The Festival Begins

July 10th, 2010


What:   Portland international piano festival

                                

 

Who:         Di Wu, Jenny Lin, Edward Auer, Susan Alexjander,  

                   Angela Cheng, Ingrid Clarfield, Paul Roberts, Hans Boepple,

                   Ann Chang, Andrius Zlabys

 

When:       July 11-18

 

Where:     World Forestry Center, Portland, Oregon

 

Details:   The twelfth annual Portland International Piano Festival

                  will feature 10 artists in 5 recitals, 6 lectures,

                  14 master classes, 3 films, and a composition workshop.

 

More information at http://www.portlandpiano.org/festival/2010/artists.html

 

 

Become an Instant Composer!

July 1st, 2010


The Portland International Piano Festival opens on Sunday afternoon, July 11th at The World Forestry Center in Portland, Oregon. Lots of wonderful music and learning will take place during that week.

 

One of the sessions I’m really looking forward to will take place on Wednesday morning of that week when pianist Jenny Lin talks about “The 11th Finger”.  Jenny is not only a terrific pianist, but also a great communicator and advocate for new music.  Although her recital the previous evening isn’t exactly filled with “new” music - the Shostakovitch Preludes and Fugues, Op. 87, were written in the early ’50s - her talk on the following morning will delve into the requirements for pianists who want to pursue the music of our time.

 

Here’s where you, the composer, come in.  Jenny performed pieces by Jason Freeman at Spivey Hall in Atlanta, Georgia, this past April.  You can read about that here and especially here, so that you can submit a fragment for Jenny to play in Portland.  All the information is there. It’s up to you to explore and enjoy!

 

For information about the Festival, check our website here.

 

HG

 

Phyllis Chen discusses what attracted her to the toy piano

May 29th, 2010

About ten years ago, I was visiting a puppet theatre workroom in Chicago when I saw a toy piano that was being used as a set piece. I touched a plastic key and it was love-at-first-sound. I was always interested exploring extended piano techniques and it seem that my curiosity for new keyboard sounds stretched so far that it brought me to the toy piano.

It seem very refreshing–There wasn’t a long formal history for the instrument and there were no formulaic ideas on how it should sound or be played. But there are quite a lot of associations based on how it looks. A toy piano isn’t completely a toy because it is a piano, yet it doesn’t look completely like a concert instrument or a folk instrument. The size of the instrument makes people think of childhood, but the naive appearance does not match the out-of-tune and sometimes creepy-sound. (In fact, many people have told me that the sound of a toy piano reminds them of music in horror films.) It was the most border-bending instrument that I had come across.

Invented in 1872 by Albus Schoenhut, the toy piano was created mostly as an educational toy for children. It wasn’t until John Cage’s seminal work “Suite for Toy Piano” (1947) that single-handedly turned this child’s toy into a concert instrument. Since then, composers have used it more frequently,most notably in George Crumb’s chamber work, “Ancient Voices of Children.” With it’s short history, the instrument is still quite elusive and is finding it’s own language. I am constantly drawn to the idiosyncratic nature of the toy piano, realizing that the most expressive qualities are just noises from the simplicity of the mechanics.

I have been told that the toy piano sounds like bells, windchimes, a harpsichord, koto, kalimba, xylophone, harp, gamelan, grandfather clock, a cell phone, music box, and many other things (but never a piano.) The chameleon-like nature of the instrument is what constantly keeps me interested and curious to know what will come next–and hopefully, one day people will know the toy piano for sounding like a toy piano!

Written by Phyllis Chen

On Teaching: A letter from a colleague

April 8th, 2010

Dinner guests were sitting around the table discussing life.  One man, a proud CEO, decided to explain the problem with education. 

He argued, “What’s a kid going to learn from someone who decided his best option in life was to become a teacher?  You know what they say about teachers: ‘Those who can, do.  Those who can’t, teach.’” To stress his point he said to another guest, “You’re a teacher, Bonnie.  Be honest.  What do you make?”

