It seems like I’m not listening to the sound of the piano, but to the … · 2018-01-15 ·...

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“…It seems like I’m not listening to the sound of the piano, but to the voice of soul, alive, full of enormous kindness and love towards humans and life. In order to come close to that level of spirituality, a performer needs a vast amount of honesty, and to be passionately in love with the works of those authors…”

From the movie “The Alive Voice of Soul, Stanislav Neuhaus”

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WORLD PIANO CONFERENCE NOVI SAD

RadmilaRakin-Martinović DorianLeljak ExecutiveDirector President

Isidor Bajić Music SchoolwasfoundedontheinitiativeofIsidorBajićin1909.Hisideaofeducatingskilledstaffandofeducatingmusicfansiscurrenteventoday.Itisprovenbythefactthatover1000pupilsattendtheschoolbothinelementaryandsecondaryeducation.Therearesevendepartmentsinschoolwherepupilslearndifferentdisciplinesofmusicart.Theyalsoareabletoplayassoloists,inchamberensemblesandinorchestras.AsthebiggestmusicschoolinVojvodina,IsidorBajićMusicSchoolreceivedmanyawardsandrecognitionsfromallovertheworld.PupilsfromTheSchoolcontinuetheireducationbothwithinthecountryandabroad.Richconcertactivitiesoftheschool’spupilscontributesignificantlytotheculturallifeofNoviSad.In2009,IsidorBajićMusicSchoolcelebrateditscentenary.

European Piano Teachers Association – Vojvodina (EPTA – Vojvodina) was founded inNoviSadonMarch17,2002,and joined theEPTAfamilyofficiallyin2004.TheinitiatorsandfounderswereDorianLeljak,MilenaApićandVeraHofmanMomčilović.TheobjectivesoftheAssociationare:connectionandcoordinationofworkofpianoteachers,promotionofpianopedagogyandperforming,influenceondevelopmentofpianoproductiveandreproductiveart,affirmationofpianoteachersandtheiractivitiesandresultsondomesticandthesceneabroad, affirmationof talents in pianoperforming andupdating of pianopedagogy andperforming. In 2007,EPTAVojvodina organizedthe29thEuropeanConferenceofEPTAAssociationsinNoviSad.FirstWorldPianoConferencewasorganizedin2009andhassincebeenorganizedannually.PresidentofEPTA–VojvodinaisDr.DorianLeljak.

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EPTA VOYVODINA SIGNIFICANT AWARDS

Significant Contribution to the Music Profession Award (2009)RadmilaRakinMartinović

Lifetime Achivement Awards (2007)LidijaNikolić~LidijaGvozdanović~IvanaBranovački~SvetlanaBogino

Honorary Membership (2004)DianeAndersen

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Over one hundred pianists and piano teachers take part in theWorldPianoConference annually, contributing tothefurtheradvancementofthestandardsofteachingandstudyingpiano,addressingallaspectsofart,pianismandpianopedagogy,frombeginnerleveltoprofessional,andformingastrongbondbetweenpianistsandpianoteachersfromallovertheworld.TheprogramoftheWorldPianoConferencesisrealisedthroughavarietyofforms,includinglectures,recitals,master classes, and seminars, encompassing a diverse set of piano pedagogy related topics aswell as those focused ontheperformanceofpianoliteraturemasterpieces.WorldPianoConferencesareheldannuallyintheorganizationofEPTAVojvodina(EuropeanPianoTeachers’Association),andIsidorBajićMusicSchool.TheFifthWorldPianoConferencewillbeheldinNoviSad,from27Juneto3July,2013.

FirstWorldPianoConference,NoviSad,May4–8,2009

SecondWorldPianoConference,NoviSad,August26–31,2010

ThirdWorldPianoConference,NoviSad,June27–July03,2011

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PUBLISHED IN NEWSPAPERS

Beta,May3,2009–TheFirstWorldPianoConferencewillbegininNoviSadonMondayandwilllastuntilMay8th,withprogramsfeaturedatIsidorBajićMusicSchoolandtheNoviSadSynagogue.TheorganizershaveannouncedthatoveronehundredpianistsandpianoteachersfromoverthirtycountrieswilltakepartintheConference.

NacionalniGrađanski,May4,2009–TheFirstWorldPianoConferencewillbeheldinNoviSadbetweenMay4and8th2009attheConcertHallofIsidorBajićMusicSchoolandtheNoviSadSynagogue,organizedbyEPTAVojvodina(EuropeanPianoTeachersAssociation)andIsidorBajićMusicSchool.“Ourtownwillbecomeagatheringpointforthemeetingofonehundredpianistsandpianoteachersfromover30countries

around theworld–Germany,GreatBritain,Austria,Switzerland,Holland,Denmark,Sweden,Romania,Poland,Norway,Finland,Greece,Portugal,Hungary,Croatia,Canada,USA,Argentina,Brazil,NewZealand,Ghana,theSouthAfricanRepublic,Estonia,Russia,Australia,China,Japan,SouthKorea,andourcountry”,ournewspaperwasinformedbyIsidorBajićMusicSchoolofficials.

Therewillbe34concertsheld(solopianorecitals,pianoduoperformances,voiceandpianorecitals,lecture-recitals,andperformancesofconcertosforpianoandorchestra)and65presentations(lectures,masterclasses,presentations).TheGalaopeningandtheconcertoftheesteemedItalianpianistGiuseppeAndalorowillwilltakeplaceattheSynagoguetonightat8PM.“TheclosingconcertisscheduledforFriday,May8,2009.ItwilltakeplaceattheSynagogue,featuringtheIsidorBajićMusicSchoolSymphonyOrchestraenhancedbysevenstringplayersfromMiliBalakirevMusicSchool,Moscow(Russia),andfouryoungandtalentedsoloists:EkatarinaMakarevskajafromMiliBalakirevMusicSchoolinMoscow,andthreesoloistsfromIsidorBajićMusicSchool–TeaStojšić(piano),IrenaJosifoska(violoncello)andDaniloKuzman(violin),allunderthebatonofAleksandarKojić”,asannouncedbytheorganizersoftheWorldPianoConference.

DailyPaperDanas,August25,2010–TheSecondWorldPianoConferencebeginstodayatIsidorBajićMusicSchoolandwilllastuntilAugust31st.Itwillgatheroveronehundredpianistsandpianoteachers,whowillbemakingtheircontributionstofurtheradvancementinthestandardsofpianoperformingandteaching,addressingallaspectsofpianoperformanceandpianopedagogy,frombeginnerleveltoprofessional,whileformingastrongbondbetweenpianists

andpianoteachersfromallovertheworld.TheprogramoftheSecondWorldPianoConferencewillbecomprisedoflectures,recitals,masterclasses,andseminars,encompassingadiversesetofpianopedagogyrelatedtopicsaswellasthosefocusedontheperformanceofpianoliteraturemasterpieces.AmongthosewhowilltakeanactivepartintheConferenceareanumberofcurrentnationalEPTA(EuropeanPianoTeachersAssociation)presidentsfromvariousEuropeancountries,membersoftheMusicTeachersNationalAssociation(American-basedorganization), theAsianPianoTeachersAssociation, theAustralianPianoTeachersAssociation, and a numberofartistsandpianistsfromtheUSA,Europe,Australia,NewZealand,SouthAfrica,andAsia.Dnevnik,August23,2010.–TheWorldPianoConference–Beginningthisweekandlastingintothenext,fromAugust26thto31st,

