Joanna MacGregor to lead Dartington International Summer School from 2015
26 March 2014
Pianist Joanna MacGregor has been named as artistic director of the Dartington International Summer School from 2015, initially on a three-year contract.
MacGregor will take over from Nicholas Daniel after this year’s summer school, Daniel having been taken on with a one-year contract, as announced last year.
The 2014 summer school will last for three weeks, as opposed to the long-established five-week model, a change made ‘due to reduced demand for the 2013 summer school’ according to a Dartington spokesperson. With strong sales this year, however, the plan is to step up to four weeks in 2015.
MacGregor was artistic director of the Bath International Music Festival from 2006 to 2012 and is head of piano at the Royal Academy of Music. She was made a professor of the University of London in autumn 2013 ‘in recognition of her outstanding contribution both to the Academy and to international musical life’.
Dartington has a reputation for bringing amateurs and professional musicians together and is known for attracting artists of international calibre to work as tutors. Before Daniel, directors were the composer John Woolrich, Gavin Henderson, Peter Maxwell Davies and William Glock.
Tutors in 2014 include pianists Anna Tilbrook, Christian Blackshaw, Katya Apekisheva and Tom Poster, soprano Emma Kirkby, conductor Sian Edwards, viol consort Fretwork, violist Philip Dukes, and composers Colin Matthews and John Woolrich.
MacGregor said of her appointment: ‘Having been involved with the summer school for many years I am delighted to take on this exciting role and to have the opportunity to shape the future of this wonderful celebration of music and creativity.’
This year’s summer school runs 26 July – 15 August
Sergio Tiempo asks for audience participation in his upcoming Southbank recital
19 March 2014
Sergio Tiempo is asking fans to vote on which six Chopin Etudes he should play at his upcoming International Piano Series recital at London’s Southbank Centre.
The 29 April recital has been creatively programmed. Each piece represents a different member of his family. As Tiempo counts the audience as a very important member of his wider musical family he wanted their involvement, too.
Tiempo’s recordings of 12 Chopin Etudes will be posted to the Southbank Centre website, and fans are asked to vote on which six they would like him to play at the concert. The results will not be known until the night.
Tiempo’s star has been rapidly rising of late, with successful tours of Australia, China and Latin America, and collaborations with favourite collaborators such as Gustavo Dudamel, Mischa Maisky and of course his great mentor Martha Argerich.
Voting details will be announced here soon
Rhinegold Publishing to host free series of concerts
4 March 2014
Conductor and pianist Andrew Litton will perform Oscar Peterson transcriptions© Danny Turner
Peregrine’s Pianos will provide a Schimmel concert grand piano for each performance
Rhinegold Publishing, publisher of International Piano, has launched a
new series of free rush-hour concerts at London’s Conway Hall.
The Rhinegold Live series – free and available to all – will offer a unique take on the recital experience. Concerts will be held in the round at Conway Hall, London, at 6:30pm and will be followed by an informal Q&A with the artist – plus a complimentary drinks reception.
Cellists Julian and Jiaxin Lloyd Webber, with pianist Pam Chowhan, will open the series on 3 April, fresh from their recent A Tale of Two Cellos tour. The event is sponsored by law firm Teacher Stern. Keith Clarke, consultant editor of Classical Music magazine will lead the follow-up Q&A session.
On 2 June Andrew Litton, best known as a conductor, will put away his baton and give a special piano recital dedicated to Oscar Peterson. Based on transcriptions undertaken by pianist Steven Osborne, the programme launches Litton’s forthcoming CD on the Bis label, A Tribute to Oscar Peterson. Claire Jackson, editor of International Piano, will speak to Litton after the concert and take questions from the audience.
Peregrine’s Pianos will provide a Schimmel concert grand piano for each performance. The organisation, based in central London, sells and hires a range of upright and grand pianos, as well as providing a specialised working environment for the music profession.
Rhinegold Publishing will host six concerts a year; these will feature a range of artists from emerging talent to world-famous performers. In a period of increasing pressure to justify the value of the arts, Rhinegold, in conjunction with its partners, has curated the series in the belief that music should be within the reach of all.
‘Live classical music is too often a remote and impersonal experience’, says Rhinegold Publishing’s managing director Ciaran Morton. ‘We seek to personalise the recital experience, enlightening and welcoming a new audience while delivering artistically to our existing readers. I believe this new concert series is a logical extension of all the good work Rhinegold has done for the classical music sector over the years.’
Readers can register for their free ticket here. Each ticket includes a complimentary drink at the reception. There are c.150 tickets available to the public for each concert and seats are allocated on a first-come, first-served basis.
Alice Herz-Sommer, pianist and oldest known survivor of the Holocaust, has died aged 110
26 February 2014
Pianist Alice Herz-Sommer, the oldest known survivor of the Nazi concentration camps who became an icon through her positive outlook, died on 23 February aged 110.
Born in Prague in 1903 Herz-Sommer suffered four years of oppression after the Nazi invasion of Czechoslovakia, followed by two more in Terezín, the garrison town turned concentration camp outside Prague. There, Herz-Sommer gave well over a hundred concerts. When liberation was followed by further oppression under the Communists, she and her son, later to make his own name as the cellist Raphael Sommer, moved to Israel, where she established a reputation as an outstanding teacher.
A CD of private recordings made by Herz-Sommer in her 60s, 70s and 80s was released on ‘AHS Recordings’ with the German edition of her biography in 2006. They revealed that, hidden behind this story of miraculous survival, she was also one of the great pianists of the past century. Herz-Sommer was a ‘grand-student’ of Liszt, having studied with Conrad Ansorge, one of Liszt’s later disciples.
Herz-Sommer’s basic philosophy – ‘Life is beautiful’ – enabled her to draw strength even from the many adversities that confronted her over the years. In his recently published interview with Herz-Sommer, Martin Anderson observed: ‘You come away from a visit to Alice feeling younger yourself, with a spring in your step: she is not religious, but she radiates gratitude for being alive and her conversation is infused with a profound human decency.’
REVIEW: Charles Owen, Bach’s Goldberg Variations, Milton Court, London
19 February 2014
Charles Owen© John Batten
The newly opened Milton Court hosted a performance of Bach’s Goldberg Variations BWV 988 as part of the Guildhall School of Music and Drama’s Faculty Artist Series – Charles Owen, professor of piano at the Guildhall, chose to play all the repeats.
Each movement had its individual character but we never lost sight of the overall progression of the journey. Charles Owen is a pianist who makes spontaneous decisions and is prepared to take a risk in performance and thus breathe new life into a familiar work. The mesmeric una corda-inspired sound world he conjured up in Variation 19 was unique, for example. Owen employs instinctive pacing, epitomised in Variations 10 – when he irresistibly conducted with his free right hand the stating of the subject before it too joined in the Fughetta – and in Variation 14, which couldn’t contain its excitement and almost exploded onto the scene.
There were a few moments, to my ear, in the early Variations when the rhythmic discipline of left hand accompaniments nearly overstated the independence of the hands; but otherwise they combined to produce the desired effect whether it was playfulness in dance, jubilant flourish or sparkling cascade.
Milton Court is a state-of-the-art concert hall and musicians can ‘tune’ the hall acoustically by manipulating wooden panels and other such devices. In fact, the acoustic was left in default mode, with the pianist choosing only to set the gentle tone of the lighting for this evening. By the end, the hall was illumined with stars – the characters we had got to know on our shared journey.
The Faculty Artist Series continues with an evening celebrating the life of James Gibb (1918 – 2013), former Head of Keyboard Studies at the Guildhall School on 21 February