Bonnie, who had a reputation for honesty and frankness replied, “You want to know what I make?  Well, I make kids work harder than they ever thought they could.  I make a C+ feel like the Congressional Medal of Honor.  I make kids sit through 40 minutes of class time when their parents can’t make them sit for 5 without an I Pod, Game Cube or movie rental.” 

“You want to know what I make?” She paused and looked at each person at the table.  ”I make kids wonder.  I make them question.  I make them apologize and mean it.  I make them have respect and take responsibility for their actions.  I teach them to write and then I make them write.  Keyboarding isn’t everything.  I make them read, read, read.”

“I make them show all their work in math.  They use their God given brain, not the man-made calculator.  I make my students from other countries learn everything they need to know in English while preserving their unique cultural identity.  I make my classroom a place where all my students feel safe.  I make my students say the Pledge of Allegiance, because we live in the United States of America.  Finally, I make them understand that if they use the gifts they were given, work hard, and follow their hearts, they can succeed in life.”

“Then when people try to judge me by what I make, I can hold my head up high and pay no attention because they are ignorant.  You want to know what I make?  I MAKE A DIFFERENCE .  What do you make Mr. CEO?” His jaw dropped, he went silent.

Links and Quotes: January 30 - February 11

February 18th, 2010


Sound samples from the great Swedish pianist Fredrik Ullen’s CD “Got a Minute?” http://ow.ly/128Rohttp://ow.ly/128Ro

 

Fishko File Extra: Pianist Garrick Ohlsson’s Breakthrough: Thanks Sara Fishko: http://ow.ly/128jChttp://ow.ly/128jC

 

Yes, “…and How About Jakob Gimpel?” Thanks to “Aphorisms” author for the question. http://ow.ly/129mihttp://ow.ly/129mi

 

“He’s a very paradoxical figure, in that almost anything you can say about him can be refuted by something else.” Tim Page, on Glenn Gould

 

Sony wins Lang Lang - Big stakes for all - he gets 3 million dollar prize: http://ow.ly/12O0vhttp://ow.ly/12O0v

 

Quite a day for Lang Lang: Bombardier also makes him an associate: http://ow.ly/12OSQhttp://ow.ly/12OSQ

 

“All sound is produced by movement. When you hear a sound, it is because something has moved.” Robert Zatorre, neuropsychologist.

 

Rising talent, Alice Sara Ott plays Chopin on stunning new DG disc of Complete Waltzes. http://ow.ly/12oWihttp://ow.ly/12oWi

 

Horowitz (Vladimir) explained by Horowitz (Joe) and Horowitz (Bernie): http://ow.ly/13pmjhttp://ow.ly/13pmj

 

Happy Birthday Felix Mendelssohn. Interesting NPR story about his “lost works” herehttp://ow.ly/12OFChttp://ow.ly/12OFC

 

Facing the Music: Anne Midgette on classical CD sales (discouraging) http://ow.ly/12AWuhttp://ow.ly/12AWu

 

Giving audiences what they want - Anne Midgett’s thoughts: http://ow.ly/13euthttp://ow.ly/13eut

 

Some unpleasant issues from the past: Cortot and the Vichy administration (Irish Times) http://ow.ly/13fOT

 

Barenboim/Beethoven Concerto #4: “gruff humour, brilliance, and pathos” http://ow.ly/13Cbhhttp://ow.ly/13Cbh

 

Alex Ross’ “downward trend in generational participation”. “..the graph, in all its scary glory.” http://ow.ly/13Codhttp://ow.ly/13Cod

 

“Of course, what’s great about music is that it doesn’t have words.” Menahem Pressler.