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NoviSadwill serveashost to a significantmusical event:TheSecondWorldPianoConference, agatheringofoveronehundredpianistsandpianoteachersorganizedbyIsidorBajićMusicSchoolandtheVojvodinabranchoftheEuropeanPianoTeachersAssociation, in collaborationwith similarorganizations fromAsia,USA,Australia

andotherpartsoftheworld.Theaimofthemanifestation,whichconsistsofpresentationsandconcertsthatwilltakeplaceatIsidorBajićMusicSchool,theNoviSadSynagogueandtheCityHall,istomakeacontributiontothefurtheradvancementofthestandardsofpianoperformingandteaching,andtheorganizationofthiseventrepresentsanewandsignificantconfirmationofthehighlevelofpianoperformingandteachinginourarea.OveronehundredesteemedsoloistsandpianoteachersfromallovertheworldwilltakepartintheConference,givinglecturesandpresentationsonvarioustopicsrelatedtothehistoryofpianism,pianopedagogyandconcertperformances,encompassingthemesrelatedtoteachingbeginners,diversecontemporarypedagogyandperformancerelatedissues,theinfluenceofjazzandotherpopularmusiconclassicalrepertoire,aswellastopicsimposedbytheoveralladvancementininformationaltechnology:theinnovationofpianoexpressioninthecomputerage.Lecturesonthepianooutputofgreatpastcomposers,suchasLiszt,Hummel,Albeniz,Busoni,Kirchner,Satiealsoattractattention,asdopresentationsof themostcontemporarypianoopusesof21stcenturycomposers.Theprogramoftheconferencealsofeaturesmasterclassesbythevisitingprofessors.AmongtheesteemedpianistsandpianoteacherswhowilltakepartintheConferenceare:MichaelBaron,JenniferCruz,GerickPeterson,AnthonyOlsson,BarrySneiderfromtheUSA,ToriStodlefromNorway,ShinaNicolfromGreatBritain,GregorNiemczykfromPoland,HEribertKochfromGermany,VeronikaGasparfromRomania,ReadeLyllfromNewZealand,aswellasBrankaParlić,AlanFreiser,MilanMiladinović,DinaŠuklar,MilenaApićandothersfromSerbia.Theconferenceprogramwillbegindailyat9AMattheConcertHallofIsidorBajićMusicSchool,andwill lastuntil5PM,whentheprogramwillcontinueat theNoviSadSynagogue. Inadditionto themanysoloperformancesandrecitalsbyyoungpianistsandwellestablishedsoloists,theprogramsoftheseconcertswillalsoincludeperformancesbypianoduos,suchasIngmarduofromNoviSad,formedbySlobodankaStevićiAleksandarGligić.

RTV,June27,2011–PianistsfromAllovertheWorldinNoviSad–Intheweekahead,fromJune27thtoJuly3rd,IsidorBajićMusicSchoolwillhosttheThirdWorldPianoConferenceinNoviSad.Duringthemanifestation,whichattractspianistsandpiano teachers fromsixcontinents,anumberofmasterclasses, seminars, lectures,

presentationsandconcertswillbeheld,exhibitingadiversepianorepertoireandencompassingvarioustopicsrelatedtopianoteachingandperforming.Themembersandrepresentativesofvariouspianoassociations,includingtheEuropeanPianoTeachersAssociation,theMusicTeachersNationalAssociation(Americanbasedorganization),theAsianPianoTeachersAssociation,theAustralianPianoTeachersAssociation,andanumberofartistsandpianistsfromtheUSA,Europe,Australia,NewZealand,SouthAfrica,andAsiawillparticipateintheConference.TheopeningceremonyandconcertwillfeaturethreepianistsfromNoviSad:PavleKrstić,AleksandarĐermanovićandIrisKobal,who,incollaborationwiththeCamerataAcademicaOrchestraunderthebatonofAleksandarKojić,willbeperformingpianoconcertosbyBach,MozartandChopinattheNoviSadSynagogue,beginningat8PM.

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IMPRESSIONS

DearWPC, Itwasnicemeetingyou.IwantedtocongratulatewiththegreatorganisationoftheFestivalandthewonderfultimeIhavespentinNoviSad.Takecareandbestwishes! SeeSiangWong

DearWPC,Theconferencewasextremelywell-organizedandwell-staffed.Everyonewassohelpfulandkindinthesecretariat;theytookcareofeverydetailimmediatelyandwerealwaysprofessional.Allthebest, JeremyDearWPC,ThankyouSOmuchforanotherinspiringandverypleasantstayinNoviSad.Youcreateaverygoodatmosphereandtheconferencepresentedsomanyinterestingissues.Bestregards, DesireePaulsenBakke

DearWPCNoviSadTeam,ThankyouforsuchamusicallyinspiringeventastheWPC2009.Ifelthonouredtobepartofit.Congratulationsonyoursuccessandcongratulationstoyourwonderfulstudentswhoperformed.Theywereabsolutelydelightful.Iwishyoualleverysuccessforthefutureandlookforwardtoarewardingassociationwithyou.Kindregards, SuzanneCooper

DearWPC2010Team,Iwouldliketothankyouandcongratulateyouforanexcellent2ndWorldPianoConference2010.Yourstaffwasprofessionalandcordialandtheprogramingveryinterestinganduseful.Iknowthattheconferencerequiredatremendousamountofplanningandworkandyoureffortsresultedinasuccessfulartisticevent.Sincerely, WilliamA.Lipke

DearOrganisersofWPC,Thankyousomuchforamostenjoyableandwellorganisedconference!Therangeoftopicsandperformanceswereveryengaging,andIfoundNoviSadtobeawonderfullocationforthisevent.Thankyouforyourhospitality,andIhopetoreturninthefutureforanotheredition.Allbestwishes, NathanaelMay

Country WPC 1 WPC 2 WPC 3 WPC 4

OVERVIEW OF PARTICIPATING COUNTRIES

Maleysia

Netherlands

New Zeland

North Cyprus

Norwey

Phillipines

Poland

Portugal

Republic of Korea

Romania

Russia

Serbia

Slovenia

South Africa

South Korea

Sweden

Switzerland

Turkey

Ukraine

United Kingdom

USA

Argentina

Australia

Austria

Belgium

Brazil

Bulgaria

Canada

Colombia

Croatia

Cuba

Czech Republic

Denmark

Estonia

Finland

Germany

Ghana

Greece

Hungary

Hong Kong

Israel

Italy


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OVERVIEW OF PARTICIPATING COUNTRIES

Maleysia

Netherlands

New Zeland

North Cyprus

Norwey

Phillipines

Poland

Portugal

Republic of Korea

Romania

Russia

Serbia

Slovenia

South Africa

South Korea

Sweden

Switzerland

Turkey

Ukraine

United Kingdom

USA

Argentina

Australia

Austria

Belgium

Brazil

Bulgaria

Canada

Colombia

Croatia

Cuba

Czech Republic

Denmark

Estonia

Finland

Germany

Ghana

Greece

Hungary

Hong Kong

Israel

Italy


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FIFTH WORLD PIANO CONFERENCE

NOVI SAD, SERBIA27 June – 3 July, 2013

www.wpta.info

NOW ACCEPTING SUBMISSIONS:e-mail: [email protected]

WORLD PIANO TEACHERS ASSOCIATION HONORARY PRESIDENTSGRIGORY SOKOLOV (Russia)

TAMÁS VÁSÁRY (Hungary)PETER FRANKL (USA)

JOHN O’CONOR (Ireland)ANGELA HEWITT (Canada)

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Monday,June27th2012Synagogue8:00pm

GALA OPENING CEREMONY

CAMERATA ACADEMICA(SERBIA)

J.S.Bach ConcertofortwopianosinCMinor,BWV1060 Allegro Adagio Allegro Soloist: Viktor Radić / Dragutin Vučić (Serbia)

J.S.Bach ConcertofortwopianosinCMinor,BWV1062 Notempoindication

AndanteAllegroassai

Soloist: Slobodanka Stević / Aleksandar Gligić (Serbia)

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J.S.Bach ConcertoinDMinor,BWV1052 Allegro Adagio Allegro Soloist: Biljana Gorunović (Serbia)

Conductor: Andrej Bursać (Serbia)

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4thWORLDPIANOCONFERENCENOVISADSCHEDULE

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27th JUNE, 2012 (WEDNESDAY)

ISIDOR BAJIĆ MUSIC SCHOOL10,00 CONFERENCE OPENING Dr. DORIAN LELJAK,WPCPresident Prof. RADMILA RAKIN-MARTINOVIĆ,WPCExecutiveDirector Prof. TATJANA VUKMANOVIĆ,WPCSecretaryGeneral10,15 KEVIN RICHMOND (USA)

Lecture-Recital: Eine Kleine Mitternachtmusik: Crumb’s Fascination with Jazz and Nocturnal Imagery11,15 IAN JONES (UK) Piano Master Class12,15 LORETTA LANNING (USA) Lecture: Sequencing Czerny’s Etudes with Beethoven’s Sonatas in the High School Curriculum13,00 ILONKA PUCIHAR (SLOVENIA) Lecture: Creativity and Improvisation: a Vital Part of Piano Lessons in the First Years of Learning 13,45 DAVID KARP (USA) Lecture-Recital: The Piano Teaching Music of David Karp 14,30 ELLEN GREGORIE (USA) Lecture-Recital: Pedagogical Perspectives on J. S. Bach’s “Little Preludes and Fugues” 15,15 Intermission

