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Each bi-monthly issue includes interviews with top pianists and rising talent, performance tips, news, features, analysis and comment. You will find exclusive tutorials by concert artists, in-depth articles on piano recordings and repertoire, masterclasses on piano technique, and festival, concert and competition reports from around the globe.

Every edition includes a five-page Symposium, hosted by Jeremy Siepmann, which brings together leading experts and international pianists for a round-table debate.

Our comprehensive reviews section examines the latest recordings, books, DVDs, sheet music and concerts.

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REVIEW: Piano events at Huddersfield Contemporary Music Festival

19 December 2013

The festival featured the world premiere of Piano Concerto No 2 Diamond Dust, by Japanese composer Dai Fujikura
The festival featured the world premiere of Piano Concerto No 2 Diamond Dust, by Japanese composer Dai Fujikura

Huddersfield Contemporary Music Festival
Recitals by Philip Thomas/Mark Knoop, Geneviève and Brigitte Foccroulle, and Ian Pace/Frederik Croene (two pianos)
Fujikura 2nd Piano Concerto, Diamond Dust, Ellen Ugelvik (pf)
20 and 23 November

This year's Huddersfield Contemporary Music Festival (HCMF) featured a plethora of piano recitals, including a two-piano day. Andy Hamilton paid a visit

Huddersfield’s remarkable two-piano day saw three recitals. The first was a series of duets on one piano by Philip Thomas and Mark Knoop, featuring sets of short pieces by Laurence Crane and Peter Ablinger, plus Cage’s Winter Music and Christian Wolff’s Duet I, and quasi a due by Kunsu Shim, a Japanese composer new to me. Even grizzled HCMF veterans found this recital – consisting of 'music that is stripped of music', according to the programme – a tough listen. Winter Music – at 15 minutes, and so with Shim’s, the only longer piece here – reminded me that Cage, like Anthony Braxton, inspired composers and musicians to transcend his own achievement, if not his originality. Ablinger’s series of pieces Ohne Titel, and Laurence Crane’s series of Duets, were equally stripped bare.  Crane’s Duet No 4 instructed the pianists to 'Sing!', which they did with manly gusto – or at least, vocalised wordlessly. Crane’s ensemble music, heard later in the festival, was quite magical, so maybe I am missing something with his piano pieces, which came across as drier and less involving.

The two-piano duo of Ian Pace and Frederick Croene offered the highlight of the day’s events: Evan Johnson’s very beautiful 'atendant, souffrir’, lists, little stars. (Though the composer’s programme note was a contender for Private Eye’s 'Pseud’s Corner': 'The piece begins with a proposal for how to proceed, and declines to accept it. Instead, a series of zero points are reached, inhabited and abandoned...') Hovering behind the fragmentary material, the composer writes, is Philopoctus de Caserta’s 14th century motet 'En atendant souffrir m’estuet grief payne' – hence I assume the Old French spelling of 'atendant'. The 14-minute piece was a spacious, tremulous delight, consistently piano with lots of silences – more of a summer piece maybe, given the struggles of the coughers in the audience to keep quiet. Adam de la Cour’s Con-join was an example of theatre of the absurd, a 'bondage' piece with the duo’s inside wrists tied together in fluffy red handcuffs. The struggle, initially a matter of synchronising when to play, became more like a staged sword fight. 'The first movement is a homage to Chico Marx, the second a romantic arrangement of Mexican wrestling movie soundtracks', the composer writes – soundtracks of course very familiar to readers of International Piano.

Michael Finnissy’s Third Symphonic Etude was a deconstruction of virtuosity from Beethoven to Schumann via Czerny. Its twisting, distorting temporal effects, between and within the two piano parts – especially in the warping, deranged Romanticism of the slow section – were totally compelling. There were also two solo pieces. Frederick Croene performed Enno Poppe’s wonderfully titled seven-minute Theme with 840 Variations. (I counted only 839. Only joking.) Ian Pace performed Marco Stroppa’s Ninnananna and Moai from Miniature Estrose, tremulous too but with a much wider dynamic range, with books placed under the pedals, I assume to restrict their dynamic range.

Geneviève and Brigitte Foccroulle’s two-piano duo offered a largely Belgian programme, featuring Henri Pousseur’s Mobile (1958) and works by younger Belgian composers new to me, plus Frederic Rzewski’s modern classic, Winnsboro Cotton Mill Blues – original lyrics 'When I die, don't bury me at all/Just hang me up on the spoolroom wall/Place a knotter in my hand/So I can spool in the Promised Land'. This was an involving performance of a synthesis of jazz and contemporary composition; it ought to be a modern classic, heard much more in the concert hall. (Rzewski taught at Liège Conservatoire where Pousseur was director.) Pousseur’s Mobile was the other substantial piece in the programme, though here as elsewhere, this composer promises more than he delivers – the open form and total serialism sounding merely dated.  

