilbaecher • $1,000 *Concerto Showcase XI, March 11, 2023: A concert featuring the top three medalists of the 28th New Orleans International Piano Competition with the Louisiana Philharmonic Orchestra conducted by Maestro Timothy Muffitt

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TWENTY-EIGHTH COMPETITION

CHAIRMAN OF THE JURY Alan Chow

Alan Chow

Chairman of the Jury MASTER CLASS Monday, July 18 3:45 PM

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Acclaimed for his “elegant poetry and virtuosic fire,” Alan Chow has won First Prize in the Concert Artists Guild International Competition, the UCLA International Piano Competition, and the Palm Beach Invitational International Piano Competition. Winner of the Silver Medal and Audience Favorite Prize at the Gina Bachauer International Piano Competition, he was also a prizewinner in the William Kapell International Piano Competition. A Steinway artist, Mr. Chow has performed in recital and in concert with orchestras from coast to coast in 47 states. His recitals have brought him to the major music centers including New York (Lincoln Center, Merkin Hall, Steinway Hall), Boston, Los Angeles, Chicago (Symphony Center and Ravinia), Washington, D.C., Cleveland, Seattle, Atlanta, New Orleans, and Miami. Concerto performances include appearances with the National Symphony, Utah Symphony, Oakland Symphony, Tulsa Philharmonic, Kansas City Symphony, and Omaha Symphony. Mr. Chow regularly tours Asia with performances in China, Japan, Hong Kong, Taiwan, and Singapore, including performances with the Hong Kong Philharmonic, Shanghai Philharmonic and the Pan-Asia Symphony. An avid chamber musician, he has collaborated with the American, Pacifica, Miami and Escher String Quartets and has been guest artist at the Grand Canyon Chamber Music Festival, Juneau Jazz and Classics, San Juan Islands Chamber Music Festival, Kent Blossom Music Festival, Texas Music Festival, Music Festival of Arkansas and Music Mountain. In addition, he appears in joint recital engagements in the Cheng-Chow Trio with pianists Angela Cheng and Alvin Chow. Also in demand for his teaching, Mr. Chow has given master classes throughout North America and Asia at conservatories, universities and summer festivals including the Eastman School of Music, Indiana University, Bowdoin Music Festival, New Orleans International Piano Festival, Gina Bachauer International Piano Festival, Las Vegas Piano Festival, Tunghai International Piano Festival (Taiwan), Classical Music Festival (Austria) and in Singapore. Appointed guest professor at the Central Conservatory in Beijing and honored visiting professor at the Shenyang Conservatory, he has also presented recitals, master classes, and lectures in China at the conservatories in Shanghai, Chengdu, Xian and Wuhan. Mr. Chow studied with Nelita True at the University of Maryland where he graduated Co-Valedictorian with his twin brother Alvin, and received the Charles Manning Prize in the Creative and Performing Arts given to the outstanding graduate; with Sascha Gorodnitzki at The Juilliard School where he was awarded the Victor Herbert Prize in Piano; and with Menahem Pressler at Indiana University where he was the recipient of the Joseph Battista Memorial Scholarship. He also studied at the Mozarteum Sommerakademie with Carlo Zecchi. Previously having served on the faculty of the University of Arkansas and Northwestern University, Mr Chow is currently Professor of Piano and Chair of the Piano Department at the Eastman School of Music.

TWENTY-EIGHTH COMPETITION

RECORDED/PRELIMARY ROUND JURORS Jonathan Bass

American pianist Jonathan Bass appears frequently throughout the United States and around the world as soloist and chamber musician. Of his 1994 Weill Hall at Carnegie Hall debut, New York Concert Review wrote, “A technical presence to be reckoned with… soaring with a feeling of lyrical discovery.” Bass was awarded First Prize in the 1993 Joanna Hodges International Piano Competition, the 1984 American National Chopin Competition, the 1989 American Pianists Association Beethoven Fellowship Competition, and the 1983 National Arts Club Competition. He also received the Bronze Medal and Mozart Prize at the 1987 Robert Casadesus International Piano Competition. He is a regular presence at Symphony Hall and Jordan Hall in Boston, and at Tanglewood. His solo and chamber music recording have received high acclaim from Gramophone Magazine. Internationally, he has performed in China, Israel, Japan, Lithuania, Poland, Spain, and Russia. A Steinway Artist, he has been featured on many radio programs throughout the United States, including National Public Radio’s ‘Performance Today’. Bass has performed as concerto solo soloist with numerous orchestras, including the Boston Pops and the North Carolina Symphony. Collaborative highlights include multiple guest appearances with the Boston Symphony Chamber Players, and recitals with violinist Joseph Silverstein. He also partners with his wife, BSO violinist Tatiana Dimitriades, in the Boston Duo. For more than 20 years, as the pianist and a founding member of the Walden Chamber Players, he performed on a variety of chamber music series and residencies across the United States and Canada. A graduate of the Juilliard School, where he studied with Adele Marcus and Sasha Gorodnitski. Jonathan Bass holds a Doctor of Music degree from the Indiana University School of Music, where he studied with, and was teaching assistant to, Menahem Pressler. He also studied at the Moscow Conservatory in Russia. Bass is a Professor of Piano at Boston Conservatory at Berklee, where he has served on the faculty since 1993. He also teaches at New England Conservatory in the Preparatory School. His students have won many competition prizes, and he has given numerous master classes throughout the United States and around the world. For further information, visit jonathanbass.net.

Nancy Weems NANCY WEEMS, pianist and recently retired Madison Endowed Professor of Piano at the University of Houston Moores School of Music, has performed extensively as a concert artist in the U.S., Europe, Asia, Mexico, Russia, and Central America. As a United States Artistic Ambassador, she represented the United States in three international concert tours in fourteen countries, and presented a solo debut recital at the John F. Kennedy Center for the Performing Arts in Washington, D.C. She has appeared as guest artist with numerous orchestras and has given master classes in conservatories in the United States, Europe, Asia, and the West Indies, including at the Eastman School of Music, the Oberlin Conservatory of Music, Sungshin Women’s University in Seoul, Korea, the International Piano Master Class Series of Kuala Lumpur, Malaysia, and the Royal Academy of Music in London. A fourcity tour of the People’s Republic of China in 2016 included concerts, masterclasses and lectures in Beijing, Nanjing, Shenzhen and Chengdu. Ms. Weems often serves as an adjudicator of international competitions in the U.S., Asia, and Europe and is a frequent presenter at music teacher conferences worldwide, including the MTNA state and national conventions and the World Piano Pedagogy Conference. Her students have won top awards in numerous national and international piano competitions, including the Music Teachers National Association, the Van Cliburn, Leeds, Bach International, Sydney International, New Orleans International and Tchaikovsky. An impressive number of her former students maintain teaching positions at major universities and music schools in the U.S. and abroad, and many enjoy professional concert careers worldwide. Her outstanding teaching career was recently featured in a cover article in The Piano Magazine - Clavier Companion entitled “A Legacy of Excellence – A Conversation with John and Nancy Weems.” Other notable awards include the Texas Music Teachers Association Outstanding Collegiate Teaching Award, University of Houston Faculty Teaching Excellence Award, 1995 Moores School of Music Faculty of the Year Award, and a Grammy Award nomination in 1990.

Jonathan Bass

Nancy Weems

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TWENTY-EIGHTH COMPETITION

COMPETITION JURORS Brian Keng-Lun Hsu

Brian Keng-Lun Hsu MASTER CLASS Friday, July 22 11:15 AM

Igal Kesselman

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Brian Hsu made his concerto debut at the age of 16 with the Philadelphia Orchestra. He has since gone on to establish himself as a pianist of great energy and unusual communicative ability. Critics have described his performances in surperlatives, noting his “breadth of expression and technical ability.” An experienced performer, Mr. Hsu has performed throughout the US, Europe, Asia, and South Africa. US performances include Boston, New York, Chicago, New Orleans, Dallas, as well as many others. He has appeared as concerto soloist with such ensembles as the Philadelphia Orchestra, Taiwan National Symphony, Juilliard Orchestra, Haddonfield Symphony, Sendai Philharmonic, and University of Michigan Symphony Orchestra. He has also been a guest on WQXR radio station in New York several times. Mr. Hsu has performed in various music festivals including Amalfi Coast Music Festival in Italy; Blue Lake Fine Arts Camp in Michigan; Gijon International Piano Festival in Spain; Eastern Music Festival in North Carolina; Banff Festival of the Arts in Canada; PianoFest in The Hamptons in Long Island, New York. His US debut solo recording, Night at the opera: Part I, which consist of opera transcriptions for solo piano, was released in the fall of 2018. In addition to his competition successes, Mr. Hsu was the recipient of numerous awards while attending Juilliard, Yale, and Michigan. As an avid chamber musician and collaborator, Mr. Hsu frequently perform with colleagues throughout the music world. In 2011, Mr. Hsu participated in the world premiere of Paul Schoenfeld’s Piano quintet with members of the Pro Arte’s quartet and recorded for Albany Records, released in the spring of 2014. In 2016, He premiered Logan Skelton’s Letters to Santa with voice alumni of Loyola University New Orleans. His piano trio, Ensemble Peri, completed its inaugural tour in Korea during the summer of 2019. In addition, he is one of the founding members of Key 2 Inclusion, an intercollegiate initiative dedicated to learning piano music written by AfricanAmerican and minority composers. Mr. Hsu served as a staff accompanist at Yale University and University of Michigan, staff accompanist and chamber music coach at Eastern Music Festival, piano faculty at the McAlester Institute in Oklahoma, piano faculty at Blue Lake Fine Arts Camp in Michigan. He has served as schedule coordinator, staff pianist, faculty, and assistant to the director at Amalfi Coast Music Festival in Italy. He was also an adjunct professor at Siena Heights University and taught at the Ann Arbor School for the Performing Arts. He has given numerous performances and masterclassses at colleges and universities throughout the U.S. and Asia, and collaborated with various artists and faculty. Mr. Hsu’s primary piano professors include Logan Skelton, Peter Frankl, Jerome Lowenthal, Yoheved Kaplinsky, Wha-Kyung Byun, and John Kuo. He has won awards in numerous competitions, both in the US and Asia, including Wideman Competition, Corpus Christi International Young Artists’ Competition, Juilliard’s Gina Bachauer, National Piano Competition in Taiwan. Additional studies have been with DaMing Zhu, Paul Schenly, Marc Durand, Arthur Greene. He received his Bachelor’s and Master’s degrees from The Juilliard School, Artist Diploma from Yale University, Doctoral of Musical Arts degree from the University of Michigan. He is the associate professor and keyboard department coordinator at Loyola University New Orleans. Mr. Hsu’s US debut CD, as well as future engagements can be found on www.brian-hsu. com.

Igal Kesselman

Praised for his “kaleidoscopic” playing by the New York Times, pianist Igal Kesselman is one of today’s most forwardthinking 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 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, New Orleans International Piano Competition, Astral Artists, Virginia Wering 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 students.

TWENTY-EIGHTH COMPETITION

COMPETITION JURORS

Praised by critics as “a diva of the piano” (The Salt Lake City Tribune), “a mesmerizing risk-taker” (The Plain Dealer, Cleveland), and “simply spectacular” (Chicago International Music Foundation) Ukrainian-American pianist Marina Lomazov has established herself as one of the most passionate and charismatic performers on the concert scene today. Following prizes in the Cleveland International Piano Competition, William Kapell International Piano Competition, Gina Bachauer International Piano Competition, and Hilton Head International Piano Competition, Ms. Lomazov has given performances throughout North America, South America, China, England, France, Germany, Italy, Spain, Austria, Bulgaria, Ukraine, Russia, Japan and in nearly all of the fifty states in the U.S. Marina Lomazov has given major debuts in New York (WeillCarnegie Hall) Boston (Symphony Hall), Chicago (Dame Myra Hess Concert Series), Los Angeles (Museum of Art), Shanghai (City Theater) and Kiev (Kiev International Music Festival). She has performed as soloist with the Boston Pops, Rochester Philharmonic, Eastman Philharmonia, Chernigov Philharmonic (Ukraine), KUG Orchester Graz (Austria), Bollington Festival Orchestra (England), Piccolo Spoleto Festival Orchestra, Brevard Festival Orchestra and South Carolina Philharmonic, to name a few. New York Times chief music critic Anthony Tommasini describes a recent New York performance as “dazzling” and Talk Magazine Shanghai describes her performances as “a dramatic blend of boldness and wit”. In recent seasons, Lomazov has performed extensively in China, including concerts in Shenyang, Shenzhen, Chengdu, Dalian, Guangzhou, Jinan, Nanjing, Qingdao and Yingkou. She is a frequent guest at music festivals in the U.S. and abroad, including Hamamatsu, Chautauqua, Brevard, Eastman, Burgos (Spain), Sulzbach-Rosenberg (Germany) and Varna (Bulgaria), among others. She has recorded for the Albany, Centaur and Innova labels and American Record Guide praised her recent recording of piano works by Rodion Shchedrin for its “breathtaking virtuosity”. She has been featured on National Public Radio’s “Performance Today”, the “Bravo” cable channel and WNYC’s “Young Artist Showcase” and her recordings have been broadcast more than 100 times by WNYC and WQXR in New York, WFMT in Chicago and WBGH in Boston. Before immigrating to the United States in 1990, Marina studied at the Kiev Conservatory where she became the youngest First Prize Winner at the all- Kiev Piano Competition. Ms. Lomazov holds degrees from the Juilliard School and the Eastman School of Music, the latter bestowing upon her the highly coveted Artist’s Certificate – an honor the institution had not given a pianist for nearly two decades. Her principal teachers include Natalya Antonova, Jerome Lowenthal and Barry Snyder. Also active as a chamber musician, Lomazov has performed widely as a member of the Lomazov/Rackers Piano Duo. The duo garnered significant attention as Second Prize winners at the Sixth Biennial Ellis Competition for Duo Pianists (2005), the only national duo piano competition in the United States at that time. As advocates of modern repertoire for duo piano, they have given premieres of numerous works across the United States, including several works written specifically for them. Ms. Lomazov is Ira McKissick Koger Professor of Piano at the University of South Carolina where she is Founder and Artistic Director of the Southeastern Piano Festival. She has served as jury member for the Hilton Head International Piano Competition, Eastman International Piano Competition, Minnesota International Piano eCompetition, National Federation Biennial Young Artist Auditions and is a National Panelist for the National Foundation for Advancement of the Arts, the organization that nominates Presidential Scholars in the arts. Marina Lomazov is a Steinway Artist.