16,15 MARTA MILOSEVIĆ BRANKOVIĆ (USA) Piano Recital: (Chopin, Mozart, Satie, Galindo, Garcia, Webber)17,15 IVAN HOLODOV (SERBIA) Piano Recital - Young Concert Platform: (Rameau, Beethoven, Chopin, Tchaikovsky, Bartók)18,00 BRANKA ŽIRAVAC JEREMIĆ (SERBIA) Piano Recital: (Mozart, Debussy, Kulenović, Scriabin )19,00 VELJKO GLODIĆ (CROATIA) Piano Recital: (Scriabin)19,45 Intermission

THE SYNAGOGUE20,00 GALA OPENING: EVENING OF PIANO CONCERTOS BILJANA GORUNOVIĆ/VIKTOR RADIĆ/DRAGUTIN VUČIĆ/SLOBODANKA STEVIĆ/ALEKSANDAR GLIGIĆ (SERBIA)

ANDREJ BURSAĆ (SERBIA)/CAMERATA ACADEMICA Piano Concertos: (Bach)

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28th JUNE, 2012 (THURSDAY)

ISIDOR BAJIĆ MUSIC SCHOOL10,00 PAOLA SAVVIDOU (USA/CYPRUS) Workshop: Playing with the Whole Body10,45 TORI STØDLE (NORWAY) DVD Presentation: “Bells are Shining and Calling”11,30 DOTAN NITZBERG (ISRAEL)

Lecture-Recital: Teaching Piano to People with Asperger’s more Effectively12,15 DAVID KARP (USA)

Lecture-Recital: The Piano Music of Leonard Bernstein13,00 JUDY KEHLER SIEBERT/MINNA ROSE CHUNG (CANADA) Lecture-Recital: “You’re Not REALLY Listening!” The Magic of Chamber Music Interaction13,45 MARIANN MARCZI (HUNGARY)

Lecture-Recital: Claude Debussy’s Influence on Zoltán Kodály’s Piano Pieces14,30 SOPHIA GILMSON (USA) Piano Master Class15,15 Intermission

16,00 NATALIJA TOMIĆ (SERBIA) Piano Recital: (Mozart, Rachmaninoff, Bach-Busoni, Liszt, Ginastera, Ravel, Clementi, Debussy, Franck, Gubaidulina, Chopin, Kapustin)18,00 SOFIJA PALUROVIĆ (SERBIA)

Piano Recital - Young Concert Platform: (Bach, Beethoven, Chopin, Rachmaninoff)18,30 GORICA ŠUTIĆ (SERBIA) Piano Recital - Young Concert Platform: (Bach, Clementi, Glinka, Chopin)19,00 TEA STOJŠIĆ (SERBIA) Piano Recital - Young Concert Platform: (Bach, Haydn, Schumann, Rachmaninoff, Debussy)19,45 Intermission

20,00 ALEKSANDAR ÐERMANOVIĆ (SERBIA) Piano Recital: (Scarlatti, Brahms, Liszt)21,00 LACHLAN REDD/TERESA LAVERS (AUSTRALIA) Piano Duo Recital: (Mozart, Schubert, Infante)

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29th JUNE, 2012 (FRIDAY)

ISIDOR BAJIĆ MUSIC SCHOOL10,00 MARY ELLEN HAUPERT (USA)

Lecture: Creativity, Meaning, and Purpose: Essential Ingredients for Taking the Fear out of Music Composition10,45 RAUL M. SUNICO (PHILIPPINES)

Lecture-Recital: Piano Music in the Philippines11,30 ANDREI ENOIU-PÂNZARIU (ROMÂNIA)

Lecture: Beethoven Under the Lens of the Most Important European Schools, a Comparative Analysis of Editions and Interpretations12,15 SOPHIA GILMSON (USA) Lecture: Goldberg Variations by Bach on Harpsichord and Piano13,00 MAURÍCY MARTIN (BRAZIL) Lecture-Recital: Select Brazilian Composers and Their Piano Works13,45 JANE LUTHER SMITH (USA)

Lecture-Recital: Schumann Davidsbundlertanze, Opus 614,30 IVANA TABAK (SERBIA/CZECH REPUBLIC)

Lecture: Critical Edition of Martinů’s Concerto for Piano and Orchestra no. 4 / Incantation15,15 MARIA DEL PICO TAYLOR (USA/CUBA) Lecture-Recital: Enrique Granados and Frederic Chopin: Styles in Comparison16,00 Intermission

17,30 VLADIMIR ŠOVLJANSKI (SERBIA) Piano Recital - Young Concert Platform: (Bach, Beethoven, Chopin, Rachmaninoff)18,15 HAYSUN KANG (USA/KOREA) Piano Recital: (Bach-Busoni, Schumann, Chopin)19,00 TIMOTHY SCHORR/MARY ELLEN HAUPERT (USA) Piano Duet Recital: (Moszkowski, Ravel)19,45 Intermission

20,00 LACHLAN REDD (AUSTRALIA)Piano Recital: (Bach, Schumann)

21,00 SANG-HIE LEE/YOUMEE KIM (USA) Piano Duo Recital: (JB Floyd, Paterson, Lee)

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30th JUNE, 2012 (SATURDAY)

ISIDOR BAJIĆ MUSIC SCHOOL10,00 ANNA KIJANOWSKA (POLAND/USA)

Lecture: Mazurka: Dance of a Polish Soul10,45 MARTHA THOMAS (USA)

Lecture Recital: Rediscovering the Piano Music of Max Reger11,30 VICTORIA FISCHER FAW (USA)

Lecture Recital: Bartók’s FOR CHILDREN: Unraveling the mystery of the editions12,15 HERIBERT KOCH (GERMANY) Piano Master Class13,00 DAVID WESTFALL (USA) Piano Master Class14,30 CARINA JOLY (BRAZIL/SWITZERLAND)

Piano Master Class15,15 SANG-HIE LEE (USA)

Lecture: “What’s up Doc: Music and Medicine, a New Paradigm for Music Performer Education”16,00 Intermission 17,30 NINA KAVTARADZE (DENMARK) Piano Recital: (Schubert)18,15 HELEN BURFORD (UK) Piano Recital: (Kapustin, Bach, Brubeck, Montague, Satoh, Feuchtwanger, Scarlatti, Turina, Rakowski)19,15 Intermission 20,00 LESLIE TUNG (USA) Piano Recital: (Mozart, Haydn, Beethoven)

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1st JULY, 2012 (SUNDAY)

ISIDOR BAJIĆ MUSIC SCHOOL10,00 LESLIE TUNG (USA)

Piano Master Class10,45 ROSS OSMUN (CANADA)

Lecture-Recital: Franz Liszt’s Mid-Life Crisis and the Genesis of the B Minor Piano Sonata12,00 SEBASTIAN BAUSCH (GERMANY)

Lecture: Fanny Davies’ Recording of Schumann’s Kinderscenen: Early Recordings as a Source for 19th Century Piano Playing12,45 JOVANKA BANJAC (AUSTRIA) Piano Master Class: Viennese Classical Tradition 13,30 KATHRYN FOUSE (USA)

Lecture-Recital: ‘The Sound and the Story: Presentation of “Portraits from Shakespeare’s Titus Andronicus” 14,15 YOUNG-HYUN CHO (REPUBLIC OF KOREA) Piano Recital: (Chopin, Liszt)15,00 Intermission

16,30 SRNA ŽUGIĆ (SERBIA) Composer’s Profile17,00 MIŠA CVIJOVIĆ (SERBIA) Composer’s Profile17, 30 SMILJANA DANILOV (SERBIA) Piano Recital - Young Concert Platform: (Bach, Beethoven, Rachmaninoff, Liszt) 18,15 DOMINIK STADLER (GERMANY) Piano Recital - Young Concert Platform: (Haydn, Mussorgsky)19,00 WILLIAM LIPKE (USA) Piano Recital: (Haydn, Prokofiev, Lipke)19,45 Intermission

20,00 STEFAN RAKIĆ (SERBIA) Piano Recital: (Bach-Busoni, Chopin, Beethoven, Liszt, Prokofiev)21,00 MILAN MILADINOVIĆ (SERBIA) Piano Recital: (Scriabin)

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2nd JULY, 2012 (MONDAY)

ISIDOR BAJIĆ MUSIC SCHOOL10,00 CARINA JOLY (BRAZIL/SWITZERLAND) Workshop: Beyond Your Hands: A Preventive Approach for Optimal Piano Performance11,15 YOUNG-HYUN CHO (REPUBLIC OF KOREA) Piano Master Class12,00 MILAN MILADINOVIĆ (SERBIA) Lecture: Mazeppa as Inspiration of Franz Liszt13,00 DEBRA ANDREACCHIO (AUSTRALIA)