Later in the festival was the world premiere of Piano Concerto No 2 Diamond Dust, by Japanese composer Dai Fujikura. The soloist was Ellen Ugelvik, with the Oslo Sinfonietta. The composer explains, rather unhelpfully, that 'I was often thinking of ice whilst writing the piece. Light is shining on big blocks of ice and many small particles of ice'. A bottom 'A' on the piano triggers a swarm-like response from the ensemble, drawing on the harmonic field, the composer explains – at least, that’s the delightful theory. In practice, the result was a colourful, accessible piece whose welcome wore thin, as its aimless noodling, and pretty, pointless virtuosity degenerated into what Wagner called 'effects without causes'. There was no feeling of every note counting, and emotional climaxes were unearned. Fujikura moved to the UK at the age of 15 to study music, and comments that when in music college, he 'did everything I could to be a film music composer'. I’d say he’s succeeded, because his concert music sounds like film music. It brought to mind Ernst Toch’s delightful comment on being told that Erich Korngold was now working for Warner Brothers: 'Korngold has always composed for Warner Brothers'.

Menahem Pressler receives Indiana University Medal at 90th birthday gala concert

17 December 2013

Pianist and current IP cover artist Menahem Pressler has received a special award from Indiana University (IU), where he is a senior member of the IU Jacobs School of Music.

IU president Michael A McRobbie presented the University Medal to at a gala concert on 13 December, held in honour of Pressler’s 90th birthday (16 December). ‘As an internationally celebrated soloist, chamber musician and teacher, Professor Pressler is an Indiana University treasure,’ President McRobbie said. ‘The university is privileged to honour him with the University Medal, given in gratitude both for his enormous contributions to the musical arts and for his service to the university over nearly six decades.’ Pressler joined the piano faculty in 1955, and he currently holds the rank of Distinguished Professor of Music as the Charles Webb Chair.

Co-founder of the Beaux Arts Trio, Pressler has established himself among the world’s most distinguished musicians, with a career that spans almost seven decades. He continues to perform throughout the world both as a soloist and collaborating chamber musician while maintaining his teaching career. Born in Magdeburg, Germany, in 1923, Pressler fled Nazi Germany in 1939 and immigrated to Israel. His career was launched after he was awarded first prize at the Debussy International Piano Competition in San Francisco in 1946, followed by his American debut with the Philadelphia Orchestra.

You can read more about Pressler’s extraordinary career in the January/February edition of IP.

Pressler also received a letter from President Barack Obama and first lady Michelle Obama in honour of his 90th birthday. The letter said, ‘The arts appeal to our common humanity, enrich our lives and inspire us to strive for a more perfect union. As you celebrate with family and friends, we hope you reflect with joy on the memories you have made and take pride in all you have accomplished.’

REVIEW: The Ian Hobson Brahms Series in New York

10 December 2013

Ian Hobson
‘Johannes Brahms: Classical Inclinations in a Romantic Age’ at Benzaquen Hall and Cary Hall in New York City’s DiMenna Center
10 Sept – 14 Nov

The overriding spirit of Hobson’s concert series was not aesthetic, but athletic, writes Benjamin Laude

According to popular iconography, Brahms didn’t experience a middle age. We are accustomed to the image of a youthful, adventurous Johannes with rosy cheeks and a clean shave juxtaposed with a photo of his older self, whose long beard and handlebar moustache presumably keep buried his compositional secrets.

Whether or not Brahms’s grooming habits accurately reflect the distinct stages of his creative maturity, the two portrayals serve as useful bookends to what is a rich and varied oeuvre. A cross section of that output was the focus of a recent concert series starring pianist Ian Hobson, who performed Brahms’s complete solo and chamber works for piano in 14 concerts presented over a span of two months at the DiMenna Center For Classical Music in New York City.

Hobson, who is blessed with a kind of superhuman retention that made the project possible in the first place, nevertheless seemed at every instant overwhelmed with the sheer bulk of repertoire weighing on his shoulders. In the three violin sonatas performed with Andrés Cárdenes, Hobson shunned the many characters and colours that imbue the three works in favour of a monochromatic delivery that lacked purpose. Similarly, the outer movements of the E minor Cello Sonata played with Dmitry Kouzov were absent the pathos and drama demanded by them, respectively, while the second movement Allegretto was missing its requisite lightness and charm. In every chamber performance, Hobson communicated minimally with the other performers, keeping his eyes slavishly glued to the score while his hands kept pace with the flow of the music like a courtroom stenographer. Indeed, only in rare moments did Hobson look comfortable at the piano.