Ursula Oppens

Widely admired for her original and perceptive readings of new music and the standard repertoire, Ursula Oppens has premiered and/or commissioned works by John Adams, Luciano Berio, Carla Bley, Anthony Braxton, Elliott Carter, John Corigliano, Anthony Davis, Julius Hemphill, John Harbison, Laura Kaminsky, György Ligeti, Witold Lutosławski, Conlon Nancarrow, Tobias Picker, Charles Wuorinen, and many more. With five Grammy nominations to her credit, Ms. Oppens established her reputation early on with a classic recording of Frederic Rzewski’s The People United Will Never Be Defeated. She has released Piano Songs, music by Meredith Monk, with pianist Bruce Brubaker; Winging It: Piano Music of John Corigliano; Oppens Plays Carter (complete Carter piano works); Piano Music of Our Time; Keys to the City, (complete Picker piano music); and, with pianist Jerome Lowenthal, Visions de l’Amen by Messiaen and Debussy’s En blanc et noir. As guest soloist, Ms. Oppens has performed with the New York Philharmonic, Los Angeles Philharmonic, Berlin Symphony, and London Philharmonic Orchestras, among others, and has collaborated with the Arditti, Cassatt, Juilliard, and Pacifica quartets. Ursula Oppens teaches at Mannes College, and is a Distinguished Professor of Music at Brooklyn College and the CUNY Graduate Center in New York City. In 2019, Ms. Oppens was awarded an Honorary Doctorate from The New England Conservatory. For further information, please contact Hemsing Associates at (212) 772-1132 or visit www. hemsingpr.com.

Marina Lomazov MASTER CLASS Thursday, July 21 3:45 PM

Photo: Hilary Scott.

Marina Lomazov

Ursula Oppens MASTER CLASS Thursday, July 22 3:45 PM

Antonio Pompa-Baldi see page 20

MASTER CLASS Tuesday, July 19 3:45 PM

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ABOUT THE 2022 NEW ORLEANS PIANO INSTITUTE

New Orleans Piano Institute Institute Co-Directors Hristo Birbochukov Igor Resnianski Faculty/Clinicians Kevin Chance Dustin Gledhill Shearon Horton Faina Lushtak Alan Chow

New Orleans Piano Institute Directors Igor Resnianski and Hristo Birbochukov have selected thirty-six pianists to participate in the 2022 New Orleans Piano Institute – a piano academy taking place concurrently with the New Orleans International Piano Competition and the New Orleans Keyboard Festival. Being in its 22nd year, NOPI invites talented college, high school and junior high pianists from across the United States and around the world to participate in an intensive solo performance program, including private lessons with distinguished faculty, masterclasses, and an opportunity to perform in the Showcase Recital. NOPI students are invited to attend all of the rounds of the New Orleans International Piano Competition as a part of their participation in the Institute. 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.

is pleased to sponsor The 28th New Orleans International Piano Competition

Piano Institute & Keyboard Festival

presented by the

www.fishmanhaygood.com New Orleans Jason Burge 201 St. Charles Ave., Ste. 4600 New Orleans, LA 70170 504.586.5252

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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 masterclasses, the NOPI Concerto Competition, the NOPI Student Showcase Recital, and the New Orleans Keyboard Festival guest artist recital of Antonio Pompa-Baldi. All masterclasses, NOPI student performances and the Concerto Competition are free of charge. The NOPI teaching faculty this year includes Hristo Birbochukov (New Orleans Center for Creative Arts), Kevin Chance (University of Alabama), Alan Chow (The Eastman School of Music), Dustin Gledhill (New York), Shearon Horton (Austin), Faina Lushtak (Tulane University of New Orleans), and Igor Resnianski (West Chester University of Pennsylvania). Masterclasses will be given by all NOPI faculty as well as NOIPC jury members and guest artists.

Baton Rouge Charles Landry 100 North St., Ste. 800 Baton Rouge, LA 70802 225.706.4040

Presented with support from

PIANO INSTITUTE FACULTY

Hristo Birbochukov The Bulgarian-born pianist Hristo Birbochukov has performed extensively as a solo and collaborative pianist across Eastern Europe and the United States, including a New York debut solo recital in 2012. Known for his “superb artistry” and “sensitivity” (Edward Lein, Intermezzo Concert Series), Birbochukov is a prize-winner of national and international competitions and has participated in international music festivals, including the International Festival for Contemporary Piano Music ppIANISSIMO (Sofia, Bulgaria), and the Festival of New Music (Florida, USA). Birbochukov’s awards include Phi Kappa Phi Artist of the Year (Florida, 2007), and Tallahassee Music Guild (2005 and 2007). His television and radio appearances have included broadcasts in both Bulgaria and in the United States and he has been featured in national and international press, including the official website of BBC Music Magazine. Hristo Birbochukov holds a Doctor of Music degree in Piano Performance from Florida State University, a Master of Music degree from Southeastern Louisiana University, and a Bachelor of Music degree in Piano Performance from the National Academy of Music in Sofia, Bulgaria, under Prof. Dimo Dimov. A sought-after educator, Dr. Hristo Birbochukov was named Steinway & Sons Top Teacher for 2017 and 2018. Students of Dr. Birbochukov are frequent winners of state, regional, and national piano competitions, and were selected as finalists for NPR’s program “From the Top.” Presently, Dr. Birbochukov is the Chair of the Classical Instrumental Department of the New Orleans Center for Creative Arts (NOCCA) and an Artist Teacher in Applied Piano. In addition, he is on the Music Faculty of NOBTS, where he teaches Applied Piano to DMA piano students, he is a Co-Director of the annual New Orleans Piano Institute (NOPI), and on the Board of Directors of the Musical Arts Society of New Orleans (MASNO). More info: www. birbochukov.com

Kevin Chance

Kevin Chance serves as Assistant Professor of Piano at the University of Alabama where he coordinates the Gloria Narramore Moody Piano Area. As soloist and collaborator, Kevin has performed throughout the United States and abroad, and recent orchestral appearances have included Bernstein’s Age of Anxiety, Rachmaninoff ’s Rhapsody on a Theme by Paganini, Gershwin’s Rhapsody in Blue, Beethoven’s Choral Fantasy, and Saint-Saëns’s Le Carnaval des animaux. Performing regularly as a chamber musician, Kevin has been a member of the Semplice Duo with flutist Cristina Ballatori for the past 20 years, and their performances have included world premiers at the National Flute Association Conference as well as recitals in Wisconsin, Texas, Colorado, Virginia, Alabama, New York, and Europe. Kevin has recently received a number of accolades for his teaching. Most recently, he was named a 2020-2022 Leadership Board Faculty Fellow for the University of Alabama College of Arts and Sciences, which recognizing excellence in teaching and research. In 2019, he was inducted into the inaugural class of the Steinway and Sons Music Teacher Hall of Fame in New York City and was named 2019 Music Educator of the Year by the Arts Council of Tuscaloosa. Additionally, he was named the 2015-2017 Teacher of the Year by the Alabama Music Teachers Association. Kevin maintains an award-winning studio of college and precollege students, and his students have garnered awards at the state, regional, and national levels. In demand as a clinician and adjudicator, he frequently presents at the MTNA National Conference as well as state and local music teacher organizations throughout the country. In January 2021, Kevin served as the headliner clinician for the University of Georgia Piano Symposium, and each summer, he serves on the faculty of the New Orleans Piano Institute each summer. Kevin holds degrees from the Eastman School of Music, Louisiana State University, and Birmingham-Southern College, and his former teachers include Barry Snyder, Constance Knox Carroll, Anne Koscielny, Ann Schein, William DeVan, and Betty Sue Shepherd. Kevin currently serves as President of the American Matthay Association for Piano and recently finished his term as Vice President of MTNA.

Hristo Birbochukov NOPI Director

Kevin Chance

Master of Ceremonies MASTER CLASS Tuesday, July 19 11:15 AM

Alan Chow see page 26

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PIANO INSTITUTE FACULTY

Dustin Gledhill

Dustin Gledhill MASTER CLASS Wednesday, July 20 11:15 AM

Shearon Horton MASTER CLASS Monday, July 18 11:15 AM

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Dustin is an International prizewinning pianist, composer, songwriter, producer, teacher, director, writer and actor. As a child prodigy and young adult pianist, he garnered over twenty first-prize awards in international competition. As composer / performer, he has collaborated with modern dance companies and choreographers such as Pina Bausch, Russell Maliphant, Parisa Khobdeh, Maya Taylor and Brad Landers. Dustin collaborated with writer and director Nathan Wright, composing electronic-Classical inspired music for a collage-theater piece, “Manifesto,” featuring the life of Serge Diaghilev. www. thediaghilevproject.com Dustin has been commissioned to compose for podcasts such as Autism Speaks and other commercial work. In 2016, Dustin, along with singer-songwriter and sister-in-law Mindy Gledhill, formed synthpop duo, Hive Riot, releasing an awardwinning album, music videos and additional singles. Hive Riot: YouTube Link Dustin is director of the Gledhill Arts Collective - a group of private teaching studios In NYC, complemented by collaborative professional events and workshops. www.GledhillArtsCollective. com. As a board member and secretary for The Bohemians: New York Musicians’ Club, Dustin fully produced their virtual concert series in 2021 for their 115th season. www. the-bohemians.org Current and future projects include recording and performing the complete piano music of Gabriel Fauré from 20202024, commemorating one hundred years since his death. www.DustinGledhill.com A once upon a time native of Provo, UT., Dustin is a graduate of The Juilliard School, Royal Academy of Music and Manhattan School of Music and a Doctoral candidate at Stony Brook University in New York. Dustin currently lives in Bronx, NY

Shearon Horton

Shearon Horton was a co-founder of the New Orleans Piano Institute in 1998 and for fourteen years was a director of the New Orleans Piano Institute. At the June, 2019 state convention of Texas Music Teachers Association, Shearon was named the recipient of the 2019 Outstanding Pre-Collegiate Teaching Award for Texas Music Teachers Association. She received the Outstanding Teacher Award for Louisiana Music Teachers Association in 2004. She was the recipient of the Austin Music Teachers Association Award for Outstanding PreCollegiate Teaching Achievement in 1988, 2014, 2015, 2016, and 2019. She was awarded the Steinway Top Teacher Award in 2016, 2017, 2018 and 2021. Shearon Horton holds the Bachelor of Music degree from Peabody College and Masters of Music degree 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. Her articles related to piano pedagogy have been 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 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 prizewinning teaching studio for many years with students who have distinguished themselves in many local, regional and national competitions including fourteen students who have been state winners in the MTNA Performance Competitions and have progressed to the regional MTNA competitions with three students advancing to the national MTNA finals. In 2013 she was the teacher of the second prize winner and Chopin Prize winner at the MTNA National Junior Performance Competition. Four of her students have been featured on the national radio program “From the Top.” Her students have been first prize winners in the TMTA State Performance Contest, the Steinway Competition held at Steinway Gallery of Austin, the Pearl Amster Youth Concerto Competition, the Marjorie Sticklin Emerging Artist Concerto Competition, the Louisiana Philharmonic Orchestra Young Artist Concerto Competition, the Wilcox and Maurer competitions sponsored by the Wednesday Morning Music Club of Austin, and the national Stillman-Kelly Competition sponsored by the National Federation of Music Clubs. Her students have been top prize winners at the Baylor/ Waco Piano Competition, the Texas State University Young Artist Piano Competition, the McClennan Community College Piano Competition, the DeBose National Piano Competition, and the Louisiana Music Teachers Association Piano Rally. Her students have been accepted in undergraduate and graduate programs at Eastman School of Music, Northwestern University, Rice University, San Francisco Conservatory, New York University, Southern Methodist University, The University of Texas at Austin, Loyola University, and many of her students now work in the music teaching profession.

PIANO INSTITUTE FACULTY

Faina Lushtak

Faina Lushtak was born and raised in the Soviet Union. She began her piano and composition studies at the age of six, taught by her mother, Evgenia Lushtak. She went on to study at the Stoliarsky School for Musically Gifted Children in Odessa under the tutelage of Eleonora Levinson, followed by the Moscow Tchaikovsky Conservatory, where she was taught by Genrietta Mirvis, Yakov Zak and Tikhon Khrennikov, and earned degrees in piano performance and composition. She was a faculty member at the Moscow Conservatory, performing throughout the Soviet Union until immigrating to the United States in 1978. Ms. Lushtak’s performances have inspired audiences in Russia, Western Europe, Canada and the United States. She has appeared with orchestras under many conductors, including Klauspeter Seibel, William Henry Curry, Maxim Shostakovich and Alfred Savia. She has performed as a solo recitalist in major venues throughout the United States, including Lincoln Center. Ms. Lushtak has made frequent guest artist appearances and conducted master classes at university campuses, including at Emory University, the San Francisco Conservatory of Music and Texas Christian University. She has repeatedly served as director of the Brandywine International Masterclasses at West Chester University in Pennsylvania. She has also been a guest artist and judge at international competitions and festivals, including the Wideman International Piano Competition, the Gina Bachauer International Piano Competition, the Canadian National Music Competition, the Eastman Young Artists International Piano Competition, the Cleveland International Piano Competition, and the New Orleans International Piano Competition. Her performances have earned widespread critical acclaim. At her debut at Alice Tully Hall, The New York Times wrote, “The qualities she prizes most are clarity of line and transparency of texture. Incisive clarity remained her hallmark.” The Times-Picayune wrote that “her technique is sure and ample” and spoke of her “beautiful, singing lyricism.” At the Bachauer Festival, The Salt Lake Tribune commented that “two hours spent basking in her glorious music wasn’t enough.” Ms. Lushtak is the Downman Professor of Music at Tulane University, where she heads the piano division. She also serves on the faculty of the Orfeo International Music Festival in Italy. She is a Steinway Artist. Ms. Lushtak’s performance of works by Rachmaninoff and Scriabin was recorded on the Centaur label, as was her performance of Chopin Mazurkas. Ms. Lushtak’s recording entitled La Poésie de la Vie, produced by E.F. Virgin records, features some of her favorite pieces by various composers from Bach to Débussy. Her most recent CD showcases her own piano compositions, ranging from simple pieces for children to works for musically sophisticated audiences. Ms. Lushtak’s compositions for piano have been published by Willis Music, and by the British music publisher Boosey & Hawkes.