Lecture Recital: Visions of History - Dmitri Shostakovich: Based on His Preludes Op. 3413,45 KATIE ZHUKOV (AUSTRALIA)

Lecture: New Sight-Reading Course for Advanced Pianists14,30 CLAUDIA DELTREGIA (BRAZIL) Lecture: Teaching Contemporary Music: Practical Activities for Piano Beginners15,15 Intermission

17,30 MAREK STUPAVSKÝ (SERBIA)Piano Recital - Young Concert Platform: (Bach, Haydn, Rachmaninoff, Mokranjac, Debussy)

18,00 MAJA TAJNŠEK (SLOVENIA) Piano Recital: (Scriabin, Ravel, Ginastera, Rachmaninoff, Rijavec, Škerjanc, Glavina) 19,00 SAŠA GERŽELJ-DONALDSON (SLOVENIA) Piano Recital: (Mozart, Brahms)19,45 Intermission 20,00 ANDREA DER/SANJA LUKOVAC (SERBIA) Piano Duo Recital: (Mozart, Debussy, Poulenc)

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3rd JULY, 2012 (TUESDAY)

ISIDOR BAJIĆ MUSIC SCHOOL10,00 KATIE ZHUKOV (AUSTRALIA)

Lecture-Recital: Wirripang Australian Piano Anthology (2011) – New Australian Repertoire for Beginner, Intermediate and Advanced Students 10,45 MICHAEL KIRKENDOLL (USA)

Lecture-Recital: Acting Like a Pianist: Music for Theatrical Pianist Jerome Kitzke’s ‘Sunflower Sutra’ & Frederic Rzewski’s ‘De Profundis12,00 NÉLIDA SÁNCHEZ (ARGENTINA)

Lecture-Recital: Presentation CD “Recital” 12,45 MARGARET BRANDMAN (AUSTRALIA) Lecture: The Geometry of the Piano and the Symmetry of the Hands –New Ways with Old Scales! 13,30 CAROL GINGERICH (CANADA/USA) Lecture: Having Fun with Modern Music: The Canadian “Celebration Series” 14,15 EZRA BARTZ (USA) Lecture-Recital: Decoding Scriabin’s Seventh Sonata (Lecture-Recital) 15,00 ANTHONY OLSON (USA) Lecture-Recital: Coming to America: Thalberg in the USA 15,45 LINDA CHRISTENSEN (USA)

Lecture: iPad Apps for Piano and Music Education 16,30 Intermission

17,30 LUKA JOVANOVIĆ (SERBIA) Piano Recital - Young Concert Platform: (Beethoven, Liszt, Schumann, Prokofiev)18,30 KOSTA JEVTIĆ (SERBIA) Piano Recital: (Scarlatti)19,15 Intermission

20,00 ENIKŐ GÖRÖG (SERBIA) Closing Piano Recital: (Scarlatti, Beethoven, Liszt, Ginastera)21,30 CONFERENCE CLOSES22,00 Banquet

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4thWORLDPIANOCONFERENCENOVISADPRESENTERS

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DEBRA ANDREACCHIO(AUSTRALIA)UniversityofAdelaide(Adelaide)

Debra is pursuing a Master’s Degree focused on the Twenty Four Preludes Op. 34 of DmitriShostakovich.ShehasoverthirtyyearsofexperienceasapianoteacherinSpecialMusicSchoolsand inherprivate studio. In1990 she established theAnnaEssipoffPianoSchool that inspiredstrongcreativefoundationsinyoungpeopleanddevelopedtheirabilitiestoexcelatanadvancedlevel.Pianoteachershaveworkedunderherguidanceinpianoprogramswithinschoolsandherstudents havewon numerous scholarships and special prizes. Debra has presentedmulti-medialecture demonstrations at Australasian Piano Pedagogy Conferences and Western AustralianPianoPedagogyConventions.Sheperformedinthe2010premiereofLarrySitsky’spianosuite,“TheGoldenDawn”thatcontainsamovementdedicatedtoher.Debrahasconvenedthree-dayconferencesforTheMusicTeachers’AssociationofSouthAustralia(MTASA):in2009,“Life,Time,Music…”andin2011,“ImmortalityofRomanticism”.CurrentlyDebraisPresidentoftheMTASAandontheBoardoftheAustralasianPianoPedagogyConferenceAssociation.Sincegraduating,Debrahasextendedherstudieswithinternationallyacclaimedpianopedagogue,EleonoraSivan.

Lecture-Recital: Visions of history - Dmitri Shostakovich: Based on his Preludes Op. 34

TheRussianRevolutionprecipitatedoneofthemostsignificantpoliticalchangesinhumanhistory.Yethowdidindividuals,particularly artists, survive this period thatwas full of turmoil and incredible extremes?Shostakovich’smusic has beendescribedas“asecrethistoryofRussia”.Withagreatloveofhiscountryandpeopleabovepolitics,Shostakovichrevealedinsightsintotheemotionalatmosphereofhisepoch.Hismusicwashisrefuge.Hisfantasywashissalvation.Havinganenormousmusicalfoundation,Shostakovichleftbehindamusicallegacythatburstswithimaginationandprofounddepth.HisPreludeshavebeendescribedas“aseriesofpsychologicalsketches”.Eachpreludereflectsadifferentgenre,moodandemotionalresponse.Shostakovichwasdescribedasthe“Mozartofthetwentiethcentury”,notonlybecauseofhisgenius,hisinnovativestylebutalsobecauseofhislogic,structure,artisticvision,varietyoffantasy.Hisenormousinfluencewasnotonlyonthecomposersofhisgenerationaroundthewholeworld,butlikeBach,Mozart,Beethoven,hismusicwillinspireandprovidethefoundationformanyfuturegenerationsofmusicians:composers,performers,teachersandaudiences.

23

JOVANKA BANJAC(AUSTRIA) UniversityofMusicandPerformingArts(Vienna)

JovankaBanjacwas born inBelgrade, the capital of Serbia,where she took her first piano lessons at averyearlyage.ShewonseveralawardsinyouthcompetitionsinSerbiaandJugoslaviaandwasawardeda scholarship to study piano by Professor Oratio Frugoni at the Graduate School of FineArts and theConservatory“LuigiCherubini”inFlorence,Italyin1974.ShecompletedthesestudieswithdistinctionandwasadmittedattheUniversityofMusicandPerformingArtsViennatostudypianowithProfessorDieterWeber.In1975shewonthehighestawardattheElenaRombro-StepanowPianoContest,ensuedbyaone-yearscholarshipattheUniversityofMusicandPerformingArtsVienna.SheperformedLiszt’spianoconcertinEflatmajorasasoloistintheMainHalloftheSocietyforFriendsofMusicinViennaandparticipatedbothataperformanceofallofBeethoven’spianosonatasinthePalazzoPittiandatthegrandopeningofthefestival“SanLorenzo”inFlorence.HerperformancewasreviewedbythemusiccriticKarlLöblwiththewords:“Femininethunderstormofkeysattainedgreatsuccess.”JovankaBanjacobtainedascholarshipuntiltheendofherstudies,whichshecompletedcumlaude.SheadditionallyacquiredaprofoundknowledgeofmusictheoryandconcludedthesestudieswithanexaminationpapermentoredbyProfessorErichUrbanner.HerMaster’sthesis,“Mozart’sSalzburgpianosonatas”,wasattendedbyNikolausHarnoncourt,whowashermentorattheMozarteuminSalzburg.SheobtainedthedegreeofMagistraArtiumin1986.InthecourseofherprofessionaldevelopmentsheattendedmasterclassesofLeonidBrumberg,RudolfBuchbinder,AndrásSchiffandotherrenownedpianists.JovankaBanjacperformsasasoloistregularlyandisafrequentlyrequestedchambermusicpartner.Besidesherperformanceactivitysheisparticularlyinvolvedinpianoeducation.Shewroteandpublisheddidacticalarticlesandeducationalliterature;themostpopularteachingaidsandarrangementsforfourhandsofherstudentsare:“Notentrainer”–ateachingdeviceforlearninghowtoreadmusic(MusikverlagW.G.Haas-Köln)aswellas“SilentNight”and“Children’sSongandDanceoftheFingers”(Doblinger-Wien).JovankaBanjacisanactivememberoftheEuropeanPianoTeacherAssociation(EPTA)andaverycommittedpianoeducator.ShegavelecturesandmasterclassesinTallinn,NoviSad,Prague,St.Petersburg,Belgrade,ontheislandofRhodesandotherEuropeancapitals.HermusicwasrecordedbytheRTVBeogradandsheproduced a number of records containingworks ofGaluppi,Clementi,Hummel,Mozart, Beethoven,Ciurlionis,Bajić,Balakirew,Glinka,Tchaikovsky,Skrjabin,Chopin,Liszt,Tajčević,Radićandothers.Currently,JovankaBanjacisinvolvedinprojectsdesignedtoidentifyandsupporttalentedyoungpianistsintheirprofessionaldevelopment.SheorganisesconcertsandpresentationsandactsasajurymemberofpianocontestsinAustriaandabroad.

