The Elgar Society releases free online archive of The Journal
10 April 2013
Back issues of The Journal published by the Elgar Society are now available online and free of charge at
www.elgar.org, opening up a 15-year archive of articles, essays and research papers to all those with an interest in Elgar and his legacy.
The Elgar Society first issued The Journal as a stand-alone publication in 1999, since when it has been circulated three times a year to members of the society together with selected academic institutions. Content ranges from the findings of Elgar-related research to reviews of books and CDs. The most recent issue, edited by Elgar Society member Martin Bird, includes articles entitled ‘Thoughts on The Music Makers – a conductor’s viewpoint’ by Dr Donald Hunt and ‘Edward Elgar – a medical enigma?’ by Dr John Harcup OBE: the editorial closes with extracts from Elgar’s own diary of 100 years ago.
‘We’re delighted to make back issues of The Journal so readily accessible as a single archive for the first time,’ says Elgar Society Vice-Chair Stuart Freed. ‘They make fascinating reading and we’re sure they will prove particularly useful to students and academics both in the UK and overseas whilst adding to the body of public knowledge about Elgar’s works, life and historical context.’
Formed in 1951 to encourage the study, performance and appreciation of the music of Sir Edward Elgar and to foster research into his life and works, the Elgar Society brings members together at branch, national and international levels through meetings, lectures, recitals and visits. In addition to The Journal, all members also receive the thrice-yearly Elgar Society News, where delightful snippets of Elgar-related trivia combine with news from members, concert reports, diary dates and readers’ letters.
Barry Collett, winner of the Elgar Society Medal, wrote an article on Elgar's piano music in the September/October 13 edition of IP, issue 15.
Martha Argerich set to perform at Manchester International Festival
1 April 2013
World-renowned Argentinean pianist Martha Argerich is set to give a rare performance at the Bridgewater Hall on 12 July, as part of the Manchester International Festival (MIF).
Argerich will join Gábor Takács-Nagy, David Guerrier and Manchester Camerata for Shostakovich’s Piano Concerto No 1. French pianist David Kadouch will perform Bartók’s Music for Strings, Percussion and Celeste, and Arvo Pärt’s Lamentate.
Argerich is known for her selective concert appearances. Widely regarded as one of the greatest living concert pianists, her MIF concert is likely to be one of the pianistic highlights of the year.
Tickets £36, £30, £26, £20 (no per ticket booking fee; transaction charge applies). Concessions available. Box Office: www.mif.co.uk / Quaytickets +44 (0)844 375 2013
£12 tickets for Greater Manchester residents on a lower wage, available on a first come first served honesty basis
American pianist Van Cliburn dies aged 78
28 February 2013
Van Cliburn, pianist, 12 July 1934-27 February 2013
By Alex Stevens
Van Cliburn, the American pianist, has died aged 78. He was awarded the US’s National Medal of Arts in 2010 and the Presidential Medal of Freedom in 2003, and was one of the world’s best-known performers of classical music.In 2004, he received the Order of Friendship of the Russian Federation from Russian president Vladimir Putin, reflecting the cultural impact of his playing throughout his career. He was a popular figure on both sides of the Pacific for most of the second half of the 20th century, a rare feat during the Cold War. Cliburn was taught by his mother, Rildia Bee Cliburn who in turn had been taught by Arthur Friedheim, a pupil of Franz Liszt and Anton Rubenstein and she was his sole teacher before, at the age of 17, he began studies at the Juilliard School in New York, where he studied with the great Rosina Lhevinne. At 20, he had played with the New York Philharmonic and most of the country’s major orchestras.
The quadrennial Van Cliburn International Piano Competition was organised by a group of music teachers and citizens from Fort Worth, Texas in 1962 to commemorate Cliburn’s victory at the 1958 Tchaikovsky International Piano Competition in Moscow, at the age of 23. Speaking at its 50th anniversary in September 2012, he said to the crowd: ‘Never forget: I love you all from the bottom of my heart, for ever’. It was his last public appearance.
The Tchaikovsky victory, coming in the middle of the Cold War, was a historic achievement which led him to be nicknamed ‘the American Sputnik’ by US media. He was honoured on his return to the country by a ticker-tape parade in New York. It was this success, rather than particularly strong support from the pianist himself, which allowed the competition to become the well-funded and prestigious institution it is today.
After the initial flurry of success, Cliburn’s career did not progress so easily. Doubts about classical music prompted forays into jazz and conducting which were not wholly successful and he underwent a self-imposed exile from public life from 1978 to 1987. His high-profile return to the stage saw him performing to presidents Gorbachev and Reagan at the White House, but in the subsequent decades the number of his appearances, despite being well attended, went steadily downhill. After collapsing on stage in 1998 at the inaugural concert of the new Bass Performance Hall in Fort Worth, Texas, he appeared even less.
‘Van Cliburn was an international legend for over five decades,
a great humanitarian and a brilliant musician whose light will continue to
shine through his extraordinary legacy,’ said his publicist and friend, Mary
Lou Falcone. ‘He will be missed by all who knew and admired him, and by
countless people he never met.’
Pianist Stephen Hough told the BBC that Cliburn was ‘one of the most charming and lovely men’ he had known. ‘He was very modest, gracious and generous. He was very tall, very imposing, and all of this came through in the playing and he was a major personality when he played, and he really towered over the stage in every sense.’
Harvey Lavan Van Cliburn, 12 July 1934-27 February 2013
In-depth assessments of Van Cliburn's contribution to pianism will be published in upcoming editions of International Piano magazine
New quality seal to identify German-made pianos
20 February 2013
The German Association of Piano Manufacturers (BVK) has created a new system to distinguish German-made pianos from copycat instruments. The move comes as an increasing number of manufacturers are falsely claiming instruments to be European made, when in fact many are produced in the Far East.
‘Of the more than 300 companies active worldwide in the piano industry, 95 per cent claim their products are manufactured in Germany,’ said Burkhard Stein, chief executive of the BVK. ‘In fact, there are only 13 German companies that still manufacture high-quality uprights and grand pianos. These companies are distinguished by a high level of manual craftsmanship, centuries of experience and tradition, successful design, prestige and the particularly excellent sound and playing quality of the instruments they manufacture. This makes the slogan ‘Made in Germany’ desirable for piano manufacturers worldwide and entices them to mislead customers and suggest that they are choosing an instrument made in Germany, although it is not the case.’
The ‘Made in Germany’ certificate was recently unveiled during a music trade fairinShanghai.Inordertoacquirethe certificate, the piano manufacturer must be a member of the BVK and prove that various production stages take place in Germany. These include work such as fitting casting plates, the installation of the musical mechanisms, and tuning and intonating the instruments.
The logo of the German Chamber of Commerce will also appear on the ‘Made in Germany’ mark.
Coming soon: London International Piano Symposium
2 January 2013
A trio of three-day piano conferences
will begin in February, hosted by London International Piano Symposium (LIPS),
founded by Cristine MacKie, and held in association with Steinway & Sons. IP is the Symposium's media partner.
The event welcomes everyone interested in the performance of piano music: artists, scientists, academics, teachers and fans. The symposia will provide an opportunity to hear papers, lecture recitals and debates on the art and science of piano performance by distinguished researchers and practitioners.
During the first The LIPS Conference, which takes
place 8-10 February at London’s Royal College of Music, leading researchers and
practitioners will examine interdisciplinary, evidence-based directives to
enhance modern piano performance practice, assess research into inspirational
performers and teachers past and present, and present scientific models of
performance that will reflect recent developments in performance science,
including neuroscience, the human movement sciences, psychology and physiology.