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. Resnianski’s performances were featured on the PBS/WHYY Y-Arts television channel. His chamber recordings were released under St. Petersburg Recording Company and Sony Entertainment. 2012 Teacher of the Year for the state of Pennsylvania, Dr. Resnianski teaches master-classes and judges local, state, national, and international competitions in the US and abroad. He is a regular faculty of such festivals as PianoTexas International Academy and Festival, Fort Worth TX; Piano Institute at Texas Music Festival, Houston TX; New Orleans Piano Institute, LA, California Concerto Weekend, CA, etc. Since September 2013, Dr. Resnianski accepted responsibilities of a co-director of the New Orleans Piano Institute. His students are winners of many local, state, national, and international piano competitions. Among them are the Philadelphia Orchestra Greenfield Concerto Competition; William Kapell Young Artist International Piano Competition; Liszt International Competition in Los Angeles; Chopin International Piano Competition in Hartford Connecticut; World Piano Competition in Cincinnati; MTNA/PMTA state piano competition; New Orleans Piano Institute Competition solo and concerto; TCU-Cliburn Piano Institute Concerto Competition; etc. His students performed in many countries including USA, Russia, France, Germany, China. They appeared on such venues as Verizon Hall and Perelman Theater at the Kimmel Center in Philadelphia; Tchaikovsky and Roerich museums in Moscow; Wail Recital Hall at Carnegie Hall and Merkin Hall at Elaine Kaufman Cultural Center in New York; Ed Landreth Hall in Fort Worth, TX; Emilie K. Asplundh Concert Hall in Philips Memorial Building at West Chester, PA, etc. They appeared with such orchestras as Philadelphia Orchestra, Fort Worth Symphony, Kennett Symphony, Lansdowne Symphony, Ambler and York orchestras, New Orleans Civic Orchestra, etc. Dr. Resnianski is an Assistant Professor at West Chester University of Pennsylvania in West Chester, PA. He also teaches privately and at the Nelly Berman School of Music in Haverford, PA.

Faina Lushtak MASTER CLASS Wednesday, July 20 3:45 PM

Igor Resnianski NOPI Director

MASTER CLASS Sunday, July 17 2:00 PM

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Turning Point (noun): a time at which a significant change occurs, affecting the future of people, places or things.

ASO’s 38th Season, Turning Points, pays homage to significant turning points of the past, and acknowledges our collective arrival at another historical turning point, now, in a post-COVID world. Each concert of the season is a reflection on turning points, exploring everything from music and film, to the societal influences that created the impetus for change.

Season Tickets On Sale Now ACADIANASYMPHONY.ORG

COMPETITION REQUIREMENTS

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COMPETITION JUDGING

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 competitors. All twelve semifinalists will advance to Semifinal Round II.

SEMIFINAL ROUND II A memorized public recital, not to exceed 20 minutes in length, consisting of works chosen by the competitor which have not been performed in Semifinal Round I. Three contestants will be chosen to advance to the Final Round.

FINAL ROUND A memorized public recital, not to exceed 50 minutes in length, consisting of works not performed by the competitor in the Semifinal Rounds.

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 online via Acceptd. In the initial stage, three judges were responsible for paring the field of applicants from 206 to 40. In the second stage, three 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.

JUDGING PROCEDURES FOR THE COMPETITION JURY SEMIFINAL ROUND I & II

At the completion of Semifinal Round II of the competition, the five voting members of the jury (the chair of the jury is a non-voting member) will independently select, without discussion, three contestants to advance to the Final Round. Each of these contestants must have received at least three of the jurors’ votes. In the case of a tie, the competition jury will be asked to choose, without discussion, between the tied competitors. In the case where a juror withdraws, the chair becomes a voting member.

FINAL ROUND At the completion of the Final Round of the competition, the five 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 jurors’ votes. In the case of a tie, the competition jury will be asked to choose, without discussion, between the tied competitors. The judges will repeat this process to determine the winner of the Second and Third Prizes.

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COMPETITORS

Sergey Belyavsky SEMIFINAL ROUND I Chopin 12 Etudes, Op.10 Silvestrov Bagatelle Op.1, No.3 (2005)

Q

SEMIFINAL ROUND II

Born into a family of musicians, Sergey was only 11 when he won his first international competition, and at 12 he performed his first recital. Since then his concert performances have spanned the globe. By the age of 24, Sergey had toured and performed in 28 different countries all over the world. Since 2005, Sergey has become a multiple prize winner of more than 30 competitions and festivals, having won the Bronze Medal at GINA BACHAUER International Artists Competition, SLC, USA; Second & Audience Prizes at FRANZ LISZT International Piano Competition, Budapest, Hungary; Second & Audience Prizes at MARIA CANALS International Piano Competition, Barcelona, Spain etc. Sergey honed his mastery with Eliso Virsaladze, Arie Vardi, Lev Natochenny, Marian Rybicki. Currently Sergey is studying at Park University in Kansas City with Golden Prize Winner of the 11th Van Cliburn International Piano Competition, Prof. Stanislav Ioudenitch. In March 2022, Sergey participated in a very special event condemning the Russian aggression in Ukraine – Ukraine Peace Benefit Concert, held in St. Paulus Church in Frankfurt am Main, organized by City of Frankfurt am Main and the International Piano Forum Frankfurt. Sergey has released three solo CDs, most recently of Chopin’s 24 Etudes. 34

Bach Toccata in G Minor, BWV 915 Medtner Fairy Tale, Op.20, No.1 Saint-Saens/Liszt, Danse Macabre arr. Horowitz

FINAL ROUND

Q

Schubert Sonata in D Major, D.850 Allegro vivace Con moto Scherzo: Allegro vivace Rondo: Allegro moderato Mozart/Liszt

Réminiscences de Don Juan

COMPETITORS

Rachel Breen SEMIFINAL ROUND I Bach French Suite No.2 in C Minor, BWV 813 Allemande Courante Sarabande Air Menuet Gigue Beethoven Sonata in C Minor, Op.111 Maestoso - Allegro con brio ed appassionato Arietta

SEMIFINAL ROUND II

Q

Scriabin Preludes, Op.11 No.22 in G Minor No.3 in G Major No.21 in B-flat Major Stravinsky Three Movements from Petrushka Russian Dance Petrushka’s Room The Shrovetide Fair

FINAL ROUND

Q

Medtner

Sonata in G Minor, Op.22

Kurtág

Prelude and Waltz in C

Scriabin

Prelude in F Major, Op.11, No.23

Prokofiev

Intermezzo, Op.95, No.1, from Cinderella

Beethoven

Bagatelle, Op.126, No.3

Chopin

Impromptu in A-flat Major, Op.29, No.1

Berio

Wasserklavier

Chopin

Impromptu No.2 in F-sharp Major, Op.36

Medtner

Fairy Tale, Op.51, No.5

Rachmaninoff

Étude-Tableaux in B Minor, Op.39, No.4

Desyatnikov

Prelude No.4, from Songs of Bukovina

Bach

Prelude and Fugue in D Major, Well Tempered Clavier Book I, BWV 850

Debussy

Preludes, Book I, No.12, Minstrels

Kreisler/Rachmaninoff

Liebesfreud

Californian Rachel Breen received her bachelor’s degree with academic honors from the Juilliard School, where she was a student of Julian Martin. Previously, she studied with Dr. Sharon Mann; until age 10, she was self-taught. She recently completed dual master’s programs at the Hannover Hochschule für Musik and Yale School of Music with – respectively – Lars Vogt and Boris Slutsky, and is based in both Europe and the United States. Breen has won top prizes in the Beethoven International Competition in Vienna, the Georges Cziffra International Competition, and the NFMC Young Artists’ Competition, and received the 2021 Kurt Alten Prize from her university in Hannover. She is one of ten semifinalists in the upcoming Honens International Piano Competition. Aside from piano, Breen earned first prize on the National Latin Exam and third prize on the National French Exam. She spends her spare time exploring philosophy and visual arts, as well as forgetting to answer important emails.

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COMPETITORS

Elia Cecino SEMIFINAL ROUND I Shostakovich

Prelude and Fugue in B-flat Major, Op.87, No.21

Beethoven Sonata in G Major, Op.31, No.1 Allegro vivace Adagio grazioso Rondo: Allegretto Liszt

Valse de Faust de Gounod, S.407

Q

Born in 2001, Elia Cecino began his studies at 9 with Maddalena De Facci, graduating at 17 Summa cum Laude from Cesena Conservatory. He studied with Andrzej Jasinski and he is now specializing with Boris Berman, Eliso Virsaladze and Roberto Plano. In 2021 Elia was first prize winner of the James Mottram Competition in Manchester and the Ricard Viñes in Lleida. He was awarded also at the Ciudad de Ferrol, Premio Venezia, Pozzoli in Seregno, Schumann in Düsseldorf. Recently he was semifinalist at the Dublin Competition 2022. He recorded two CDs and some of his recitals and interviews have been broadcast on ClassicFM, RaiRadio3, Radio Popolare, RaiFVG. He participated in the TV show “Prodigi” for Unicef. He performed with the Royal Liverpool Philharmonic, Orchestra del Teatro La Fenice, Simfònica del Vallès, Sinfónica de Galicia, Düsseldorf Symphony, Sichuan Philarmonic, Bacau Philarmonic, FVG Orchestra. He regularly performs as soloist and chamber musician in halls such as the Teatro La Fenice in Venice, Fazioli Concert Hall in Sacile, Laeiszhalle Kleiner Saal in Hamburg. www.eliacecino.it

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SEMIFINAL ROUND II Debussy

Etude pour les degres chromatiques

Scriabin Sonata in F-sharp Minor, No.3, Op.23 Drammàtico Allegretto Andante Presto con fuoco

FINAL ROUND

Q

Tchaikovsky

Nocturne, Op.10, No.1

Schumann

Symphonic Etudes, Op.13

Prokofiev Sonata in B-flat Major, No.7, Op.83 Allegro inquieto Andante caloroso Precipitato

COMPETITORS

Tatiana Dorokhova SEMIFINAL ROUND I Bach/Liszt

Fantasy and Fugue in G Minor, BWV 542

Liszt

Les jeux d’eau à la Villa d’Este, S.163, No.4

Ravel

Valses nobles et sentimentales, M.61

SEMIFINAL ROUND II

Q

Haydn Sonata in E Major, Hob.XVI:31 Moderato Allegretto Finale – Presto Brahms

FINAL ROUND Schubert

Variations on a Theme of Paganini, Op.35, Book II

Q Wanderer Fantasie, D.760

Brahms Sonata No.3 in F Minor, Op.5 Allegro maestoso Andante espressivo Scherzo: Allegro energico Intermezzo (Ruckblick): Andante molto Finale: Allegro moderato ma rubato

Tatiana Dorokhova was born in 1991 in Volgograd to a family of musicians. She started playing the piano at the age of six and went on to graduate from the Central Music School in Moscow and the Tchaikovsky Moscow State Conservatory (class of Prof. Alexander Mndoyants) in 2016. She has also participated in master classes of outstanding musicians, including Dmitry Bashkirov, Paul Badura-Skoda, Dina Yoffe, Leon Fleischer and others. Even during her formative years, despite her young age, her performances were repeatedly noted by distinguished musicians to be full of maturity and invariably left a deep mark in the hearts of listeners. ​ Tatiana is a laureate of many International music competitions, including: the International Piano Competition of the City of Jaen (2011, 2nd Prize and prize for the best performance of a compulsory work), the Johann Nepomuk Hummel International Piano Competition (2017, 3rd Prize). ​ atiana took part in the recording of the T Anthology of Russian and Soviet Piano Music CD series released by the “Melodiya” record company. She has performed in the halls of the Moscow Conservatory, the St. Petersburg, Moscow and Berlin Philharmonic, and the Cortot Hall in Paris.

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COMPETITORS

Yedam Kim SEMIFINAL ROUND I Scarlatti

Sonata in A Minor, K.54 Sonata in G Major, K.455 Debussy Images, Book II, L.111 Cloches à travers les feuilles Poissons d’or Brahms

Born in South Korea, Yedam started piano at the age of 6 with Eun-Ock Kim and Hae-jeon Lee. After her debut recital in Seoul in 2002 she moved to Paris. Yedam graduated with her Master degree at Conservatoire National Supérieur de Musique de Paris in 2010 with Henri Barda and Bruno Rigutto, her Postgraduate degree in 2013 at the Salzburg Mozarteum University with Jacques Rouvier and obtained the Concertiste Diploma at Ecole Normale de Musique de Paris in 2015. She studied with Rena Shereshevskaya until 2019. Yedam also graduated with the Master degree of opera coach at CNSM de Paris. Yedam is prizewinner of several international piano competitions: recently 4th prize in Cleveland international piano competition in 2021 and 2nd prize in San Antonio Gurwitz international competition in 2020, 2nd prize in Porto Santa Cecilia international competition, 6th prize in Seoul international competition, 2nd prize in Epinal international competition. She was also semi-finalist in Queen Elizabeth international competition. She has played in prestigeous halls in Europe, the USA and South Korea as soloist, chamberist and with orchestra such as Konzerthaus in Berlin, Salle Pleyel, Salle Cortot, Théatre du Châtelet and Tchaikovsky Hall in Moscow.