 

George Benjamin’s “Piano Figures” Limited Edition CD to be released - only 100 copies: http://ow.ly/13CxG

 

Casals & the Art of Interpretation: “Intonation is a question of conscience.” http://bit.ly/aSLUL2http://bit.ly/aSLUL2 http://ow.ly/13E2khttp://ow.ly/13E2k

 

Daniel Barenboim in conversation with Stanley Dodds [video] http://bit.ly/cQceSxhttp://bit.ly/cQceSx

 

Birthday of one of our great 20th century pianists, Claudio Arrau León (b. February 6, 1903) http://ow.ly/143Lchttp://ow.ly/143Lc

 

Beautiful clip from Ionarts: The Chopin in Alexandre Tharaud’s Head: http://ow.ly/144akhttp://ow.ly/144ak

 

Yale pianist Donald Currier dies at 91 http://welltempered.wordpress.com/http://welltempered.wordpress.com/

 

A few words about stage fright, applause and Facebook from Garrick Ohlsson http://bit.ly/9HPC8Dhttp://bit.ly/9HPC8D

 

The great Maria Joao Pires: “giving up concert life for good to help the children of Brazil” http://ow.ly/14Vifhttp://ow.ly/14Vif

 

Stephen Hough discusses the all-important “finger pedal”. http://ow.ly/155BXhttp://ow.ly/155BX

 

Is the virtuoso pianist a dying breed? http://ow.ly/15hNmhttp://ow.ly/15hNm

 

A short clip to enjoy: “Dinnerstein on Bach, the Goldberg, and more” http://ow.ly/15tbShttp://ow.ly/15tbS

 

Boris Berman on “Unearthing Prokofiev: NPR story: http://ow.ly/15uRzhttp://ow.ly/15uRz

 

Stephen Scott’s wonderful piece - “Entrada” - played inside the piano! Watch and listen here: http://ow.ly/15vnlhttp://ow.ly/15vnl

 

A Chopin celebration at Eastman, complete with letters: http://ow.ly/15Vs4http://ow.ly/15Vs4

 

It’s not the technique that makes the music; it’s the sensitivity of the musician… Herbie Hancock

 

Remembering Pianist Earl Wild : NPR http://ow.ly/166Shhttp://ow.ly/166Sh

 

..playing the works of a composer/pianist who so hated the business of performance. Chopin’s Year! http://ow.ly/16kVGhttp://ow.ly/16kVG

 

Interested in Chopin this year? follow Christine Stevenson’s blog at MusBook.com: http://ow.ly/16lG9http://ow.ly/16lG9

Anton Kuerti - Globe and Mail Story

February 4th, 2010

He’s one of the world’s top pianists — and an Officer of the Order of Canada and the recipient of the 2008 Governor-General’s Performing Arts Award for Lifetime Artistic Achievement.

Anton Kuerti has performed with leading orchestras across Canada, the United States and nearly 40 other countries. But the outspoken master pianist is humble at heart. He doesn’t drive a flashy, luxury car. He owns a 2000 Ford Focus station wagon. And he plans to dump it soon.

“I’m not a car buff. I don’t give a damn about cars. As a matter of fact, I really think I should give up my car. I really don’t use it that much. I use a bicycle a lot around the city, I use public transit. We should all rid ourselves of these evil machines.”

“A lot of people are in love with their … cars. You open a door next to them in the parking lot and you make the tiniest, tiniest little mark on a piece of trim and they go berserk!

“A car is a useful, polluting, noisy, dangerous gadget. Owning any car already says something about you that’s not very positive,” says Kuerti, whose schedule is jam-packed well into 2010.

He’s teaching master classes at The Royal Conservatory in Toronto in March and in the Netherlands shortly after. That’s in addition to concerts in the Hague, Toronto, London, and Ottawa — just to name a few places. His repertoire includes 50 piano concertos; he has recorded all Beethoven concertos and sonatas as well as all Schubert sonatas.

After nine years, his Focus has less than 100,000 kilometres on it. While he doesn’t drive it often, he can’t deny its practicality. “My wife was a cellist and my youngest son is a cellist. We’re often lugging two cellos plus a huge amount of other stuff.

“It’s not a big car. It’s definitely not an SUV. But you put down the back seat and you can get two cellos and a whole mess of other things inside. And it’s got a roof rack so you can attach some stuff up there.”

When touring the world, Kuerti often rents cars. “I always get the economy or budget size, but very often they upgrade me, sometimes against my will.