Piano Master Class: Viennese Classical Tradition

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EZRA BARTZ(USA) TexasStateUniversity,SchoolofMusic(SanMarcos,Texas)

Currently the coordinator of the class piano program atTexas StateUniversity in SanMarcos,EzraBartzisaversatilemusicianwithamultifacetedcareer.HeearnedhisBachelor’sDegreeattheUniversityofOregon,winningtheUniversityConcertoCompetitionandthePetriScholarshipCompetition.Upongraduatingmagnacumlaude,hereceivedOutstandingPerformerinKeyboardbytheSchoolofMusicandOutstandingPerformerinMusicbytheUniversity.WhileearninghisMasters andDoctoralDegrees from theUniversity ofTexas atAustin, Ezrawas awardedFirstPrizeintheSidneyWrightPresidentialEndowedAccompanyingCompetition.TogetherwithhisProfessorGregoryAllen,healsomadeaworld-premiererecordingofStravinsky’stwo-piano/four-handarrangementofhisSeptetforaBBCradiobroadcastspecial.Asacollaborativepianist,Ezrahasbeenfortunatetoperformwithmanyworld-classmusicians,includinglow-brassvirtuosiPatrickSheridan,StevenMead,andMichaelGrose;flutistsDavidWeschlerandJasmineBartz(hiswife);andsaxophonistToddOxford.EzrahasbeenapresenterattheWorldPianoConferencesinceitsinceptionin2009.

Lecture-Recital: Decoding Scriabin’s Seventh Sonata

Perhapsmorethananyotherwork,Scriabin’sSeventhSonataembodiesthematurerealizationofthecomposer’scompositionaltechniqueinhislaterworks.Itisapiecethatexplorestheextremesofhumanemotion,whilesimultaneouslymaintainingastrictgrounding in formandstyle.This lecture-recitalusesagroundbreakinganalytical technique to reveal thehiddenworkingsofthisenigmaticcomposition.Inparticular,itwillbeshownthatharmonyandmelodyareinextricablylinkedtoeachotherthroughtheprocessesoftranspositionandoscillation.Followingtheanalysisisaperformanceofthepiece.

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SEBASTIAN BAUSCH(GERMANY/SWITZERLAND) BernUniversityoftheArts(Bern,Switzerland)

SebastianBauschiscurrentlyworkingasaresearchfellowattheBernUniversityoftheArts.Inaresearchprojecton19thcenturyperformancepracticefundedbytheSwissNationalFundanddirectedbyProfessorDrKaiKöppheanalysesannotatedmusiceditionsofthelater19thcenturyandsearchesforindicationsofdifferentperformingstyles.HereceivedhisMaster’sdegreeasaharpsichordistattheScholaCantorumBasiliensis(Basel,Switzerland)andalsoholdsdegreesinpianoandorgan.Asbothasoloistandaprolificchambermusicianhereceivednumerousprizesatnationalandinternationalmusiccompetitions.Heisamemberofseveralensemblesspecializedinperformingonperiodinstruments,e.g.the“FreiburgerKlaviertrio”andthe“EnsembleLaNotaRossa”.AttheUniversityofMusicinFreiburgheworkedasanassistantonseveralofProfessorChristophSischka’sprojects,developingnewpedagogicalmethodsofusingtheYamahaDisklavierreproducingpianoinpianolessons.SebastianBauschlivesinLörrach,GermanyworksanorganistinReinach,Switzerland.

Lecture: Fanny Davies’ Recording of Schumann’s Kinderscenen: Early Recordings as a source for 19th century piano playing

Ourmodernapproachtotheinterpretationof19thcenturymusicisoftenstronglyinfluencedbypersonaltasteandexperience.Acloserlookonearlyaudiorecordingsfromthefirstdecadesofthe20thcenturyhoweverrevealstous,thatthenotionofwhatisconsideredanexpressiveinterpretationhaschangedconsiderablyoverthelastcentury.ThispresentationusesFannyDavies’recordingofRobertSchumann’sKinderscenenOp.15from1929asanexampletodemonstratehowwecananalyzethoseunfamiliarmeansofmusicalexpressioninsuchdetail,thatwecanrediscoverthemforourownplaying.FannyDavieswasapupilofCarlReineckeandClaraSchumanninLeipzigandFrankfurt,andalthoughthereisnowayoftellinghowcloseexactlythisinterpretationistothewaySchumannhimselfwasplayingthepiecewhenitwaswritteninthe1830s,itcanstillofferussomevaluableinsightintothelosttraditionof19thcenturypianoplaying.

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JOŽEF BISAK(SERBIA) AcademyofArts(NoviSad)

Jožef Bisak graduated in viola at theAcademy ofArts in Novi Sad, where he studied underProfessorPolovinaDušica.Asasecondaryschoolstudenthehaswonnumerousawardsatvariouscompetitions.Duringhisstudieshehas,also,workedunderthetutelageofprestigiousmusicianssuchasProfessorHorvatLasloandProfessorDejanMlađenović.Asasoloviola,heiscurrentlyamemberofSerbianNationalThetreorchestra,VojvodinaSimphonyOrchestra,ŽebeljanorchestraandCamerataAcademicachamberorchestra.Hehasperformed,asa soloviola,withNoviSadChamberorchestra,Budva’sfestivalorchestra,Osijek’schamberorchestra,SarajevoPhilharmonicand Philharmonic orchestra of Banja Luka.As a member of these orchestras he has achievedimpressiveperformancesathomeandabroad(Germany,France,Austria,Holland,Italy,etc.).Duringtheplayingintheseorchestras,hehasworkedwithworldrenownedconductorsandsoloists.Inadditiontoperformanceintheorchestras,hehasachievedremarkablesoloperformancesandperformancesinthechambermusicensembles.In2008hehasasasoloperformanceatAFESTinNoviSad.Nextyearheperformed,asasoloist,withtheSymphonyOrchestraoftheAcademyofArtsinNoviSad.In2010heheldrecitalsinNoviSadandBelgrade.In2010,asamemberofstringquartet,heperformedonBEMUSFestival.Inthesameyear,heperformedwithprominentmusiciansfromSerbiaandabroadonaseveralconcertsontheoccasionof100thanniversaryofthebirthofcomposerLjubicaMarić.Onthatoccasion,RTSreleased4CD.HewasoneofthefoundingmembersoftheNoviSadstringquartet,whichwasfoundedinlate2011.AsasoloistandasamemberofdiferentchamberensemblesherecordedforRTS,RTV,RTCG.

Composer’s Profile

MišaCvijović “Gargoyles”foroboa,violaandpiano

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MARGARET BRANDMAN (AUSTRALIA)

MargaretBrandman’scareerinmusicascomposer,pianist,musiceducator,arrangerandwriteronmusiceducationspansmorethan35years.Shehascombinedhercompositionalinterestswithherinterestinacceleratedlearningtechniquesformusic.Margarethascomposedarangeofpiecesforavarietyofinstruments.Herconcertworksforpiano,voice,instrumentalcombinationsandorchestrareceivebothliveandrecordedperformancesinternationally.Margaretisalsowriterandpublisherofmanymusiceducationmaterialsinheruniqueseriesofeducationmaterials,whichrangefrombooks for junior students, to text books for high school and tertiary study.Her investigationofkeyboardtopography,musicalpatternsandthegestaltapproachtofingeringofthescales,ispublishedin“PictorialPatternsforKeyboardScalesandChords”.Withover75publishedbooksandcompositions,sellinginAustralia,England,EuropeandNorthAmerica,muchofhertimeisspentcomposing,lecturing,performing,conductingProfessionalDevelopmentcoursesformusicteachersandspeakingonmusicineducation.ThepresentationwasfirstshownattheWPTAconferenceinSerbiain2011hassincebeenawardedtheWPTADiplomaofExcellence(WPTAdip-E).