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Variations and Fugue on a Theme by Händel, Op.24

Q

SEMIFINAL ROUND II Scriabin

Sonata No.9, Op.68 “Black Mass”

Ravel

La valse

FINAL ROUND

Q

Albéniz Iberia, Book II Chopin Polonaise-Fantaisie in A-flat Major, Op.61 Mussorgsky Pictures at an Exhibition Promenade Gnomus Il Vecchio Castello Tuileries (Dispute d’enfants après jeux) Bydlo Ballet of Unhatched Chicks “Samuel“ Goldenberg and “Schmuÿle“ Limoges. Le marché (La grande nouvelle) Catacombs ‘Con mortuis in lingua mortua‘ The Hut on a Fowl’s Legs The Great Gate of Kiev

COMPETITORS

Jonathan Mamora SEMIFINAL ROUND I Liszt

Les jeux d’eau à la Villa d’Este from Années de pèlerinage: Troisième année

Rachmaninoff Sonata No.2 in B-flat Minor, Op.36 (1913 version) Allegro agitato Non allegro Allegro molto

Q

SEMIFINAL ROUND II Rachmaninoff

Étude-Tableaux in A Minor, Op.39, No.6

Liebermann

Sonata No.3, Op.82

FINAL ROUND

Q

Beethoven Sonata in A flat Major, Op.110 Moderato cantabile molto espressivo Allegro molto Adagio ma non troppo – Fuga allegro ma non _ troppo Liszt

Sonata in B Minor, S.178

An Indonesian-American and native of Southern California, pianist and educator Jonathan Mamora strives to uplift and positively influence others using music as a means for service. Jonathan’s performances have taken him throughout North and South America, Europe, and Asia, and he is a prize-winner of several regional and international competitions, most recently in the Virginia Waring International Piano Competition, the Dallas International Piano Competition, and the Eastman Piano Concerto Competition. He has also performed as a soloist with orchestras such as Dallas Chamber Symphony, Waring Festival Orchestra, Eastman Philharmonia, Eastman Wind Ensemble, and Coachella Valley Symphony. Jonathan is pursuing his Doctor of Musical Arts at the Eastman School of Music, studying with and serving as studio assistant for Douglas Humpherys. At Eastman, he also serves multiple assistantships in music theory and collaborative piano. He received his Bachelor of Music from La Sierra University and his Master of Music from The Juilliard School. His previous teachers include Elvin Rodríguez and Hung-Kuan Chen.

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COMPETITORS

Kyoungsun Park SEMIFINAL ROUND I Sculthorpe

Nocturnal (1989)

Bortkiewicz

Prelude, Op.33, No 8

Prokofiev Sonata No.7 in B-flat Major, Op.83 Allegro inquieto Andante caloroso Precipitato

Q

Kyoungsun Park earned his Bachelor of Music at Seoul National University studying with Professor Hie-Yon Choi. He was awarded an ABRSM scholarship to attend the Royal College of Music in London, where, as a student of Professor Dmitri Alexeev, he received a Master of Performance with Distinction. In 2021, He graduated from the Hochschule für Musik und Theater München. In 2012 Kyoungsun made his concerto debut with the Seoul National University Symphony Orchestra in the Concert Hall of the Seoul Arts Center, performing his own jazz inspired cadenza. He has performed as a soloist with the Royal Philharmonic Orchestra in UK, with the Mihail Jora Philharmonic Orchestra in Italy, and with the TIMF Orchestra in Korea. Park won a couple of international competitions; Isang Yun International Music Competition: Second Prize, Artur Schnabel Competition: First Prize, Singapore International Piano Competition: Second Prize. Kyoungsun is currently studying ‘Konzertexamen’ at the Universität der Künste Berlin in Germany under Professor Markus Groh.

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SEMIFINAL ROUND II Scarlatti

Sonata in F Minor, K.481

Chopin

Rondo in E-flat Major, Op.16

Scriabin

Poeme, Op 32, No.1

FINAL ROUND

Q

Kurtág

Játékok Vol.1, IV. Prelude and Waltz in C (1979)

Mozart

Variations in C Major, K.179

Czerny

Variations on a Theme by Rode, Op.33

Ravel

Pavane pour une infante défunte

Stravinsky

Trois mouvements de Petrouchka

COMPETITORS

Davide Ranaldi SEMIFINAL ROUND I ˆ

Chopin

Fantasie in F Minor, Op.49

Brahms

Variations on a Theme by Paganini, Op.35

SEMIFINAL ROUND II

Q

Prokofiev Sonata No.7 in B-flat Major, Op.83 Allegro inquieto Andante caloroso Precipitato

Haydn Sonata in E-flat Major, Hob.XVI:52 Allegro Adagio e cantabile Finale: Presto Liszt

Sonata in B Minor, S.178

Defined as a stunning musician with a sincere and engaging personality, Davide Ranaldi started his professional piano education at the age of four. Highlights of the current season include a recital in the main hall of the Teatro La Fenice di Venezia in celebration of the national Republic Day on June 2nd, as well as Beethoven’s Piano Concerto no.2 under Donato Renzetti’s baton to inaugurate the cultural project “Nell’Olimpo di Beethoven” that will take place from 2021 to 2026. ˆ

FINAL ROUND

Q

In 2021 he became the First Prize Winner of the prestigious competition Premio Venezia XXXVII amongst the top graduates in Italy, after earning his Bachelor of Music at the Conservatory G. Verdi of Milan with honours and a special mention for his “outstanding technical and musical skills”. Davide Ranaldi currently resides in Milan and is guided by leading piano professors Alexander Romanovsky and Leonid Margarius.

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COMPETITORS

Llewellyn Sanchez-Werner SEMIFINAL ROUND I Beethoven Sonata in C Minor, Op.111 Maestoso - Allegro con brio ed appassionato Arietta Rzewski

Winnsboro Cotton Mill Blues

Q

SEMIFINAL ROUND II Chopin “A gifted virtuoso” (San Francisco Chronicle) with “mesmerizing artistry and extraordinary ability to communicate” (The Post-Standard) and “masterful technique and a veritable deluge of sonorities” (La Presse Montreal), Llewellyn Sanchez-Werner was just selected First Prize Winner of the 2022 Concert Artists Guild International Competition. He holds multiple degrees from Juilliard and Yale and was named Gilmore Young Artist, an honor awarded to the most promising American pianists of the new generation. His multi-faceted artistry has been featured on NPR, PBS, CNN International, the Wall Street Journal, and WDR-Arte. He performed at the White House and Kennedy Center for Presidents Obama and Biden, and he received the Atlantic Council Young Global Citizen Award in recognition of social action through music in Rwanda, Iraq, France, Canada, and USA. Recent international performances include The Royal Concertgebouw in the Netherlands, CultureSummit in Abu Dhabi, and the Louvre and Grenoble Museums in France. Principal teachers include Ilya Itin, Boris Berman, Yoheved Kaplinsky, Robert Durso, improvisation with Noam Sivan, and composition with Lowell Liebermann. For more information, please LlewellynSanchezWerner.com

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visit

Barcarolle, Op.60

Stravinsky/Agosti The Firebird Danse infernale Berceuse Finale

FINAL ROUND

Q

Bach Chromatic Fantasy and Fugue, BWV 903 Chávez Hoja de Álbum Schumann Humoreske, Op.20 Liszt Transcendental Etude in D Minor, No. 4, Mazeppa

COMPETITORS

Alexey Sychev SEMIFINAL ROUND I Liszt Sonata in B Minor, S.178 Liszt La Campanella

Q

SEMIFINAL ROUND II

Liszt Tarantella from “Venezia e Napoli” Ravel La valse

Q

Mozart Sonata in C Major, K.330 Allegro moderato Andante cantabile Allegrettoo

Alexey Sychev is a laureate of numerous international piano competitions across five continents. He is the only pianist who won three international Liszt competitions, including the First Prize at the International Franz Liszt Piano Competition WeimarBayreuth.

Chopin Nocturne in C Minor, Op.48, No.1 Liszt Hungarian Rhapsody No.12

In 2021, he was awarded the top prize and the audience prize at the Jose Iturbi International Piano Competition.

FINAL ROUND

Prokofiev Sonata No.7 in B-flat Major, Op.83 Allegro inquieto Andante caloroso Precipitato

Alexey has become a laureate of Dublin International Piano Competition and Maria Canals International Music Competition and was named the winner of the Pro Musicis International Award in Paris, France. He received First prizes at the International Piano Competition Tucumán in Argentina, Steinway Piano Competition in Germany, International Musical Competition “Dr. Luis Sigall” in Chile, World Online Piano Competition in the USA, and many others. Alexey performs regularly throughout Europe, North and South America, Japan, and Middle East. He graduated from Tchaikovsky Conservatory in Moscow, Mozarteum University Salzburg, and University of Music and Performing Arts Vienna.

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COMPETITORS

Zihao Wu SEMIFINAL ROUND I Schumann

Abegg Variations, Op.1

Chopin Waltzes Op.64, No.3 Op.42, No.3 Op.70, No.3 Liszt

Zihao Wu entered the Central Conservatory of Music, Piano Academy at Gulangyu at the age of eleven. While in school, he was the recipient of numerous scholarships and performed on China Central Television nationwide. At age fourteen, he gave a concert tour in Austria, Germany, and Poland, and made his orchestral debut with the Bydgoszcz Symphony Orchestra. His first solo concert followed at age fifteen. At sixteen he concertized in Beijing, Shanghai, and Qingdao, among others, performing the Chopin Etudes, Op.10 and Op. 25. In 2017, Mr. Wu entered the Cleveland Institute of Music as a student of Dr Daniel Shapiro. He was awarded a full scholarship to the 2019 Pianofest in the Hamptons, where he was an audience favorite. Engagements followed in New York and Miami. Mr. Wu entered the master’s degree program at Juilliard in 2021, as a student of Sergei Babayan.

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Réminiscences de Don Juan

SEMIFINAL ROUND II Chopin

Q

Scherzo No.4 in E Major, Op.54

Ravel Gaspard de la Nuit Scarbo

FINAL ROUND

Q

Chopin Sonata No.3 in B Minor, Op.58 Allegro maestoso Scherzo: Molto vivace Largo Finale: Presto non tanto Schubert

Wanderer Fantasy, D.760

COMPETITORS

Seho Young SEMIFINAL ROUND I Schubert Sonata in C Minor, D.958 Allegro Adagio Menuetto: Allegro – Trio Allegro Schubert/Liszt

Gretchen am Spinnrade

SEMIFINAL ROUND II Debussy

Q

L’isle joyeuse, L.106

Bartók Sonata, Sz.80 Allegro moderato Sostenuto e pesante Allegro molto

FINAL ROUND

Q

Mozart Sonata in C Major, K.330 Allegro moderato Andante cantabile Allegretto Liszt

Sonata in B Minor, S.178

Korean-Japanese-American pianist and composer Seho Young is a rapidly emerging international artist, with performance engagements in the US, Japan, Italy, Poland, and Switzerland. In April 2022 he gave a recital tour of the Netherlands, giving recitals in the Concertgebouw in Amsterdam and the Philharmonic Hall in Bratislava, among other locations. Seho recently won first prize and the chamber music award at the 2022 Charles Wadsworth Competition, and was a semi-finalist at the 2021 Clara Haskil Competition. His past mentors include Boris Berman, Francine Kay, Yoheved Kaplinsky and Wha Kyung Byun. Seho has received degrees from Princeton University and Yale School of Music, and is currently pursuing a Doctor of Musical Arts at Northwestern Bienen School of Music, studying with James Giles. Outside of music, he enjoys playing chess, watching American football, and drinking coffee, and is a nationally competitive ultimate frisbee player.