“I remember I reserved a small car and they were all out of everything and they gave me this huge SUV. And I was really embarrassed to drive up to hotels or friends with this huge, big vehicle,” says Kuerti, who was born in Vienna, grew up in the United States and has lived in Canada for the past 35 years.

“When I was a kid I used to know and recognize all the makes. They all seem the same now to me. I don’t even know what I’m driving when I pick up a rental.”

But he does remember doing a “drive-away” — transporting a car for someone from Denver to Los Angeles at 22. “I had to drive a Lincoln Mark V — a really gaudy, ostentatiously expensive vehicle and I was really embarrassed.

“At one point, I ran out of gas in the middle of the desert. Someone came along and gave me a ride to the gas station — it was particularly humiliating with this vehicle. I quickly said, ‘This is not mine! This is not mine!’ ”

On occasion, his cars have come in handy. “I’m a fairly political animal. I had a Volkswagen and I was living in New York during the Vietnam War. A friend of mine devised a way of using the car to print messages on the road.

“We took a tire and sculpted into it ‘US out of Vietnam’ and we made a hole so somebody sitting in the backseat could hold a paint roller onto the tire and print this message near the sidewalk.

“We made a route in the middle of the night, 3 o’clock in the morning, in front of The New York Times, the UN. It didn’t work very well — if you looked at it carefully, you could read it.

“If I had more experience as a printer, we would have done better,” laughs Kuerti, who has performed benefit concerts for Oxfam, SOS Children’s Villages and WaterCan.

Kuerti has a clean driving record on the road; but when it comes to parking lots, it’s a different story.

“I was at the Royal Botanical Gardens in Hamilton. In the parking lot I miscalculated and all I did was broke one of the brake light plastic things. I left my name, address, phone number on the windshield. I said I’m sorry I did this. I’m glad to pay for it. And the bill came to something like $600!

“Nobody would pay themselves to fix that. But when somebody else does it, then they want to get everything they can out of the insurance company,” he says, exasperated.

Behind the wheel, Kuerti doesn’t tune into classical music, particularly when driving in the United States. “I listen to local radio stations more out of sociological interest, especially in the Bible Belt. You scan from station to station and it’s some garbage music or sports talk or religious fanaticism.

“I find out that a random teenager living in those areas is never going to hear a piece of great music, which is a pity.

“That’s one way CBC and PBS have helped interest a lot of people in music where their families had no interest,” says Kuerti, an Honorary Fellow of The Royal Conservatory.

Kuerti will bid farewell to his Focus soon. “After the next big repair, I’m going to junk this one and I think I’ll join one of these rental clubs where you can take the car for an hour occasionally.

“If I were to get another car, I think it would be a Smart car — a really tiny thing that runs on water.”

Or he’ll stick with a bike. “I don’t want a fancy bike either because I want to be able to leave my bicycle unlocked if I go into a store briefly. So if somebody steals it, I just get another used $50 bike and that’s it.”

Globe and Mail Update Published on Thursday, Feb. 26, 2009

PETRINA GENTILE

pgentile@globeandmail.com

Links for the Week: Jan. 22-30

January 30th, 2010


Speaking of Pianists: Kuerti in PDX soon! “Just like the work itself; every Kuerti performance is new and innovative.” http://ow.ly/126sO

 

Only when the form grows clear to you, will the spirit become so too. Schumann: To Young Musicians …

    

Speaking of Pianists: it’s not too early to plan for Schumann’s 200th, including a performance of his opera ” Genoveva”. http://ow.ly/126dm

 

Speaking of Pianists: Barenboim: “..the hottest musical event in London.” Great Jessica Duchen article: http://ow.ly/11Q7g

   

Speaking of Pianists: Composer Josipović elected President of Croatia, has written orchestral, chamber and solo works. http://ow.ly/11Fqo

  

Speaking of Pianists: from The Accidental Music Lesson: “Music (is) an obsession, a calling and your purpose in life.” http://bit.ly/aC1w4x


