Trinity Laban announces new head of keyboard studies
25 November 2015
Trinity Laban Conservatoire of Music & Dance has appointed Peter Tuite as its new head of keyboard studies. He succeeds Deniz Gelenbe, who will continue to teach at the conservatoire.
Tuite comes to Trinity Laban from the Royal Irish Academy of Music, where he was head of the keyboard faculty and then senior dean.
He joins a department including Margaret Fingerhut, Pascal Rogé, Elena Riu, Steven Devine and Eugene Asti.
He studied at Trinity College Dublin, the University of Oxford and as a Fulbright Scholar at the Peabody Institute of the Johns Hopkins University. He has recently finished making a new film of the Goldberg Variations at the famous Long Room Library; future projects include the recording and filming of the complete Haydn sonatas for keyboard and a new series of compositions based on short portraits of Dublin.
Trinity Laban director of music Claire Mera-Nelson said that Tuite 'brings a wealth of experience, both as a pianist and as a pedagogue, and his incisive and eclectic cultural knowledge and progressive view of music education will be a huge asset to us all.'
Trinity Laban: Piano and keyboard instruments
Three's company: Trio Elegiaco
24 November 2015, Kimon Daltas
Mutual appreciation: Pierre Doumenge, Hannah Dawson and John Paul EkinsJean Wong ©
Formed to play for a specific occasion and a specific piece – from which it takes its name – the Trio Elegiaco could have parted as easily as it came together. But instead it looks like the beginning of a lasting partnership, writes Kimon Daltas.
‘I first heard Tchaikovsky’s piano trio on my parents’ vinyl
turntable,’ says Pierre Doumenge, cellist with the Trio Elegiaco. ‘Gilels,
Kogan and Rostropovich were playing. I must have been nine or ten and these
names didn’t mean anything to me yet, but I recall being drawn in by the
intensity and expression in their sound.
‘What is remarkable about this work is that the intensity is
present in every single bar – in the whole 50 minutes or so.’
The other members
of the group also have vivid memories of their first contact with the work.
Hannah Dawson, whose regular gig is as second violin of the Sacconi Quartet,
‘fell in love with its unashamed passion and deep melancholy’, while John Paul
Ekins discovered it as a teenager, via a Borodin Trio recording.
‘I remember being instantly hooked, playing it on loop
almost everywhere I went. It is a work with the sort of unrelenting fervour and
emotional content that allows the performers (and therefore the listeners) next
to no respite, and as such makes it impossible to switch off or be distracted
from once started.’
Earlier this year, at the Folkestone chamber music festival
run by the Sacconis, Doumenge was filling for the quartet’s usual cellist Cara
Berridge, who was on maternity leave. He and Dawson discussed forming a trio
for one of the concerts to add some variety – and give Dawson a crack at the
first violin position for a change. They tracked down Ekins to join and, given
their mutual love of the Tchaikovsky, needing a substantial work to stand alone
in the late night concert, things fell into place pretty naturally – and the
title of the first movement, ‘Pezzo elegiaco’, inspired the name of the new
What is considered one of the peaks of the genre might have
surprised its first audiences both with its dimensions and rejection of the
usual structures, with its two long movements – Ekins notes the renowned critic
Edward Hanslick writing that when it was played in Vienna for the first time,
‘the faces of the listeners almost expressed the wish that it should be also
the last … it belongs to the category of suicidal compositions, which kill
themselves by their merciless length.’
‘The fact that Tchaikovsky composed a piano trio at all is
in itself remarkable,’ says Ekins. ‘In an 1880 letter to Madame von Meck,
Tchaikovsky had confessed his firm belief that the piano was incapable of
blending adequately with solo strings. In his opinion, the piano could only be
suitably balanced by the full orchestra: otherwise, it should be heard alone.
‘However, when his mentor, supporter and friend Nikolai
Rubinstein (who had composed five piano trios) died at 46 in 1881, Tchaikovsky
set to work on this project, seemingly out of defense to his dear friend, to
whom the work is dedicated.’
Having decided to go for it, the composer doesn’t give the
strings an easy ride, with the piano being a constant presence, rarely taking
more than a bar’s rest, and ‘full of thick textures and rich chords,’ says
‘Stamina plays an important part too, particularly as the entire 50
minutes builds to an excruciatingly powerful and prolonged climax, and once
must have sufficient reserves in store for that when it comes!’
The forthcoming Rhinegold LIVE recital is an opportunity to
hear the Trio Elegiaco give its second ever live performance of the work – and
perhaps to witness the start of something special.