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Commemorative Poster, Mezzo Forte Signed and Numbered by artist Robin Crutcher Available for purchase in the boutique or online at www.masno.org

PAST WINNERS 2018 1st Ziang Xu 2nd Sung Chang 3rd David Jae-Weon Huh

China South Korea South Korea

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

USA Russia Belarus

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

China China USA

2000 1st Stanislav Ioudenitch 2nd Dmitri Teterin 3rd Ketevan Badridze

Uzbekistan Russia Republic of Georgia

2014 1st Marianna Prjevalskaya 2nd Florian Feilmair 3rd Kenny Broberg

Spain Austria USA

1999 1st Sergey Schepkin 2nd Petronel Malan 3rd Won Kim

Russia South Africa Korea

2012 1st Viktor Valkov 2nd Sejoon Park 3rd Evgeny Brakhman

Bulgaria USA Russia

1998 1st Eun-Jung Shon 2nd Natalia Lavrova 3rd Thomas Pandolfi

Korea Russia USA

2011 (Young Artist Series) 1st Anna Han 2nd Yutong Sun 3rd Angie Zhang

USA China USA

1997 1st Csaba Kiraly 2nd Anton Mordasov 3rd Yoshikazu Nagai

Hungary Russia Japan

2010 1st Eduard Kunz 2nd Andrey Ponochevy 3rd Stanislav Khristenko

Russia Belarus Russia/Ukraine

1996 1st Igor Resnianski 2nd Lydia Brown 3rd Franklin Larey

Russia USA South Africa

2009 (Young Artist Series) 1st Sean Yeh 2nd Alexsandra Swigut 3rd Connie Kim-Sheng

USA Poland USA

1995 1st James Nalley 2nd Pasquale Iannone 3rd Alexander Tselyakov

USA Italy Russia

2008 1st Spencer Myer 2nd Dmitri Levkovich 3rd Vakhtang Kodanashvili

USA Canada Republic of Georgia

1994 1st James Giles 2nd Irina Morozova 3rd Jun Eui Chun

USA Russia Korea

2007 1st Konstantin Soukhovetski 2nd Alex McDonald 3rd Christopher Atzinger

Russia USA USA

1993 1st Rafael Guerra 2nd Natalia Bolshakova 3rd So-Yeun Ahn

Mexico Russia Korea

2006 1st Dustin Gledhill 2nd Chetan Tierra 3rd Dmitri Levkovich

USA USA Canada

1992 1st Richard Dowling 2nd Bridget Olavson 3rd Kevin Ayesh

USA USA USA

2005 1st Tanya Bannister 2nd Alexandre Pirojenko 3rd Luca Trabucco

England Russia Italy

1991 1st Brent Runnels 2nd Rosa Park 3rd Aviva Aranovich

USA Korea Lithuania

2004 1st Alexandre Moutouzkine 2nd Jae-Hyuck Cho 3rd Darrett Zusko

Russia United States Canada

1990 1st Peter Mack 2nd Mark Puckett 3rd Chao-Yin Chen

Ireland USA Republic of China

2003 1st Dmitri Vorobiev 2nd Hsiang Tu 3rd Spencer Myer

Russia Taiwan United States

1989 1st William Koehler 2nd David Brunell 3rd Andrew Cooperstock

USA USA USA

2002 1st Hee Sung Joo 2nd Lev Vinocour 3rd Esther Jung-A Park

South Korea Germany/Russia South Korea

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2022-2023 Season The Ranney and Emel Songu Mize Chamber Opera Series

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At the Mahalia Jackson Theater September 30, 2022 at 7:30 PM October 2, 2022 at 2:30 PM

At the Mahalia Jackson Theater November 18, 2022 at 7:30 PM November 20, 2022 at 2:30 PM

At the Mahalia Jackson Theater March 24, 2023 at 7:30 PM March 26, 2023 at 2:30 PM

At the New Orleans Jazz Market January 20, 2023 at 7:30 PM January 21, 2023 at 7:30 PM January 22, 2023 at 2:30 PM

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2022 NOIPC PROGRAM GUIDE

Exploring the Semifinal Repertoire: A P rogram G uide by Kevin Chance and 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 world’s most gifted pianists. Preserving the 2003 innovation of allowing each performer to play twice, in Semifinal Round I and again in Semifinal Round II, NOIPC continues to cultivate creative programming. Competitors have chosen to play works spanning four centuries, representing a variety of musical styles and forms. Because music is a living art, it must constantly be recreated, live, before an audience. In addition to developing an increased appreciation of the pianistic art, it is hoped that NOIPC will foster the growth of audiences eager to experience the excitement and fulfillment of great music. Here is a chronological perspective of the Semifinal repertoire from Bach to Wiesenberg, with brief analytical notes designed to help listeners unlock the intense beauty of this music.

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2022 NOIPC PROGRAM GUIDE

Isaac Albéniz (1860-1909)

Isaac Albéniz is among the most prominent and influential Spanish composers, and he was also known for being an excellent pianist and conductor. Much of his output is highly influenced by Spanish folk music, and he left a substantial amount of repertoire for the piano. Iberia ranks among his masterpieces, and it was composed during the last four years of his life. In a review of a recital by pianist Alicia de Larrocha in the New York Times, the critic wrote, “There is really nothing in Isaac Albeniz’s Iberia that a good three-handed pianist could not master, given unlimited years of practice and permission to play at half tempo.” The work is divided into four books, and Triana is the final work of Book 2. Throughout Iberia, Albéniz musically captures the essence of many towns, events, and dances from throughout Spain, and in Triana, he is inspired by the Gypsy culture from Seville. Through the intricate yet vibrant textures in Triana, Albéniz weaves a virtuoso tapestry that captivates in its bold rhythms and harmonies and its scintillating virtuosity.

Johann Sebastian Bach

(1685-1750) Chromatic Fantasy and Fugue, BWV 903 French Suite in C Minor, No.2, BWV 813 Prelude and Fugue in D Major, Well Tempered Clavier Book I, BWV 850 Toccata in G Minor, BWV 915 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 well-

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tempered 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 D Major is an amiable work. The Prelude is in perpetual motion, and the fugue is a regal work with a subject that alternates between a quick flourish and a dotted theme that is reminiscent of a French Overture. Bach published his six Partitas as his Opus 1. Written between 1725 and 1730, the six Partitas were collected together to form a single volume, to which Bach gave the title Clavier-Übung (Keyboard Practice). Bach produced three more volumes; the incomplete Art of Fugue would have formed volume five. “Partita” was one of several terms for a suite of dances; “partita” could also indicate a set of variations. Dance suites were among the most popular genres of instrumental music at this time. In addition to seven from the first two books from Clavier-Übung, Bach left another twelve for keyboard (including the six French Suites), four for orchestra, three for solo violin, and six for solo cello. Influenced by his 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. Composed a few years before the Partitas, the French Suites uniformly omit the opening prelude. Bach wrote seven toccatas, all multi-movement works. The G Minor Toccata has five clear movements, which alternate between fast and slow and feature several extended fugues. The Chromatic Fantasy and Fugue is a highly extended keyboard work of Bach. The opening fantasy is highly improvisatory and sounds like the more improvisatory sections often found in his toccatas. Certain sections of the Fantasy require improvisation as Bach simply wrote chords with the indication “Arpeggio” leaving much to the performer’s imagination with how to realize them. The fugue features a highly chromatic theme.

2022 NOIPC PROGRAM GUIDE

Bach Organ Transcriptions

Bach/Liszt Fantasy and Fugue in G Minor, BWV 542

Bach’s music received a rebirth during the 19th century, and many composers wanted to explore the sonic capabilities of his music on the piano. Franz Liszt transcribed works by many composers, and some of his transcriptions remain quite faithful to the original while other transcriptions are more like paraphrases of the original work. Bach’s original work is scored for organ, and it is one of his more dramatic works with a wide range of emotions ranging from haunting to stern and , later, even triumphant. This is inevitably what drew Liszt to the work as it was a wonderful vehicle of Romantic virtuoso. The fugue subject is taken from the Dutch song Ik ben gegroet van. Franz Liszt transcribed works by many composers, and much like Busoni, some of his transcriptions remain quite faithful to the original while other transcriptions are more like paraphrases of the original work. Bach’s original work is scored for organ, and it is one of his more dramatic works with a wide range emotions ranging from haunting to stern and, later, even triumphant. This is inevitably what drew Liszt to the work as it was a wonderful vehicle a Romantic virtuoso. The fugue subject is taken from the Dutch song Ik ben gegroet van.

Béla Bartók (1881–1945) Sonata, Sz.80

Bartók is perhaps the foremost twentieth-century representative of Nationalism in music; he succeeded in bringing authentic folk elements into an unprecedented synthesis with the techniques of traditional art music. He developed five levels of complexity for using his newly discovered materials: from 1) Genuine folksongs are featured in a composition, and invented material is of secondary importance; to 5) The work is pervaded by the atmosphere of folk music.

Cast in three movements, Bartók’s Sonata was written in 1926 and dedicated to his second wife, and it falls generally into the 5th level of complexity Bartók described. While the music is often highly dissonant with irregular meters, the music adheres to many of the formal classical sonata conventions including the traditional fast-slowfast movement structure of many sonatas from the 18th century. However, the treatment of the piano is highly original with Bartók capitalizing on both the percussive and delicate textures the piano is capable of producing. The melodies bear a strong folk influence throughout.

Ludwig van Beethoven

(1770-1827) Bagatelle, Op.126, No.3 Sonata in C Major, Op.2 No.3 Sonata in A flat Major, Op.110 Sonata in C Minor, Op.111 Beethoven’s piano works 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.”

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2022 NOIPC PROGRAM GUIDE Rather than the customary designation of division into three parts (early, middle, late), Robert Taub prefers to consider five chronological periods, each defined by the dramatic and compositional content and the musical character of the works themselves: 1795-1800 Epitomizing classical style (13 sonatas, including Op.2 No.3) 1801-1802 Experimentation (7 sonatas) 1803-1804 Post Heiligenstadt (3 sonatas) 1809 Compression, homogeneity (3 sonatas) 1814-1822 Summation, transcendence (6 sonatas, including Op.110, Op.111, and the Op.126 Bagatelles)

Luciano Berio (1925-2003) Wasserklavier

Berio’s Wasserklavier (Water Piano) is from his collection, Six Encores. These short works were written between 1965 and 1990, and four of their titles are inspired by the earth’s elements--Erdenklavier (Earth Piano), Luftklavier (Air Piano), Feuerklavier (Fire Piano), and Wasserklavier (Water Piano). In Wasserklavier, Berio evokes a hauntingly nostalgic atmosphere, and some have compared the intimacy of the music to the late piano works of Johannes Brahms.

Johannes Brahms

(1833-1897) Sonata No.3 in F Minor, Op.5 Variations and Fugue on a Theme by Händel in B-flat Major, Op.24 Variations on a Theme of Paganini, in A Minor, Op.35, Books I and II Hinson believes a pianist should aim for a comprehensive acquaintance with Brahms’ complete piano works. They span his entire career and offer a complete view of his

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development. The piano was the instrument of choice for his earliest works and for his final period, the group of short character pieces of Op.116-119. Although universally recognized to be one of the greatest German composers, it was not until Arnold Schoenberg published his essay “Brahms the Progressive” that Brahms began to be viewed as a revolutionary and forward-looking composer. The Sonata in F Minor, Op.5 is the last of the three early piano sonatas that Brahms composed. It is a mammoth work encompassing five movements. Brahms admired Beethoven’s works tremendously, and this work combines ardent Romanticism within classical forms. Many critics have also heard Brahms quoting the opening “fate” motive from Beethoven’s Symphony No.5 in several movements of the sonata. The second movement is particularly notable for Brahms including a quotation from Sternau at the beginning of the movement: Through evening’s shade, the pale moon gleams While rapt in love’s ecstatic dreams Two hearts are fondly beating. Additionally, the fourth movement is titled Rückblick (Remembrance). It opens with a recollection of the theme from the 2nd movement, and Beethoven’s fate motive is featured prominently throughout this brief movement. Brahms is also particularly known for his creativity within the variation form. The variation form began with composers largely embellishing and varying a melody, which was often borrowed from a popular tune of the day. However, Brahms felt there were far more possibilities for the genre. Instead of only varying the melody, Brahms would often only retain the harmonic structure of the original theme. Brahms wrote, “In a theme for a [set of ] variations, it is almost only the bass that has any meaning for me. But this is sacred to me, it is the firm foundation on which I then build my stories. What I do with a melody is only playing around ... If I vary only the melody, then I cannot easily be more than clever or graceful, or, indeed, [if ] full of feeling, deepen a pretty thought. On the given bass, I invent something actually new, I discover new melodies in it, I create.” Through this novel approach, Brahms elevated the variations to a new zenith. For his Handel Variations, Brahms used a theme from Handel’s Keyboard Suite No.1 in B-flat Major, HMV 434, and for the Paganini Variations, he chose the 24th Caprice of Paganini--one of the most popular themes for variations in the 19th and 20th centuries.

2022 NOIPC PROGRAM GUIDE

Carlos Chávez (1899-1978) Hoja de Álbum

Carlos Chávez was a significant figure in the musical culture of Mexico, and in addition to his work as a composer, conductor, and educator, he founded the Mexican Symphonic Orchestra. His works are influenced by Mexican culture, and during his tenure teaching at Mexico’s National Conservatory of Music, he researched focused on cataloging the music of indigenous people in Mexico. The Hoja de Album is one of Chavez’s early works for piano, and it is a beautiful miniature that reflects the salon style of music that was popular in his youth. However, the influence of his native culture can already be heard.

Frédéric François Chopin

(1810-1849) 12 Etudes, Op.10 Barcarolle, Op.60 Fantasie in F minor, Op.49 Impromptu No.1 in A-flat Major, Op.29 Impromptu No.2 in F-sharp Major, Op.36 Nocturne in C Minor, Op.48, No.1 Polonaise-Fantaisie, Op.61 Scherzo No.4 in E Major, Op.54 Sonata No.3 in B Minor, Op.58 Waltzes, Op.42 No.3, Op.64 No.3, and Op.70 No.3 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.” In the warm, lyrical Barcarolle, Op.60, the three songlike themes each bringing a slight increase in tempo, are eventually gathered together in an exultant apotheosis. The Fantasie, Op.49 and Polonaise-Fantasie, Op.61 are two of Chopin’s forays into freer forms. In the Fantasie, Chopin opens with a somber march that gives way to a much more hopeful theme in the relative major. In addition to a more triumphant march, Chopin creates one of his most magical moments when he introduces a chorale in the remote key of B Major. In the Polonaise-Fantasie, Chopin effectively combines the formal freedom of the fantasy with the Polish polonaise dance. A work of great beauty, the Polonaise-Fantasie contains some of Chopin’s most interesting harmonic ingenuity. Composed in 1842, the Scherzo in E Major, Op.54 would be his last.; the only scherzo in a major key, it is both joyous and poetic. The scherzo has a sonata-rondo form, moving to a trio in C-sharp Minor that is based on a Polish folk song; it ends with a triumphant coda. Chopin wrote four impromptus--three of which were intended for publication. The Fantasie-Impromptu is arguably the most well-known of the four, yet it was published posthumously. The Impromptus are each independent works that fall in scope somewhere between the nocturnes and the ballades. Each of the impromptus generally falls into an ABA form, and the first impromptu is a wonderfully effervescent work with a brooding, lyrical middle section. The F-sharp Major Impromptu is the most extended of the four impromptus, and it has the most interesting formal structure of the four as it most closely resembles the form of the Chopin Ballades. Likewise, the Nocturne in C Minor, Op.48 No.1 is one of the most extended of the nocturnes. The work opens with a haunting, melancholy melody. In the B section, Chopin builds to an impressive climax before returning 53

2022 NOIPC PROGRAM GUIDE to the opening theme but with a brooding, more agitated accompaniment. Chopin’s Waltzes are each individual dance suites as each waltz is essentially a collection of waltzes with varying moods. Chopin’s Sonata in B Minor, Op.58 is one of Chopin’s most epic achievements. Large in scope, it has much in common with Chopin’s other late works, such as the PolonaiseFantasie. Additionally, each of the movements in some ways recalls other Chopin genres. The first movement’s variety of thematic material resembles the lyricism of his ballades. The second movement is a dazzling scherzo, and the third movements ranks with Chopin’s most beautiful nocturnes. The fourth movement is opens with a brooding theme that gives way to a radiant, virtuosic climax that is the most triumphant music in the piano repertoire.