Oddly enough, Hobson approached Brahms’s solo piano works in the same computational manner, regurgitating the score through a mechanical input/output process that was insensitive both to the timbre of individual notes and the relations between them. Without the actual score in front of him, however, Hobson appeared to be employing what is surely a photographic memory so that a representation of the music could appear scrolling through his head, measure by measure. It was as if Hobson was sight-reading the music in his own mind, and the performances suffered accordingly.

His rendering of the Variations and Fugue on a Theme by Handel, Op 24 was nervous and unsettled in a way that gave each new variation an arbitrary character, while the fugue was too plagued with hiccups to have achieved a sense of arrival that could have salvaged the interpretation. In the two books of Variations on a Theme by Paganini, Op 36, Hobson could not sufficiently meet the technical demands of the work to convey its capriciousness and bravura. The four sets of late solo works were similarly insecure in their delivery, and – though Hobson achieved an elegiac tranquility in the first Intermezzo of Op 117 that was apt and convincing – his generally jagged phrasing and carelessness of touch prevented him from confronting the subtle ambiguities of any singular work.

Herein lies the larger contradiction in Hobson’s project. In his attempt to reproduce the whole of Brahms’s output for piano, Hobson was forced to avoid the particulars that give any specific work its unique individuality and purpose. He was not playing this or that piano piece by Brahms, but all of them. He was playing Brahms in general, and in doing so he proceeded with the modus operandi of a record label that issues a complete set, bringing together several distinct pieces of music for the decidedly unmusical reason that they all happen to have been written by the same person.

Like many pianists of the past generation, Hobson has been driven to use his programming decisions to compete with the recording industry. As a consequence, Hobson has become a travelling salesman for a brand of high-end art music called ‘Brahms’ that gathers individual works into a single catalogue and treats them both as reproducible commodities and as advertisements for the esteemed genius, bearded or beardless, featured on the logo. As a result, the overriding spirit of Hobson’s concert series was not aesthetic, but athletic. He now has another feat to add to the list of Herculean labours chronicled in his artist bio. His goals lay in merely accomplishing the thing, surviving rather than savouring the music, and it is there, and there alone, that Hobson’s Brahms series can be considered a success.

Enjoy 40% off Stephen Hough's new Brahms recording

25 November 2013

Stephen Hough, our current cover artist, has released a new recording on Hyperion Records of both Brahms' piano concertos with the Mozarteumorchester Salzburg and Mark Wigglesworth (CDA67961 two CDs for the price of one).

Exclusively for IP readers, we are pleased to offer this exciting title at 40% off the regular purchase price if bought direct from the Hyperion website. This means the CD will be £8.39, post free, and the download £4.79.

To claim the offer, find the title on the Hyperion site and proceed to make a purchase. Towards the end of the purchase process you will be asked if you have a voucher code. If you are buying the CD please insert the following code: IPHOUGHCD. If you want to buy the recording as a download the following code must be used: IPHOUGHDL.

This offer will be available from 25 November until the 31st December and all usual terms and conditions will apply.

Pleyel pianos shuts up shop after two centuries

15 November 2013

Pleyel fan: Chopin
Pleyel fan: Chopin© Tully Potter Collection

French piano maker Pleyel has ceased operations after 206 years and the manufacture of an estimated 250,000 instruments following ‘repeated financial losses and a very low level of production’.

Founded in 1807 and famously Chopin’s piano of choice, Pleyel’s recent history had been dogged by declining sales in the face of competition from China and Korea. Since the turn of the century its annual production rates had fallen from around 1,700 pianos to just 20 labour-intensive instruments requiring 1,500 working hours to complete in 2012. Earlier this year, the company was acquired by a French investment fund but failed to gain sufficient new orders.

During its long history, Pleyel introduced the upright piano to France, built a concert hall that became the centre of 19th-century Parisian concert life, subsumed the Erard and Gaveau piano brands and was famed for its bright, clear sound.

The company’s last workshop in the Paris suburb of Saint-Denis has now been closed with the loss of 14 jobs and the demise of a brand described by Pleyel’s deputy head of workshop Fabrice Perret as ‘the Ferrari of the piano world’.

French industry minister Arnaud Montebourg has said he will meet Pleyel to discuss ways to save the company.

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