The next Rhinegold LIVE recital will take place on 7 December at Conway Hall. Tickets are free and include a glass of wine at the drinks reception (6.15pm).
Trio Elegiaco – John Paul Ekins (piano), Hannah Dawson (violin), and Pierre Doumenge (cello) – will perform Tchaikovsky’s piano trio in A minor (Op 50) before taking part in an informal Q&A conducted by Classical Music editor Kimon Daltas.
Sign up for a free ticket at www.rhinegoldlive.co.uk
Rhinegold LIVE: Trio Elegiaco
Seong-Jin Cho releases live album
10 November 2015
Seong-Jin Cho's debut album
Record shops across Korea were inundated on 9 November as music-lovers flocked to buy Seong-Jin Cho's debut live album.
The 21-year-old South Korean pianist was announced as the winner of the International Chopin Piano Competition on 20 October 2015. He received a cash prize of €30,000 (£22,000), and won a further €3,000 (£2,200) for the best performance of a polonaise.
The live recording features highlights from Cho's performances during the competition, including the complete Preludes and the second sonata.
The CD (released on Deutsche Grammophon) went straight to no. 1 in the pop album charts on pre-orders alone.
Cho said of his debut release: 'Chopin’s music tells us so much about human nature and goes straight to the heart. I hope that the Deutsche Grammophon album will move everyone who listens to it.'
Costa Pilavachi, international senior vice president at Universal Music Group, said of Cho: 'During the three intense weeks of the competition and wonderful music-making, we were captivated by his performances, and we believe that he will become one of the best artists of his generation.'
The album marks the start of a long-term collaboration between the Chopin Institute and Deutsche Grammophon with the aim of presenting outstanding interpretations of Chopin’s works to the largest possible audience.
Seong-Jin Cho: Chopin
Martha Argerich awarded RPS gold medal
5 November 2015
RPS chairman John Gilhooly presented the pianist with the award at Wigmore Hall on 2 November.
Argerich said that she was very humbled to receive the medal, especially when she read the list of previous recipients, and that she would cherish it.
The RPS citation reads: ‘Martha Argerich’s combination of technical mastery and passionate artistry make her one of the most compelling and expressive pianists, and her extraordinary live performances are a musical and intellectual tour de force.
‘She is a consummate chamber music collaborator. It is this spirit of collaboration that led to the Progetto Martha Argerich at the Lugano International Festival, now in its 15th year, through which she demonstrates her enduring generosity and personal commitment to emerging musicians and by mixing established and up-and-coming artists has created many inspirational chamber music partnerships.
Argerich is the 101st recipient since the medal was founded in 1870 to mark the centenary of Beethoven’s birth.
Other current RPS gold medallists include Janet Baker, Daniel Barenboim, Pierre Boulez, Bernard Haitink, Nikolaus Harnoncourt, György Kurtag, Sir Simon Rattle, András Schiff, Mitsuko Uchida and Antonio Pappano.
British pianist wins Long Thibaud Crespin competition
28 October 2015
Julian Trevelyan following the performance and prize-giving
The final round of the Long Thibaud Crespin competition took place on 27 October at the Théâtre des Champs-Elysées, Paris. No first prize was awarded, meaning that the highest placed contestant was British pianist Julian Trevelyan
, who won the €12,000 (£8,678) second prize.
Trevelyan, who also won the special prize for the best concerto interpretation, was a BBC Young Musician finalist in 2014, and is currently an Aldeburgh Young Musician. He won the Grand Prix at the Festival Contest for modern piano repertoire in Paris, and both second prize and the Moscari Prize at the Île-de-France piano competition.
He said of his success: 'The competition was a very intense and wonderful experience. I am honoured to be the top prize winner and particularly delighted to be awarded the Prince Rainer of Monaco Concerto Prize for my performance of the third piano concerto by Bartók. I consider his concertos to be among the most inventive and fascinating of all piano concertos. The audience gave unstinting support and encouragement throughout and I gave them the heart of my music.'
The other prize winners were: Kaoru Jitsukawa (Japan), third place, the award for the best recital, and the Sacem prize (for the best interpretation of the work commissioned by the contest); Joo Hyeon Park (South Korea), fourth place; Madoka Fukami (Japan), fifth prize and the Ravel Foundation award; and Daria Kiseleva (Russia), sixth place.
This is the third time in a row the competition has not awarded Premier Prix in piano, after the editions of 2009 and 2014, and the eighth time since its creation in 1943.
Founded in 1949 by Marguerite Long, the biennial competition alternates between piano and violin. Previous winners include Samson François (1943), Aldo Ciccolini (1949) and Cedric Thiberghien (1998).
Long Thibaud Crespin
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