Lecture: The Geometry of the Piano and the Symmetry of the Hands – New Ways with Old Scales!

Topics for discussion in this presentation begin with the application of right brain faculties of “spatial relationships”,“visualisation”and“gestalt”tothestudyofkeyboardgeography.Theintervalapproachwhichassiststheperformercombinethevisual,auralandtactileaspectsofmusicallowingapianisttofeelthespaceandthetopographyofthekeyboardisalsointroduced.Thesymmetryofthehands,fingeringcommonalityandthemaincluesandsub-cluesforfingeringscalesandarpeggiosareexploredandthenMargaretdemonstratestheapplicationoftheconceptstoscalepatterns,modalpatternsandtransposition.Othertopicsincludeusingtheconceptofphotographicnegativestomakeconnectionsbetweenscaleandchordshapes,ademonstrationofacceleratedlearningtechniquesformajor,minorandmodalscalepatternsandtheperformanceofoneofMargaret’soriginalcompositionswhichwasinspiredbythesymmetryofhandsandconnectiontothekeyboardlayout.ThroughoutthepresentationyouwillhearmanyofMargaret’soriginalcompositionsforpianoandinstrumentalensembles.Theconceptsdemonstratedareexpandedin“PictorialPatternsforKeyboardScalesandChords”byMargaretBrandmanJazzemMusicPublications,Newtown,NSWAustralia(SecondEdition2008).

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HELEN BURFORD (UNITEDKINGDOM)

Helen Burford began playing the piano at the age of four and later attended the BirminghamConservatoireJuniorSchoolstudyingwithHeatherSlade-LipkinandCarolineCostello.Shewonnumerouspianocompetitionsandfestivalsasateenager,performedattheThreeChoirsFestivalandmadeherconcertodebut in2000atWorcesterCathedral.HerperformanceofMozartpianotriosattheSirAdrianBoultHallwasbroadcastonBBCRadio3.HelengainedadegreeinMusicfromtheUniversityofSussexandstudiedperformanceattheGuildhallSchoolofMusicandDramawithDarlaCrispin.InrecentyearsHelenhasspecialisedincontemporarymusicperformancewithanemphasisonBritishandAmericanpianomusic.HerrecentengagementshaveincludedrecitalsatSt.Paul’sCathedralLondon,SteinwayHallLondon,theBrightonFestivalandaworldpremièreperformanceattheRoyalAcademyofMusicwiththeLondonSchubertPlayersaspartofthe“InvitationtoComposers”series-aground-breakingprojectfortheEuropeanCommission.Shewasshortlisted for theParkLaneGroupYoungArtists’NewYear series2012andwillbe takingpart in theRoyalOverseasLeagueCompetitionthisyear.

Piano Recital

N.Kapustin BagatelleNo.1J.S.Bach Capriccio,PartitaNo.2inCminor,BWV826D.Brubeck DadPlaystheHarmonicaS.Montague SongsofChildhood(from“AfterIves”)S.Satoh IncarnationIIP.Feuchtwanger Tariqa1P.Feuchtwanger DhunD.Scarlatti PianoSonatainEmajor,K.215J.Turina ElCircoD.Rakowski AGlissIsJustAGliss,EtudeNo.30

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ANDREJ BURSAĆ (SERBIA) AcademyofArts(NoviSad) CityCouncilforCulture,CityParliamentofNoviSad

AndrejBursać,pianistandconductor.Hehasbeenshowinghisextraordinarytalentasapianistsincehisearly age.As a result, he haswon several awards at some competitions in formerYugoslavia, and hasattendedseveralmasterclasses(ProfessorValdma,ProfessorTimakin).Attheageof16heenrollsthepianodepartmentattheAcademyofArtsinNoviSadintheclassofProfessorJokutMihajlović.Afterfinishinghispianostudies,hebeginsconductingstudiesattheFacultyofMusicinBelgradeintheclassofProfessorStankoŠepić.Atthesametimehestartsleadingthe“JosifMarinković”choirfromZrenjanin.Hehasbeenleadingthechoirsuccessfullyatthemostimportanteventsinthecountryandabroad(Belgrade,Negotin,Kragujevac,Studenica,NoviSad,Podgorica,Essen,Bochum,Hattingen,Bergamo,Tolosa,Tafalla,Borja).Afterfinishinghisconductingstudies,hehisMasterconductingstudiesintheclassofProfessorMladenJaguštattheAcademyofArtsinNoviSad.AtthatperiodhehashadconcertswiththeAcademyofArtschoirandorchestra,andrecordingswiththeRadioandTelevisionofSerbiachoir.Attheendof2006hefoundstheVojvodinaMixedChoirwhichhassincesuccessfullyrealizedalotofprojects(St.Mokranjac–Rukoveti,L.vanBeethoven–MassinCMajorOp.86,St.Hristić–OpeloinB-flatMinor,St.Mokranjac–OpeloinF-sharpMinor,S.Rachmaninoff–All-nightVigil,A.Vrebalov–Stations,etc.).HeiscurrentlyappointedasAssociateProfessorattheAcademyofArtsinNoviSad.In2008hewaselectedbytheCityParliamentofNoviSadasamemberofCityCouncilforCulture.

Gala Opening Ceremony

J.S.Bach ConcertofortwopianosinCMinor,BWV1060AllegroAdagioAllegro


AndanteAllegroassai

J.S.Bach ConcertoinDMinor,BWV1052AllegroAdagioAllegro

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CAMERATA ACADEMICA(SERBIA)

CamerataAcademicaisaprofessionalchamberorchestraoftheAcademyofArtsinNoviSad.MembersoftheorchestraarethebestmusiciansoftheAcademyofArts–Assistants,Professorsandthemosttalentedstudents.Someofthepastmembersarenowestablishedassoloistsandplayersin the prestigiousEuropean orchestras (JulijaHartig, PeđaMilosavljević,DejanBogdanović,Zorica Stanojević and others). CamerataAcademica has collaborated with reputable Serbianandinternationalartists.Under theguidanceofcellist IštvanVarga, theorchestrasuccessfullyperformedintheformerYugoslaviaarea,GermanyandtheNetherlands,andparticipatedintheimportantmusicfestivals(BEMUS,NOMUS,OhridSummerFestival,InternationalComposers’Forum,City–TheathreBudva).Also, theOrchestra has produced a significant number of radio andTV recordings.CamerataAcademicamaintainsaspectrumofworksbydomesticcomposers.Afteraperiodofclosurestartingin1999,in2007,upontheinitiativeofcellistMarkoMiletić,theOrchestraisagainperforming.TheguidanceisnowunderDejanMlađenović,therenownedviolist,performingsomeofthemostsignificantworksoftherepertoire.Again,theorchestraworkswithimportantinternationalsoloistssuchasStefanMilenković,ŽerarKose,ImreKalman,PeđaMilosavljević,BoštijanLipovšek,AnetaIlić.Concertsarereadilyaccompaniedbypositivereviewsthatunderline theorchestra’sbeautyoftoneandimpressiveexpression.“Besidestheobviousmusicalityandenthusiasm,onethingthatseparatesthisorchestraistheenormousloveandenthusiasmbywhichthemusiciansareperforming.ThisisaqualitythatisrarelyseenevenwithinreputableEuropeanorchestras”(quotedfromIsidoraŽebeljan,importantSerbiancomposerandanAcademiamember).TheorchestraissupportedbytheRadio–TelevisionVojvodinainformofaguaranteedstudiorecordingofeveryworkperformed.