Speaking of Pianists: One of the great pianists of the past: Video clips of Friedrich Gulda: http://ow.ly/11wlO

  

Nothing communicates better than art. It is quicker than language & clearer than philosophy. F. Weisman http://bit.ly/cbfsAC

 

Speaking of Pianists: Gramophone Instrumental Award goes to Bavouzet: http://ow.ly/11t7c

  

“Music is the mediator between the spiritual and the sensual life.” – Ludwig Van Beethoven, looking forward to my… http://bit.ly/4rtzT4

 

Speaking of Pianists: Best Ever recording of Chopin’s music goes to Dinu Lipatti’s classic 1950 EMI disc of the Waltzes. http://ow.ly/11eBj

   

Speaking of Pianists: Read Susan Tomes’ excellent article about collaborative piano http://ow.ly/1126h


Speaking of Pianists: Must read Jessica Duchen today re Mozart’s birthday: The Magazine | Standpoint http://ow.ly/10Z5O


Speaking of Pianists:1 of our greatest pianists: Russell Sherman “steps out for Mark Morris’ Dances” - BostonHerald.com http://ow.ly/10Qus

 

Speaking of Pianists: RT @MargoDrakos: RT @instantencore: Happy 254th Birthday Wolfgang! (1/ 27, 1756)

 

Gilmore Young Artist, Yuja Wang, now named Gramophone’s Young Artist of the Year. Read more here. http://ow.ly/10LWu

  

Speaking of Pianists: “Shostakovich: 24 Preludes and Fugues.” Jenny Lin, piano: 1 of A.Midgett’s Best of ‘09: Pdx in July: portlandpiano.org


Speaking of Pianists: Stephen Kovacevich named Editor’s Choice Award by Gramophone: http://bit.ly/c6qgKQ: Portlandpiano.org

 

Speaking of Pianists: Garrick Ohlsson interview on KQED before a performance http://bit.ly/7ncWM8

 

Speaking of Pianists: Lots about Kuerti and Beethoven “Diabelli” Variations here - Pdx on 2/7. http://bit.ly/601OKn: portlandpiano.org:

 

Speaking of Pianists: Chen in Pdx with her toy piano on June 3rd: http://bit.ly/73xa3c

 

Speaking of Pianists: Jonathan Biss: “We performers are interpreters. Re-creators. Vessels, if you will.” http://bit.ly/58AJWR · 

 

My favorite pianist, Martha A, talking about older musicians, practicing, etc. http://www.youtube.com/watch?v=Ov2tHIKnET0&feature=related

 

Speaking of Pianists: Matt Haimovitz: “It’s amazing what happened in 300 years; composers lost all trust in us!” http://bit.ly/7aBDCq

  

Op-Ed Contributor - The Dark Side of Piano Competitions - NYTimes.com http://ow.ly/ZWCV

  

Speaking of Pianists: Yuja Wang interview on NPR: “A Pinch-Hitter Takes the Lead”: http://bit.ly/7a98jV

  

Speaking of Pianists: Anthony Tommasini wonderful article on Chopin & Schumann, both celebrating 2010 bicentenaries.http://bit.ly/8WXleQ

  

Speaking of Pianists: Earl Wild dies at 94: http://bit.ly/4wepeA http://bit.ly/8EqYcd

  

Speaking of Pianists: Barenboim: “To build a solution - easier said than done. And that is why Beethoven is vital now..”http://bit.ly/4wepeA

  

“Love life and life will love you back. Love people and they will love you back.” Arthur Rubinstein

 

UPNE will publish the first full biography of Sviatoslav Richter in April 2010: http://www.upne.com/1-55553-710-3.html

  

Speaking of Pianists: Today in History: The premiere of the Franz Liszt’s Piano Sonata in b minor, in Berlin, Germany in 1857. http://twitter.com/pnoman/status/8077419415

  

Menahem Pressler once taught identical twins: couldn’t tell them apart so he assigned each different rep so he knew who was who.