Claude Debussy

(1862–1918) Images, Book II, L.111 L’isle joyeuse, L.106 Preludes, Book I XII. Minstrels Etude pour les degres chromatiques 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. Debussy composed the two books of Images in 1905 and 1907 respectively. About Book I, Debussy wrote, they “will take their place in piano literature. . . to the left of Schumann and to the right of Chopin.” Reflets dans l’eau is one of the zenith’s of keyboard Impressionism with its depiction of water. Hommage à Rameau harkens back to

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the Baroque period and is a stately Sarabande with ethereal textures. Mouvement is a perpetual motion work that creates its impact utilizing minimal material. Book II gives us some of Debussy’s most elusive works. The notation is remarkably detailed as often utilizes three staves to better depict the layers of sound the performer should listen for. Cloches à travers les feuilles and Et la Lune descend sur le temple qui fut each have remarkably delicate textures that require tremendous control from the pianist. The final movement, Poissons d’or, captures a goldfish splashing in a pond with the sun glistening on the water. L’isle Joyeuse is a hedonistic masterpiece that is inspired by Watteau’s painting, The Embarkment for Cythère. Debussy was always fond of this work, and he remarked that the work demands a comprehensive understanding of how to produce a variety of sounds at the piano. The work opens with the boat calling everyone aboard, and it progresses through sections that range from the most primal to the most sensuous culminating in a luminous ending that recalls the opening. Debussy’s Préludes consist of two books, each containing twelve preludes. The titles of the preludes are significant, both in terms of their descriptive quality, and in the way were placed in the written score. The titles are written at the end of each work, allowing the listener to experience the sound world, without being influenced by the title beforehand. Book I was written in 1909-1910. Throughout his career, Debussy was inspired by minstrelsy, and many of his works draw on the music and dances commonly seen in minstrel shows. In Minstrels, Debussy takes us into the show. He evokes instruments that were common in minstrel shows, such as the banjo, drum, and brass instruments, and he depicts the clumsy movement of the actors while incorporating glimpses of a tune that sounds as though it came right off of Broadway. 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.”

2022 NOIPC PROGRAM GUIDE

Leonid Desyatkinov

György Kurtág

Born in the Ukraine, Desyatkinov studied at the Leningrad Conservatory in Russia, and he is perhaps most well-known for his work writing film scores. He has also worked closely with violinist Gidon Kremer, and he has arranged many of the works by Astor Piazzolla. Songs of Bukovina is a recent set of 24 preludes written for piano that combine Ukrainian folk music elements with modern Western compositional techniques. The title of the fourth prelude translates to “Oh, Petrivochka, a night so short.”

Kurtág ranks among Hungary’s most significant composers, particularly since Bartók. In 2006, he was awarded the prestigious Grawemeyer Award. The Prelude and Waltz in C are from Játékok (Games), an unconventional four volume piano method that was inspired by children experimenting at the piano. Similar to Bartók’s Mikrokosmos, the short pieces are arranged in order of difficulty, and Kurtág often uses graphic notation and avant-garde techniques in these works that are highly original for their respective levels.

Franz Joseph Haydn

Lowell Liebermann

(1955-) Prelude No.4 from Songs of Bukovina

(1732-1809)

Sonata in B Minor, Hob.XVI:32 Sonata in E-flat Major, No.62, Hob.XVI:52 Sonata in E Major, Hob.XVI:31 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.

(1926-) Prelude and Waltz in C

(1961-) Sonata No.3, Op.82

A graduate of Juilliard, Liebermann is one of the most prolific current composers for piano, and he has frequently performed his own works. However, many of his works are also closely associated with Stephen Hough. The Sonata No.3 was written in 2002 for James Giles, and it was commissioned by the American Pianists Association. Cast in one movement, the work unfolds in four distinct sections—Inquieto, estante; (Dona Nobis Pacem); (Lullabye); and (Interlude)—Allegro. The outer movements are quite virtuosic with driving rhythms while the inner movements are solemn and much more introspective.

The Sonata in B Minor shows the influence of the musical aesthetics of Sturm und Drang (Storm and Stress) and Empfindsamkeit (Sensibility)—the later’s aim the expression and transmission of varying human emotions. The Sonata in E-flat Major is one of Haydn’s final piano sonatas that was written while he was living in London, and it explores the full range of the latest pianos he had access to in London.

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2022 NOIPC PROGRAM GUIDE

Franz Liszt

(1811-1886) Hungarian Rhapsody No.12 Legend No.2 “St. Francis of Paola Walking on the Waves” Les jeux d’eau à la Villa d’Este from Années de pèlerinage: Troisième année Réminiscences de Don Juan Sonata in B Minor, S.178 Tarantella from “Venezia e Napoli” Transcendental Etude in D Minor, No. 4, Mazeppa Grande Etudes de Paganini, No.3 “La Campanella” and No.6 Saint-Saens/Liszt, arr. Horowitz Danse Macabre Schubert/Liszt Gretchen am Spinnrade Valse de Faust de Gounod, S. 407 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. The Tarantella is from a supplement that Liszt added to Book 2, Italy, called Venezia and Napoli, and it is a dazzling dance that is known for its use of repeated notes. The third volume of the Années de Pélerinage was composed much later in 1867-1877, and many of the works are quite forward looking harmonically. The Fountains at the Villa d’Este in one of the first keyboard works that paved the way for Impressionism, and it depicts the beautiful fountains at the Villa d’Este in Italy. Significant to note is that Liszt also includes a quotation when he modulates to the remote key of D Major from the Gospel of John that reads, “But the water that I shall give him shall become in him a well of water springing up into eternal life,” which reflects the 56

deeply spiritual nature of Liszt’s later years. Written not long before Book Three, Liszt’s Two Legends also reflect his religious interests. Legend No.2 is based on the story of St. Francis of Paola walking on the waves, and the left hand is used to depict the rolling waves on the water. 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 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. The six Grandes Etudes de Paganini are each based on themes originally for violin by Paganini. No.3 is perhaps the most famous of the set, “La Campanella,” and Liszt places enormous demands on the pianist by creating a work filled with large leaps and repeated notes. No.6 is based on the famous 24th Caprice of Paganini, and much like Brahms and Rachmaninoff, Liszt uses the melody as the basis for a set of variations to conclude his set of etudes. Liszt wrote 19 Hungarian Rhapsodies that are all virtuosic works that typically feature two large sections—the lassu (slow) and the friska (fast). Within these sections, Liszt frequently imitates many of the instruments heard in Hungarian folk music, such as the cimbalom and the violin. Réminiscences de Don Juan is one of Liszt’s paraphrases, and it is based on Mozart’s opera Don Giovanni. Harold Schonberg writes, “I have come to the conclusion that to play Liszt well you have to in your breast a good-sized dollop of original sin.” In Don Juan, Liszt places formidable technical demands on the performer, and Mozart’s original music is blown into a grand scale that matches Don Giovanni’s larger-than-life personality. David Dubal writes, “To play this work well requires technical amplitude and a

2022 NOIPC PROGRAM GUIDE temperament yearning to let loose its pandemonium.” The Danse macabre is Liszt’s transcription of the popular work of Camille Saint-Saëns. Liszt wrote to Saint-Saëns, “I beg you to excuse my unskillfulness in reducing the marvelous coloring of the score to the possibilities of the piano.” However, Liszt’s biographer, Humphrey Searle, considered Liszt’s transcription to be superior to the original. In 1838, Liszt transcribed twelve of Schubert’s Lieder including Gretchen am Spinnrade. Having profound admiration for Schubert, Liszt made minimal changes from the original. You can hear the hypnotic spinning of the spinning wheel in the accompaniment underneath the haunting melody. Composed in 1861, the Valse de Faust is based on the waltz from Gounod’s opera Faust.

Nicolai Medtner

(1880-1951) Fairy Tale, Op.51, No.5 Fairy Tale, Op.20, No.1 Sonata in G Minor, Op.22 Medtner is perhaps one of the most underappreciated Russian composers given the amount of repertoire he left for piano—fourteen sonatas, thirty-three Fairy Tales, fortyone character pieces, three volumes of Forgotten Melodies, and a set of variations. Rachmaninoff was a great admirer of his music, and like Rachmaninoff, Medtner did not embrace more modern compositional trends during his lifetime. Rather, he continued to explore the possibilities of the late-Romantic style. A pianist of considerable ability himself, Medtner tends to use the entire range of the piano in his writing, and he often writes quite imaginative but thick textures that demand careful attention by the ear and the pedal. The Sonata in G Minor, Op.22 was written in 1910, and it is perhaps the most frequently performed of the fourteen sonatas. Written in one movement, the work seems to owe inspiration to Liszt as much as of the work is generated by the material heard in the opening measures. Heinrich Neuhaus described the sonata as having a “trajectory felt from the first to the last note as one uninterrupted line.”

Wolfgang Amadeus Mozart (1756-1791) Sonata in C Major, K.330

Mozart is perhaps most remembered for his contributions to the development of opera and the piano concerto, and his solo piano music is often not given adequate attention. However, his seventeen piano sonatas are still characteristic of the wit, charm, and craft we hear in the concerti. The sonatas are roughly placed into four groups—K.279-284 written in Munich in 1775; K.309-311 written in Mannheim and Paris in 1777-1778; K.330-333, 457 written in Austria in 1783-1784; K.545, 553, 570, 576 written in Vienna in 1786-1789. The Sonata in C Major, K.330 is one of Mozart’s happiest, most charming works. It is interesting to note that Mozart took considerably more care in the autograph for this sonata to indicate dynamic and articulation details.

Modest Mussorgsky (1839-1881) Pictures at an Exhibition

Most of Mussorgsky’s piano music remains relatively unknown. However, his keyboard masterpiece, Pictures at an Exhibition, remains a popular concert work in both its original solo piano version as well as the transcription for orchestra by Maurice Ravel. Mussorgsky’s piano writing is often criticized for being awkward, and it is worth noting that Horowitz re-composed much of the work when he recorded it. The work was inspired by an exhibition of paintings and drawing by Mussorgsky’s friend Victor Hartmann, and each of the movements depicts a different work of visual art. The works opens with a promenade, which returns to link together each of the movements, and it perhaps represents Mussorgsky walking between the art pieces at the exhibit. The work concludes with the monumental Great Gate of Kiev, which is one of the great pianistic depictions of the peeling of bells.

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Sergei Prokofiev

(1891-1953) Intermezzo, Op.95, No.1, from Cinderella 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 innovations and new harmonic idioms for strong emotional expression; 3) the toccata or motor element (the use of insistently repeated rhythmic patterns); 4) the lyrical; and 5) the satirical or grotesque (qualified in stages as scherzoness, jest, laughter, mockery).” Taken as a whole, the nine sonatas of Prokofiev are a monument in twentieth-century piano literature. It is through a survey of the sonatas that Prokokiev’s musical evolution is most clearly and fully presented. The sixth, seventh, and eighth were written during World War II and were finished in 1940, 1942, and 1944. The seventh was composed between 1939-1942, and it was premiered by Sviatoslav Richter. In three movements, the first movement contains angular and often sparse textures that contrast with passages that are beautifully lyrical. The second movement is haunting and becomes increasingly tense. The third movement is a driving toccata in mixed meter that builds organically to a clangorous climax.

Sergei Rachmaninoff

(1891-1953) Étude-Tableaux in B Minor, Op.39, No.4 Étude-Tableaux in A Minor, Op.39, No.6 Sonata No.2 in B-flat Minor, Op.36 (1913 version) Kreisler/Rachmaninoff Liebesfreud Rachmaninov wrote two sets of Etudes-Tableaux, Op.33 (1911) and Op.39 (1916–17). These etudes mark a distinct development in Rachmaninov’s career as a composer. Persistently chromatic, his harmonic formations are complicated and sophisticated with varied use of altered chords and bold digressions within a given key.