J.S.Bach ConcertofortwopianosinCMinor,BWV1060Allegro

Adagio Allegro J.S.Bach ConcertofortwopianosinCMinor,BWV1062 Notempoindication Andante

Allegroassai J.S.Bach ConcertoinDMinor,BWV1052 Allegro Adagio Allegro

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YOUNG-HYUN CHO (REPUBLICOFKOREA) TheUniversityofTexasatArlington(Arlington,Texas)

Dr.Young-HyunChocurrentlyservesasAssistantProfessorofPianoatTheUniversityofTexasatArlington.SheholdsDMAdegreefromEastmanSchoolofMusic,MMandGPDfromPeabodyConservatory,andBMfromSeoulNationalUniversity.HermajorteachersincludeNelitaTrueandBorisSlutsky.Dr.Cho isauniquelyversatilepianist,appearing frequentlyasorchestral soloist,solo recitalist, and chambermusician. She is a featured soloist, appearingwith such orchestrasastheEastmanSymphonyOrchestra,theInternationalChamberEnsembleofRome,theKoreanBroadcasting System (KBS) Symphony Orchestra, the Seoul National Symphony Orchestra,the Euro-Asian Philharmonic Orchestra, Holland Symphony Orchestra, and The UTArlingtonOrchestra.Dr.Cho’sperformancecredentialshavebeenfurtherenhancedthroughprizewinningsininternationalandnationalpianocompetitions,includingtheEastmanConcertoCompetition,theHarrisonWinterPianoCompetition,theKBSMusicCompetition,theMusicAssociationofKoreaCompetition,theSeoulArtsCenter’sOrchestralFestivalSoloistMusicCompetition,andtheJoongAngTimesMusicCompetition.Moreover,shewasoneoftheprizewinnersforthe2005LouisianaInternationalPianoCompetition,whereshewaslaterinvitedtoreturnasafeaturedperformerandspeakerfortheiropeningceremoniesin2009.Dr.ChoheldteachingpositionsattheEastmanSchoolofMusicinRochester,NewYork,andColumbiaUnionCollegeinTakomaPark,Maryland.Shewasinvitedtoteachat theBerlinInternationalMusicFestivalandAcademyinGermanyandtheTexasMusicTeachersAssociation.ShehasalsogivenmasterclassesandrecitalsatsuchuniversitiesasCaliforniaStateUniversityatLongBeach,LevineSchoolofMusicinDC,LouisianaStateUniversityatBatonRouge,anduniversitiesandmusicschoolsinThailand,Philippines,MalaysiaandKorea.

Piano Recital: Celebrating bicentennial of Chopin and Liszt

F. Liszt BalladeNo.2inBMinor,S.171 F.Chopin SonataNo.3inBMinor,Op.58 Allegromaestoso Scherzo:MoltoVivace Largo Finale:Presto,nontanto;Agitato

Piano Master Class

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LINDA CHRISTENSEN(USA)WayneStateCollege(Wayne,Nebraska)

LindaChristensenteachesclasspiano,appliedpiano,andmusictechnologyatWayneStateCollegeinWayne,Nebraska. She holds a BA inmusic fromWeber StateUniversity, anMM in PianoPerformanceandPedagogy fromSouthernMethodistUniversity, andaPhD inPianoPedagogyfromtheUniversityofOklahoma.ShestudiedpedagogywithSamHolland,E.L.Lancaster,andJaneMagrath.Dr.ChristensenisactiveintheMusicTeachersNationalAssociation(MTNA),wheresheservesastheNebraskaStatePresident-elect.Shehasgivenmanypresentationsandworkshops,includingpresentationsfortheGroupPiano/PianoPedagogyForum,NCKP,MTNA,andtheWorldPianoConference.Shehasbeenpublished in “KeyboardCompanion” and the “PianoPedagogyForum”, and served asan educational consultant for the 2000 edition of “TheMusicTree”. In addition to her regular academic schedule,Dr.Christensenhasbeenafacultymemberatmanysummerpianocampsfocusingonmusictechnologyforchildren,andhasalsobeenmusicaldirectorandpianistformanytheatercompaniesinWashington,Utah,Tennessee,Oklahoma,andTexas. Lecture: iPad Apps for Piano and Music Education

There aremany apps available formusicians andmusic teachers.This sessionwill focus on the best andmost popularappsavailable, includingapps forpractice,performance,notation, sequencing,and recording,aswellas suggestions forincorporatingtheseappsintolessonsandyourprofessionalcareer.

33

MINNA ROSE CHUNG (CANADA) UniversityofManitoba,MarcelA.DesautelsFacultyofMusic(Winnipeg)

Korean-AmericancellistMinnaRoseChungtoursinternationallyasarecitalistandchambermusicianand is critically regarded forher intelligent andadmirableperformances. In2008Dr.Chung joinedtheUniversity ofManitobaMarcelA.DesautelsFacultyofMusic asProfessor ofCello.SheholdsperformancedegreesfromOberlinConservatory,NorthwesternUniversityandaDoctorateofMusicalArts fromStonyBrookUniversity,NYwith the renownedcellistColinCarr.MinnaRosemadeherCarnegieHalldebutin2007withhernewmusicensemble,thePangeaStringQuartet.Dr.ChungisafeaturedguestartistwiththeSantoDomingoMusicFestivalandtheRiodeJaneiroInternationalCelloEncounterandhasrecordedorchestralworkswithTheNewWorldSymphony(Miami,Florida)andtheFairbanksSymphonyOrchestra(Alaska).HerliveperformancesarebroadcastedonNPR,CBCCanada,andWFMT-Chicago.Asidefromteaching,MinnaRoseistheDirectorofProjectRio,acollaborativearenaformasterclassesandperformanceseriesbetweenManitobaandtheRioInternationalCelloEncounterinBrazil.SheisalsoafoundingmemberoftheAzureStringQuartet,ahighlycommandingensemblededicatedtothevastmilieuofchamberworks.

Lecture-Recital: “You’re Not REALLY Listening!” The Magic of Chamber Music Interaction

Musiciansallcreatesoundinperformance—but“Whoislistening?”Forhundredsofyears,pedagogyhasconcentratedondetailssuch as practice strategies, technique, PerformancePractice, andmore recently, psychology andmotivation.However, rarelyis“listening”atopicofinterest.Toooftentheassumptionofactivelisteningistakenforgrantedandthescoreishaphazardlyinterpreteddueto“peripheralhearing”,lackofensembleandconviction.Asteachers,wemustuncovertherealmoflisteningandaurallydecodeascoredespitebeingvisuallypersuaded.Whilepracticingandmakingdecisions,ourchoicesmaybebasedonpersonaltaste,or,atworst,reflectthelimitationsofourindividualtechnique.Involvementinplayingchambermusicinspiresandexpandsthedevelopmentofdiscriminatinglisteningskillsinuniquewaysthatsolostudycannot thoroughlyexplore.Thelessonswelearnby“playingtogether”encouragemorejudiciouslisteningwhenappliedtooursolopreparation.Eachmemberchallengestheunderstandingofthescorefromindividualperspectivesthusresultingina“dueling”synthesisthatheightenstheintentionofthemusic.TheKehler/RoseDuowilldemonstrateexamplesfromtheDebussySonataforCelloandPianoandChopin’sPolonaiseBrillianteinamotivatinglecture/recitalprogram.

C.Debussy SonataF.Mignone ModinhaF.Chopin PolonaiseBrillanteOp.3

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MIŠA CVIJOVIĆ (SERBIA) “KostaManojlović”MusicSchool(Belgrade) “Mokranjac”MusicSchool(Belgrade)

MišaCvijović,was born onDecember 21, 1984 inBelgrade, Serbia. In 2003 she enrolled theAcademyofArtsinNoviSad,pianodepartmentintheclassofProfessorDr.DorianLeljak.In2009shecompletedthepianoMaster’sdegreeprogramattheNoviSadAcademyundertheProfessorVladimirOgarkov’sguidance.Sheparticipatedinmanyconcertsaroundthecountryassoloistandchambermusicperformer.SheattendedmanymasterclasseswithdistinguishedProfessorsfromSerbiaandabroad:SvetlanaBogino,NinoslavŽivković,PaulBearns,DavidWestfall,AleksandraVrebalov,ZoranErić,EdvardFicklin,DanSonenberg,MichaelRose, etc. In the year 2007 she enrolled theFaculty ofMusicinBelgrade,departmentforcompositionintheclassofProfessorVlastimirTrajković.InthethirdyearofstudyingsheattendedtheProfessorIsidoraZebeljanclass.Now,sheisfinishingherMasterDegreeinVlastimirTrajkovicclass.Sheperformedherowncompositionatmanyfestivalsandtribuneswithoneofthebestmusiciansinthecountry.Asacomposerandpianistshedealswithcontemporarymusic,improvisationalmusicandmusicforfilmandtheatre.Theatreshows:“LesMiserables”(OperaMadlenianum),“Festen”(Atelje212),“Hair”(Atelje212),“Brecht theatre”(BitefTheatre),etc.Thelatestoriginalmusicfortheatrewas“LittlePrince”(Children’sCulturaleCenterinBelgrade2012)withourfamousactressAnaSofrenovic.From2009till2011sheworksasapianoProfessoratMusicSchool“KostaManojlović”inZemun.From2011sheworksasapianoProfessorattheMusicSchool“Mokranjac”inBelgrade.