 

 

 

 


Earl Wild dies at 94

January 23rd, 2010

One of the great American pianists, Earl Wild, died on Saturday at the age of 94 at his home in Palm Springs, California.

The New York Times story is here.

“Earl Wild first became known as a Gershwin specialist, and that soured his reputation among many critics and the intellectual audience.  How could any pianist who ran around playing the Gershwin Concerto in F and the Rhapsody in Blue be taken seriously?  But professionals appreciated Wild’s craft.  They knew that he had an utterly spectacular technique, on the Horowitz-Bolet stratospheric level; that he was a serious musician who was all but unapproachable in certain aspects of the literature, especially Liszt.  Like Bolet, Wild was playing Liszt long before it again became fashionable to do so.  In the 1985-1986 season, on the occasion of the centenary of Liszt’s death, Wild celebrated with a three-concert series that he played in the United States and Europe.  He named the programs Liszt the Poet, Liszt the Transcriber and Liszt the Virtuoso.”

Quoted from Harold C. Schonberg’s The Great Pianists

HG

Links for the Week

January 21st, 2010



Speaking of Pianists: Interview with pianist Helene Wickett on “Artists on the Arts,” www.kzsc.org Tues 1/12 - Beethoven’s last 3 sonatas.

 

Speaking of Pianists: The Top 100 of 2009; requests for classical music at KQAC

 

Speaking of Pianists: Perahia: Yes to Bach, no to Debussy. His stories, some political views. 

 

Speaking of Pianists: Feb. 7  Anton Kuerti performs Diabelli Variations, based on a ditzy waltz…4 p.m. Newmark.

 

Speaking of Pianists: Aimard in NYC: “charmingly added that coughing is ‘the loudest acoustical phenomenon’” http://bit.ly/6J38G0

 

Speaking of Pianists: On today’s date in 1958, Leonard Bernstein asked a question: “What does Music mean?” Composers Datebook host John Zech on American Public Media. http://bit.ly/73oRm7

 

Speaking of Pianists: Evgeny Kissin, from The Gift of Music: “One shouldn’t forget about the tastes of their audiences.” portlandpiano.org

 

Speaking of Pianists: Rzewski: “I love really strict counterpoint…like the army, there’s a rule for everything!”  http://bit.ly/7FEIML

Rhapsody in Blue story:  http://www.npr.org/templates/story/story.php?storyId=1070295

Gilmore and Cliburn

January 16th, 2010


A friend wrote recently to alert me to Kirill Gerstein’s recognition as a Gilmore Artist, and also asked if Portland Piano had presented any of the other pianists recognized by the Gilmore Foundation.

 

Yes, we have presented these wonderful and varied pianists from the very beginning. Piotr Anderszewski appeared in 2001, Davis Owen Norris on two occasions – 1998 and 2000, and Ingrid Fliter this past season.  The latest artist to be chosen, Kirill Gerstein, appeared on the series in 2004.

 

The two remaining on the list, Ralf Gothoni and Leif Ove Andsnes are remarkable talents, but so far the stars have not been aligned for hosting them in Portland.

 

The Gilmore is unique (and I don’t use that word often) in that it is not a competition in the usual sense.  In the words of the foundation, “Gilmore Award candidates are not judged in a competition, but rather they are evaluated discreetly and over a period of time and numerous performances for their musicianship and performing abilities.”

 

That makes for some exciting stories from award winners who didn’t even know they were in the running!

 

 

But we also present “real”competition winners. I’ll write later about the medalists we have hosted from the most prestigious piano competition in the U.S., the Van Cliburn International Piano Competition.  That event is held every four years in Ft. Worth, Texas.  We have already presented two of the 2009 finalists in Portland, and will announce a date for a third who will perform here later this year.

 

By the way, PPI has already reserved a block of tickets for the Fourteenth Van Cliburn Competition in 2013.  We had almost 40 patrons attending the 2009 competition, and plan to travel with about the same number in a few years.  Start making plans!

 

But how many pianists have we presented on this series in the 31 years of its existence?  The number is astounding.

 

HG