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Irregular baring and chant-like melodies pervade these pieces. As a whole, they fully explore both the pianist’s and the instrument’s capabilities and show Rachmaninov’s ability to crystalize perfectly a particular mood or sentiment. The original 1914 edition of Op.33, published by A. Gutheil, announced nine pieces; however, only six were issued at that time (nos.1,2,6-9). In later reprints of Op.33 Gutheil tried to suppress the previously advertised nos.3,4,5. Rachmaninov withdrew three of the etudes before submitting the manuscript to the printer. The A Minor etude (No.4) was later rewritten in 1916 and incorporated (as No.6) into the second set (Op.39). The C Minor and D Minor etudes remained unpublished until after the composer’s death, but they are now included as part of the composer’s Op.33. In addition to the Dies irae of the Roman Catholic church, the chants of the Russian Orthodox church had an important influence on Rachmaninov ’s melodic style. As a young boy, he accompanied his maternal grandmother, Madame Boutakova, to services, where the choral singing and the sound of church bells greatly impressed him. These sources of imagery had an important influence on Rachmaninov throughout his life. Rachmaninov began work on his second sonata in the spring of 1913, simultaneously with his cantata The Bells. He was staying in the same apartment in the Piazza di Spagna where Tchaikovsky had composed during his many visits to Rome. The sonata’s kinship with The Bells is evident above all in the frequent occurrences of bell-like sonorities. One can hear thundering bells in the conclusion of the development section of the first movement and elsewhere throughout this work. Rachmaninov originally wrote this sonata in 1913 but revised it in 1931, tightening the structure, thinning the texture, and bringing it in line with his current thinking. Both versions of the work are often performed, and Horowitz also reworked the piece in 1940, which Rachmaninoff sanctioned. In the 19th and 20th centuries, pianists often transcribed popular works for other instruments for the concert stage, and Rachmaninoff was no exception. He left us a number of highly effective transcriptions. The Liebesfreud (Love’s Joy) is a transcription of a popular work for violin and piano that the famous violinist and composer Fritz Kreisler frequently performed.

2022 NOIPC PROGRAM GUIDE

Maurice Ravel

(1891-1953) Gaspard de la Nuit Scarbo La valse Valses nobles et sentimentales 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. Gaspard de la nuit marks the summit of Ravel’s output for solo piano. The composer described the work as “a set of three romantic poems of transcendental difficulty.” He insisted that each of the poems be printed as a preface to the corresponding piece of music. In Ondine, Ravel evokes the shimmering moonlight on the lake. Angela Hewitt writes: “The repeated chords that open in the right hand have a tongue-twister of a rhythm that is enough to put off many a player from going any further. Yet it all has to sound easy!” Ravel beautifully evokes the fluid surrounding of the water sprite. In Le Gibet (the Gallows) the composer creates an atmosphere of tension and death (“the body of a hanged man, reddened by the setting sun”). The tolling of the bell is symbolized by the static B-flat which is heard over two hundred times at regular intervals. Hewitt writes that Scarbo is almost entirely constructed from three motifs: “the first is presented in the opening opening bar, the second which is the repeated-note figure, and the third which surely must be Scarbo’s claws, scratching the silk coverlet.” La Valse, set in a grand ballroom during the mid-1850s, portrays the heady decadence and catastrophic downfall of Imperial Vienna in one of the composer’s finest orchestral scores. Originally commissioned by Diaghilev’s Ballets Russe in 1919, the work charts the demise of Viennese society as the great waltz itself plummets headlong toward its own ecstatic collapse. Ravel’s 1921 piano version has become as popular as the original work. Ravel’s Valses nobles et sentimentales consists of seven waltzes and epilogue. Ravel was inspired by the waltzes of Schubert, yet Ravel’s work elevates the waltz far beyond the world of Schubert. On the title page, Ravel quoted Henri de Régnier, “The delicious and always new pleasure of a useless occupation.”

Frederic Rzewski

(1938-2021) Winnsboro Cotton Mill Blues Maurice Hinson describes Rzewski, “A pianist of avantgarde literature, Rzewski has worked to integrate the European classical tradition with the American popular/ folk tradition, while incorporating social and political themes. He has represented a major installment in musical Marxism.” However, it is worth noting that Rzewski did not acknowledge the Marxist themes in his compositions, and he was a formidable pianist frequently performing his works in concert. Winnsboro Cotton Mill Blues is from the 4 North American Ballads. Composed in 1978, Winnsboro Cotton Mill Blues opens with the pianist using alternating hand and forearm clusters to imitate the sound of the cotton gin. Melodic material slowly emerges before the clusters give way to the blues tune. Hinson describes the work as “Neo-Ivesian.”

Domenico Scarlatti (1685-1757) Two Sonatas

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 singlemovement 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, wideranging arpeggios. Originally conceived for harpsichord, these works are often romanticized when played on the piano.

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2022 NOIPC PROGRAM GUIDE

Franz Schubert

(1797-1828) Sonata in C Minor, D.958 Sonata in D Major, D.850 Wanderer Fantasie, D.760 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 Sonata in D Major, D.850 was written in 1825 while Schubert was visiting the countryside. Cast in four movements, the work is filled with folk influences. Schubert wrote, “The environs . . . are truly heavenly and deeply moved and benefited me, as did its inhabitants.” Schubert’s Fantasie in C Major, known as the Wanderer Fantasie, was written in 1822, and each movement’s melodic material is derived from Schubert’s song “Der Wanderer.” Also in four movements, it is one of Schubert’s most melodically unified works, and it is known for its considerable technical difficultiy The Sonata in C Minor, D.958 is one of three piano sonatas which makes up the group referred to as “Schubert’s last sonatas.” Numbered 958, 959, and 960 in the Deutsch catalogue these sonatas were written during the last months of Schubert’s life, between spring and autumn of 1828, but were not published until about ten years after his death. 60

Regarded as a trilogy, the three sonatas have shown to be cyclically interconnected by diverse structural, harmonic, and melodic elements tying together all movements in each sonata. Similarities to Schubert’s song cycle Winterreise are apparent in the emotional tur- moil inherent in the sonatas and often ascribed to the harsh reality of Schubert’s late life.

Robert Schumann

(1810-1856) Abegg Variations, Op.1 Symphonic Etudes, Op.13 Humoreske, Op.20 Schumann was the son of a bookseller, a circumstance that brought him into close contact with the writings of the new Romantic movement during his formative years. After a period of law study and an unsuccessful attempt to become a concert pianist, he turned his efforts towards composition and musical journalism. Schumann, more than any other composer, became the spokesperson for the revolt against Classicism and the champion for revolutionary tendencies in music. In addition, he became the ardent supporter of such men as Chopin and Brahms, and it was through his writing that much of their music became known to the world. Schumann’s music can be identified by its lyric melody, its vague and imaginative formal structure, and its remarkable range of expression from the most tender to the most heightened passion. He showed his interest in Bach by using contrapuntal devices within the framework of Romantic harmony. His piano music is idiomatic, making full use of the harmonic and tonal possibilities of the instrument. Throughout his career Schumann was occupied by writing character-pieces, and though he wrote in larger forms, he continually favored that genre. Hinson lists characteristics of Schumann’s piano writing, including “his use of fast harmonic rhythm, unusual pedal effects, syncopation and cross rhythms, varied accompaniment figurations, chord doublings, and a unique exploitation of contracting and expanding the pianist’s hand.” Schumann’s dedicated the Abegg Variations to the Countess von Abegg. The five letters of the name can be represented as an ascending series of notes (B in German notation is the English B-flat), which Schumann employs first in animato rising octaves, then in sequence at lower pitch levels, and finally in inversion. The effective pianistic figurations in the

2022 NOIPC PROGRAM GUIDE variations are in the elegant style of Hummel or Field; there is a brilliant finale. Charles Rosen points out that in the last pages of the Abegg Variations Schumann plays the motto theme not by sounding the last four notes but by taking them away, one by one, from the chord of B-flat—E—G. He adds to the paradox by adding accents to the sustained notes. The Symphonic Etudes, Op.13 were originally titled Etudes in the Form of Variations, and many of the variations are based on the opening theme by Baron von Fricken, who was the father of Schumann’s first fiancée. The work was well received by many of Schumann’s contermpoaries, and Brahms especially used the work as inspiration in his own variation sets. Schumann warned his wife Clara, who was one of the great virtuosi of the nineteenth century, not to play the work complete in public because he felt it was too long, and he trimmed five variations from the set that were only published posthumously. The piece is dedicated to the British pianist-composer William Sterndale Bennett. In a letter to Simonin de Sire (1839), Schumann claimed that in humor was a concept deeply rooted in the German national consciousness involving “the fortunate union of geniality and wit.” Jean Paul, one of Schumann’s favorite writers viewed humor as “an infinite contrast.” The work contains the succession of larger movements, each of them unified by a network of recurrent but transformed themes.

Alexander Scriabin

(1810-1856) Preludes, Op.11 No.3 in G Major No.21 in B-flat Major No.22 in G Minor No.23 in F Major Sonata No.9, Op.68 “Black Mass” Scriabin ws a fellow pupil of Rachmaninov’s in Zverev’s class from 1884 and at the Moscow Conservatory (1888–1992). An outstanding pianist with a fluent and spontaneous style of playing, his early piano composition and preference for miniature forms (etudes, preludes, mazurkas) show the influence of Chopin and Liszt. In 1905 Scriabin encountered Madame Blavatsky’s theosophy and evolved a highly individual style, closely related to his mystictheosophic interests. The static and ecstatic tendencies in his music are vividly expressed in Prometheus (subtitled The Poem of Fire) intended to be performed with a play of colored light. The last five piano sonatas and a number of shorter piano compositions written between 1908 and 1913 were intended to be preparatory for his Mysterium, a quasireligious act that would transform humanity. This journey into the mystical hysteria and going beyond tonality to a floating dissonance is often based on the so-called “mystic chord”. (The most common form is C, F-sharp, B-flat, E, A, D.) The subtitle “Black Mass” of Sonata No.9 is the invention of Alexi Podgayetsky, a pianist, theosophist, and companion of Scriabin. Musicologist Simon Nicholls agrees that the title Black Mass certainly reflects the nature of the music, “the atmosphere is Satanic.” Scriabin seems to delight in mixing pain and pleasure; the composer describes one sensual passage as “poisonous.” Later in the march section, Scriabin describes the passage as a “parade of the forces of evil.”

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Dmitri Shostakovich

(1906-1975) Prelude and Fugue in B-flat Major, Op.87 No.21 While perhaps most well-known for his symphonies and string quartets, Shostakovich was an accomplished pianist. To commemorate the bicentennial of Bach’s death, Shostakovich wrote his Twenty-Four Preludes and Fugues, Op.87. Unlike Bach, Shostakovich only wrote one prelude and fugue in each key. While inspired by Bach’s Baroque procedures, Shostakovich’s harmonic language remains distinctly modern in each of the works in this set.

Valentin Silvestrov

(1937-) Bagatelle Op.1, No.3 (2005) Valentin Silvestrov is a Ukranian composer born in Kyiv where he lived until fleeing to Berlin in 2022 due to the Russian invasion of the Ukraine. Pianist Hélène Grimaud has recorded many of his Bagatelles. She writes, “Silvestrov’s bucolic Bagatelles are like walking through a forest, light shining through the boughs.” However, Silvestrov’s compositional style is highly controlled with almost every note having a dynamic or articulation detail for the performer to convey.

Igor Stravinsky

(1882-1971) Stravinsky/Agosti The Firebird Three Movements from Petrushka Perhaps the greatest composer of the twentieth century, Stravinsky was certainly one of the most versatile and influential. His impact stemmed principally from his emancipation of rhythm, his orchestrations (especial his use of instrumental soloists), his revival of traditional forms and styles, his use of folk, popular, and jazz elements, and his ultimate recourse to serial techniques. One of his greatest gifts was that of realizing in sound the movements of dance. In his notes to the Kissin recording of Trois mouvements de Pétrouchka, Steven Wigler points out that although this is one of the piano repertory’s most famously flashy works, Stravinsky was suspicious of what he called “go-getting and tyrannical virtuosi.” It was Arthur Rubinstein who inspired Stravinsky to transcribe three scenes from the ballet; the transcription was completed in 1921 and programmed for the first time in 1924. Wigler states that any pianist can understand what Rubinstein meant when he remarked that “proposing to abeautiful woman requires only slightly more courage than playing Pétrouchka on the piano.” The last three scenes of The Firebird have been brilliantly transcribed for piano by Guido Agosti (1901–1989).

Peter Tchaikovsky (1840-1893) Nocturne, Op.10 No.1

While Tchaikovsky’s Piano Concerto No.1 ranks among the most recognizable piano works in the repertoire, his solo music is more neglected on the concert stage. The Two Pieces, Op.10 consists of a nocturne and a humoreske. Written in late 1871 into early 1872, these short works came out of a period when Tchaikovsky was traveling to Nice. However, the earliest recorded public performance of the Nocturne was in Tiflis in 1886.

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

– Victor Hugo

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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 2022 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 63

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 Concerts, 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.

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Bequests, Retirement Planning, Life Insurance, and Securities Gifts If you already have an established will, or will soon be having one prepared, consider leaving a bequest to the Musical Arts Society. If you already have a will, naming MASNO can be done very simply by an amendment (codicil) so that your entire will does not need to be redrafted. To leave a bequest to the MASNO Endowment Fund, please name the beneficiary as the Musical Arts Society of New Orleans. Qualified retirement plan benefits are excellent choices for funding a testamentary charitable gift. Because such benefits are subject to estate taxes and income tax liability to the ultimate recipient, directing those assets to the Musical Arts Society could be eligible to bypass double taxation. Naming MASNO as the beneficiary of a life insurance policy will allow an estate tax deduction for your estate. Contributions of stocks or bonds can be designated for the MASNO endowment Fund, directed to benefit a specific aspect of programming or directed to the support of MASNO’s general operating expenses. For more information, visit masno.org, call 504.899.4826, or email director@masno.org

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FRIENDS OF MASNO

The following are gratefully acknowledged for gifts made to MASNO between July 1, 2021, and June 30, 2022.

Prestissimo $5000+

Allegro $500+

Mary and Doug Albert Anne Gauthier Gauthier Family Foundation Hall Piano Company Louisiana Division of the Arts Loyola University William Marshall and Tessa Izdepski National Endowment of the Arts Ritz-Carlton, New Orleans Robin Crutcher Art Sandy and Steve Rosenthal Steinway & Sons Steinway Society of New Orleans Bruce Trible WWNO 89.9 | Classical 104.9 FM

Natalie Bzowej and Viv Huilgol Mr. Hampton and Mrs. Mary Lee Carver Claudia Champagne Peter Collins Joan M. Coulter Malise and Eddie Dennard Julie Doan Sarah and Robert Edgecombe Jane Ettinger Michael D. Harold and Dr. E. Quinn Peeper Margarita and Kim Harvey Chad Hille Shearon and Paul Horton Joan Jensen and Bruce Regeczi Brenda and Lance Lafargue Laurel St. Bakery Dr. and Mrs. Marc Loudon Joanne and Rob Marier Jonathan McCall Tanya Mennear Jane and Bruce Miller Loretta Mince Hans Mulder Parkview Historic Hotel Emilie Rhys Pamela Ricciardi Drs. Jamie Manders and James Riopelle Barbara and Thomas Sands Betty and Greg Speyrer Dr. Richard and Ann Strub Terry and Rand Voorhies Lindsay and John Wells Robin and Dale Williams

Presto $2500+ ADLER’S Robin and Bruce Crutcher Dr. James Farrow Dr. Edward Levy Drs. Emel and Ranney Mize New Orleans Jazz and Heritage Foundation Julianne Nice and Herb Larson Selley Foundation

Vivace 1000+ Michael Boucree Anne S. Bradburn Drs. Andrea and Archie Brown Jason Burge and Rebekka Veith Alan Chow Kitt Federoff Fishman Haygood, L.L.P. Kaufman Music Center | Merkin Hall Drs. Elizabeth and Leo Landry Toni and Allan Ledbetter University of New Orleans Victoria Z Photography Georgie and Robert Weilbaecher Cara and Vance Woolf

Allegretto $250+ Roselyn B. Boneno, Ph.D. Louise and Henry Bush Mr. and Mrs. Edgar “Dooky” Chase III Kathy Christian Darlene and Jody Dickerson Patrick Dunne Greater New Orleans Music Club

Mr. and Mrs. Bruce Gordon Kathy Hebert Sarah Izdepski and Tyler Helm John Joyce Alexander Kelso Susan Lafaye Dr. Sanford Pailet Frederick Sonnier Julia Strain Marly L. Sweeney Emily Villar Nora Wetzel Brianne Whelan Casey and Chris Zainey

Moderato $100+ Susan Allen Michael Brown Mary Ann Bulla Amanda Clark Dr. Raquel Cortina William Cullison Ana and Juan Gershanik Elizabeth Landis Alfred Lemmon Nell Nolan Chelsea Pierce Joseph Praner George-Ann Reynolds Ava Rosenberg Courtney-Anne Sarpy Chris Waddington Daniel Weilbaecher Mr. and Mrs. John Morgan Wilson Margaret Wooward

Andante $35+ Mary Len Costa Celia Deininger Jacqueline Gamble Francis Scully Margaret and Wade Shields Armin Straub James Wesner

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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: Frank Gonzalez Melvin Alford Richard Goula Ruby Rome Barrios Lois Chalona Hawkins Norton L. Berman Bernard Hirsch Herman Binet/Creppel Family Viktor Khalimsky Elissa Bluth Dr. Alphonse D. Landry Cyril Y. Bowers, M.D. Dr. Keith Lescale Mary Sue Chambers Mary Lou MacDowell Edgar ‘Dooky’ Chase Jr. Mrs. Hazel Melancon Robin and Bruce Crutcher Betty and Dick Mize Fritz Dahlberg Deborah Jo Nice Midge Dean Dr. James Ricciardi Dr. and Mrs. Arthur Dickerson Fay and Joe Rosenberg Anne B. Gauthier Rahmiye and Celalettin Songu Dustin Gledhill Contributions to the Endowment Fund have been made by: Dr. and Mrs. Stuart Farber June Aiken Dr. James Farrow Melvin G. Alford Mr. and Mrs. Darwin C. Fenner Ann Babington Richard Ford Bellsouth Anne B. Gauthier Norton Berman Wendell and Anne Gauthier Family Emily Clark and Ron Biava Foundation Dr. and Mrs. Edward Bluth Dr. Raymond Gitz Charles Bohn Melissa and Bruce Gordon Roselyn Boneno Richard Goula James Boyd James O. Gundlach Mrs. Donald Muir Bradburn Liz Hampton Drs. Andrea and Archie Brown Henrietta Augustus Harris E. John Bullard George Van Hoose Brad Buras Jhane Barnes Menswear, Inc. Charlotte Buras Lynn Johnston Mr. and Mrs. Peter G. Burke Cosette Kaufmann Hope Cantrelle Nina Kelly Linton Carney Tamara Kreinin Constance Knox Carroll Brenda and Lance Lafargue Mary Lee and Hampton Carver Dr. and Mrs. Alphonse Landry Mary Sue Chambers Julianne Nice and Herb Larson Mr. and Mrs. Edgar Chase III Noonie and Clay LeJeune Alan Chow Dr. and Mrs. Ricardo Leoni Mr. and Mrs. William Coe Dr. Edward D. Levy, Jr. Mary Wilkins Costa Rachelen Lien Joan Coulter Jacquelyn Lothschuetz Mr. and Mrs. Jacques Creppel Theresa Lutostanski Robin and Bruce Crutcher Robert J. MacDowell Janet Daly Mr. and Mrs. Charles E. McCool Virginia Darmstadter Sandie and Jim McNamara Wilfred Delphin Dr. Thomas Melancon Dr. and Mrs. Arthur Dickerson Drs. Emel and Ranney Mize Anita and William Drezdzon Phillip and Babs Mollere Patrick Dunne Dennis and Nodie Murphy Dr. and Mrs. Charles L. Dupin Ava Rosenberg Nowalsky Dana Eness

Dianne Tell Bruce Trible Daniel Weilbaecher Daniel Weilbaecher, Sr. Merlyn Weilbaecher Sharon Weilbaecher George W. Wilkins and Marilyn Wilkins George W. Wilkins Clarence Pete Wolbrette John M. Yarborough, Jr., M.D. Dr. Walter Harris Jr.

J. Robert Pope Joni Jensen and Bruce Regeczi George-Ann Reynolds 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 67

ACKNOWLEDGEMENTS

Acknowledgements Acadiana Symphony Tiffany Adler Adlers Mary and Doug Albert Gustav Alink Alink-Argerich Foundation Erica Anderson Arts Council New Orleans Jonathan Bass Baton Rouge Symphony Orchestra Ronald Biava Hristo Birbochukov Amanda Bohren Michael Boucree Anne Bradburn Brennan’s Drs. Andrea and Archie Brown Jason Burge and Rebekka Veith Rosalie Burrell Louise and Henry Bush William Bush Constance Carroll Jane Casselli Laurie Celentano Kevin Chance Mr. and Mrs. Edgar “Dooky” Chase III The Edgar “Dooky” Jr. and Leah Chase Family Foundation Angela Cheng and Alvin Chow Vivian Chiu Alan Chow City of New Orleans Classical 104.9 FM Clavier Companion Peter Collins Joan Coulter Will Coviello Robin and Bruce Crutcher Priscilla Dardar Wilfred Delphin Malise and Eddie Dennard Teresa Devlin Julie Doan Chalon Dominick Sarah and Robert Edgecombe Jep Epstein Mignon Faget James Farrow Fox 8 News Meg Frazier Gambit Kelly Gaubert Anne B. Gauthier Gauthier Family Foundation Trenton Gauthier and Jennifer Dinwiddie Raymond Gitz Dustin Gledhill 68

David Greenhouse Greater New Orleans Music Teachers Association Michael D. Harold and Dr. E. Quinn Peeper Hall Piano Company Hancock Whitney Bank Kathy Hebert Frank Heneghan Holly Hobbs Dana Honn Shearon and Paul Horton Brian Hsu Morgan Ingraham Annie Irvin Joni Jensen and Bruce Regeczi Machelle Johnson Kaufman Music Center Igal Kesselman Steven Kinchen William King Mimi Kruger Susan Lafaye Jodi Lafranca Elizabeth and Leo Landry Allan Ledbetter Alfred Lemmon Edward Levy Marina Lomazov 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 Eric Marshall William Marshall and Tessa Izdepski Beth and Charley McCool Brianna McMorris Margaret Place Hotel Matt McWilliams Media Droids Merkin Hall Loretta Mince Millie Mince Drs. Emel and Ranney Mize Stefan Moll Anita Montero Timothy Muffitt Hans Mulder Spencer Myer Anwar Nasir The New Orleans Advocate New Orleans Center for Creative Arts (NOCCA)

New Orleans Civic Symphony New Orleans Friends of Music New Orleans Jazz and Heritage Foundation New Orleans Music Teachers Association Julianne Nice and Herb Larson NOLA.com Nell Nolan Noya Design Rob Olmstead Ursula Oppens Parkview Historic Hotel Antonio Pompa-Baldi Carlos Prieto Marianna Prjevalskaya Ralph’s On the Park Igor Resnianski Joycelyn Reynolds Pamela Ricciardi The Ritz-Carlton New Orleans Anne Robichaux Lakia Robinson Susan Roesgen Sandy and Stephen Rosenthal Barbara and Thomas Sands Megan Shannon Dean Shapiro Annette Sisco Mariusz Smolij Konstantin Soukhovetski St. Charles Avenue Magazine Steinway & Sons Steinway Society of New Orleans Diane Stengle Dr. Richard and Ann Strub Charles Taylor The Times-Picayune Ron Thompson Madelyn and Bruce Trible Lizbeth Turner George Van Hoose Victoria Z Photography Terry and Rand Voorhies Chris Waddington Georgia Wardlaw Nancy Weems Daniel Weilbaecher Lindsay and John Wells Nora Wetzel Robin and Dale Williams Cara McCool Woolf Vance Woolf John Wright WWNO 89.9 Ziang Xu Victoria and Daniel Zangara Casey Dietz Zainey Jeff Zeilinski

ACKNOWLEDGEMENTS

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 city’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 year’s visiting musicians:

Competition Housing Hosts

Dinner Hosts

Jason Burge and Rebekka Veith Joan Coulter Malise and Eddie Dennard Sarah and Robert Edgecombe James Farrow Judy and Marc Loudon William Marshall and Tessa Izdepski Loretta Mince Julianne Nice and Herb Larson Joni Jensen and Bruce Regeczi Beth Turner Terry and Rand Voorhies Lindsay and John Wells Robin and Dale Williams

Louise and Henry Bush Mr. and Mrs. Edgar “Dooky” Chase III Robin and Bruce Crutcher Susan Lafaye Julianne Nice and Herb Larson Drs. Emel and Ranney Mize Pamela Ricciardi Sandy and Steve Rosenthal Barbara and Thomas Sands Nora Wetzel

Reception Sponsors Parkview Historic Hotel Michael D. Harold and Dr. E. Quinn Peeper Dr. Richard and Ann Strub

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

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New Orleans Piano Institute & Keyboard Festival

July 23 - 30, 2023

Loyola University New Orleans

For more information, visit www.masno.org

PAST COMPETITION JURORS 2018 Jennifer Hayghe Ithaca College, New York Igal Kesselman Lucy Moses School Alexandre Moutouzkine Manhattan School of Music Nigel Grant Rogers England Gregory Sioles Louisiana State University Nancy Weems Eastman School of Music 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 Christopher Elton Douglas Humpherys Faina Lushtak Igor Resnianski

Louisiana State University, Baton Rouge Royal Academy of Music, London Eastman School of Music Tulane University 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 Alan Chow Anne Koscielny Igor Resnianski Klauspeter Seibel                   2006 Gregory Allen James Giles Jennifer Hayghe Frank Heneghan Robin Williams 2005 Andrew Ball Alan Chow Sean Duggan, O.S.B. Nelita True Nancy Weems                   2004 Angela Cheng Alvin Chow Paul Pollei Sandra Rivers

Louisiana State University, Baton Rouge Northwestern University of Illinois University of Maryland West Chester University of Pennsylvania Louisiana Philharmonic Orchestra University of Texas, Austin Northwestern University of Illinois Ithaca College, New York Ireland University of New Orleans Royal College of Music, London Northwestern University of Illinois State University of New York at Fredonia Eastman School of Music University of Houston

Klauspeter Seibel

Oberlin Conservatory of Music Oberlin Conservatory of Music Gina Bachauer Foundation Univ. of Cinncinnati College- Conservatory 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

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PAST COMPETITION JURORS 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

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

1998 Jeffrey Biegel Constance Carroll Robin McCabe John Murphy Hanni Schmid Wyss

New York Louisiana State University, Baton Rouge University of Washington, Seattle Loyola University, New Orleans Switzerland

1992 Dolores Fredrickson Raymond Jackson Eugene Rowley Brent Runnels Oxana Yablonskaya

Chicago Howard University, Washington, D.C. International Festival Institute, Texas Rollins College, Florida Juilliard School of Music, New York

1997 Robert Roux Bela Siki Logan Skelton

Rice University, Houston University of Washington, Seattle University of Michigan, Ann Arbor

1991 Seth Carlin Martin Jones Krassimira Jordan Joseph Rezits Eleanor Statmore

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

1996 Martin Jones Peter Collins

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Michael Gurt Krassimira Jordan Anne Koscielny

England Southwest Missouri State University, Springfield Louisiana State University, Baton Rouge Baylor University, Waco University of Maryland, College Park

1995 Alan Chow Sean Duggan, O.S.B. Jean-Pierre Marty Madelyn Trible Nancy Weems

Northwestern University of Illinois St. Joseph Abbey, Covington, LA France University of Louisiana at Lafayette University of Houston

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 Mack McCray Louis Nagel Michi Hirata North Robert Silverman

University of Northern Illinois, Dekalb San Francisco Conservatory University of Michigan, Ann Arbor Pacific Northwest School of Music, Seattle Piano Quarterly, Editor

1989 Alan Chow Lillian Freundlich Paul Maillet Paul Pollei S. Zakarin-Rutstein

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

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