MišaCvijović “Gargoyles”foroboa,violaandpiano“Carpediem”forviolinandpiano

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BORISLAV ČIČOVAČKI(SERBIA) AcademyofArts(NoviSad)

BorislavČičovački studiedoboeattheAcademyofArtsinNoviSadwithLjubišaPetruševski.HefinishedpostgraduatestudiesatSweelinckConservatoriuminAmsterdamwithHandeVries.HealsoobtainedadegreeinbiologyfromtheFacultyofNaturalSciencesinNoviSad.AsasoloistandchambermusicianhehasperformedthroughoutofEuropeincludingonnumeroussignificantfestivalssuchas:Lapplandsfestspel,MusiqueensceneLyon,WittenerTagefürneueKammermusik.HeperformedasasoloistwithsymphonyandchamberorchestrassuchastheBelgradePhilharmonic,theZagrebPhilharmonic,StGeorgeStrings,BelgradeStrings,etc.BorislavČičovačkihasgivenfirstperformancesofaboutfourtypiecesbySerbian,DutchandGermancomposers.SomeofhisrecordingshavebeenreleasedonCDsintheNetherlands(EmergoClassicsNederland),inGermany(WDR)andSerbia(PGPRTS).HeisalsoawriterandpublishedfivebooksofnovelsandstoriesinAmsterdam.Hewasthelibrettistoftheseveralopera’sbyIsidoraŽebeljan.ČičovačkiisalsoactivelyinvolvedinmusicologyandholdsapositionofLecturerinchambermusicattheFacultyofArtandPhilologyinKragujevac.


MišaCvijović “Gargoyles”foroboa,violaandpiano

36

SMILJANA DANILOV(SERBIA) IsidorBajićMusicSchool(NoviSad)

SmiljanaDanilovwasbornin1994inNoviSad,Serbia.ShestartedhermusicaleducationattheageofnineattheelementaryMusicSchool“StevanHristić”inBačkaPalankaintheclassofProfessorIvanaDanilov.Intheyearof2009shegotacceptedintoIsidorBajićMusicSchoolasthebestrankedstudentonentranceexamination.Atthemoment,sheisattendingthethirdgradeofMusicHighSchool“IsidorBajić”intheclassofProfessorNenadStojačić.SmiljanahasparticipatedinmanypianocompetitionsatthenationalandinternationallevelwhereshewonmanyPrizesincloudingtheSecondPrizeattheInternationalcompetitionofyoungpianists“MihailoVukdragović”inŠabacandtheFirstPrizeattheRepublicancompetitionofMusicandBaletSchoolsinBelgrade,Serbiain2009.SheparticipatedintheFirstWorldPianoConferenceinNoviSad(YoungConcertPlatform)andalsoattendedmasterclassheldbyWojciechWisniewski(Australia)attheThirdWorldPianoConferenceinNoviSad.

Piano Recital – Young Concert Platform

J.S.Bach PreludeandfugueNo.6inDMinor,BWV875,WTKII L.vanBeethoven SonatainE-flatMajor,Op.27No.1 Andante Allegromoltoevivace Adagioconespressione Allegrovivace S.Rachmaninoff ElegieOp.3No.1 F.Liszt Funeraulles

37

MARIA DEL PICO TAYLOR (USA/CUBA) TempleUniversity,BoyerCollegeofMusicandDance(Philadelphia,Pennsylvania)

ProfessorofPianoatTempleUniversity;FoundingCo-DirectorofTheTaubmanSeminarsatTempleUniversityandatLincolnCenterinNewYorkCity;designedtheTaubmanCertificationprogramatTemple; published articles onTaubman;ArtisticDirector for the awardwinningLatinFiestaensemblewhichtoursnationallyandinternationally;FounderandproducerofalargePhiladelphiaFestival called “Hispanos…ManyRoots…ManyFaces…”dedicated to showcase and teach thediversityoftheHispanicvastmusicallegacytoaudiencesatlarge;CommissionedandpremieredcompositionsfromGrammywiningHispaniccomposerssuchas:OscarHernandez,CarlosFranzetti,TaniaLeon,ArturoO’FarrillandAngelFernandez.ACDofthesecompositionsisinprocess.AmoralaVidaCDreleasedin2005producedbyOscarHernandez.FeaturedinaneducationalencounterwiththePhiladelphiaOrchestra.SoloistwiththePhiladelphiaClassicalSymphony,andthesymphoniesofGrandRapids,Jackson,Delawareandothers.SampleLecturerecitalslocations:Poland,CzechRepublic,France,Spain,London,Hawaii,Argentina,Brazil;TeachingAwards:LindbachAward,TeacheroftheYearforPennsylvania,manymeritawardsatTemple.PerformancesandeducationalworkshopsforthousandsofchildrenthroughthePreservingDiverseCulturesProgramofthePaCouncilontheArts.Management:[email protected]

Lecture-Recital: Enrique Granados and Frederic Chopin: Styles in Comparison

EnriqueGranados andFredericChopinhadagreatdeal in commonas individuals, as composers, asperformers andasteachers.Taylorwillhighlightlargelyunknownsimilaritiesbetweenthese2greatmusicians,willcomparerepertoireandteachingideasandwilldemonstrateatthepianohowitispossibletomovefromaGranadospiecetoapiecebyChopinalmostimperceptibly.Excerptsfrombothcomposersmusicwillbeplayed.

38

CLAUDIA DELTREGIA(BRAZIL) NationalUniversityofSantaMaria(SantaMaria)

Claudia Deltregia studied at Conservatoire “Carlos Gomes”, class of Elizabete Barthelson andforseveralyearsshewasastudentofHomeroMagalhães.Shereceivedherbachelorandmasterdegrees from“UniversidadeEstadual deCampinas” (StateUniversity ofCampinas),where shestudiedundertheguidanceofMauricyMartinanddevelopedanextendedresearchaboutBraziliancontemporarymusicforpianobeginnersadvisedbyMariaLuciaPascoal.Thisresearchreceived“honordistinction”andwassponsoredbytheBrazilianinstitution“FAPESP–FundaçãodeAmparoàPesquisadoEstadodeSãoPaulo”-Brazil(FoundationforResearchSupportoftheStateofSãoPaulo-Brazil).Assoloistandchamberpianistsheparticipated inseveralmasterclasses,musicfestivalsandrecitalsinBrazilandUnitedStatesandrecordedaCDtrackwiththeBrazilianpercussionistGilmarGoulart.In2007,shewasawardedascholarshipfromCAPES/FulbrighttopursueherdoctoraldegreeatUniversityofSouthCarolina.AtUSC,shestudiedundertheguidanceofCharlesFugoandMarinaLomazovandherdissertationadvisorwasScottPrice.Since1999, shebecamea teacherat aUniversidadeFederaldeSantaMariaSantaMaria, in southofBrazil,where shedevelopintenseteachingandresearchactivities.

Lecture: Teaching Contemporary Music: Practical Activities for Piano Beginners

Thepresentworkaimstoprovideteachingmaterialsforbeginningpianostudents–firstyearcurriculum–thatmaypreparestudents to play some of themain twentieth-century styles.These teachingmaterialswere created fromdescriptions ofpianopiecesthatexemplifysomeofthesestylistictendenciesinwesterncontemporarymusic.Thisstudywasformedinresponsetotheobservationthatnewcompositionaltrendsare,ingeneral,notincludedfrequentlyinBrazilianorAmericanpianomethodsforbeginners,limitingtheunderstandingoftwentieth-centurycompositionaltrends.Althoughitispossibletofindsupplementalmaterialsthatofferteachingpianoliteraturebasedontwentieth-centurystyles,Ibelievethatthesevariedstylesmaybeapproachedindiverseteachingactivitiessuchastechnique,reading,compositionandmusicianshipexercisessincethefirstpianolessons.OnemayaffirmthataswellasthepreparationtoplayafuguebyBachrequirestheearlystudyofpolyphonictextures,theunderstandingoffingeringandthecontrolofsonority,thetrainingtoplaycontemporarystylesalso requires the learningof someparticular concepts. In addition, it seemsclear that theworldof contemporarymusicencompassestheworldoftraditionalmusic.Inthisway,themusicalactivitiesproposedmayserveassupplementalcurricularmaterialstothelearningofcontemporarystyleswhilereinforcingconceptslearnedinatraditionalapproach.

39

ANDREA DER (SERBIA) IsidorBajićMusicSchool(NoviSad)

AndreaDerwas born in Szeged,Hungary in 1986. She finished secondary IsidorBajićMusicSchool,NoviSad,intheclassofProfessorMilenaApićandOlgaBorzenkowithexcellentmarks.She entered theAcademyofArts inNoviSad,Department forPiano, in the class ofProfessorBiljanaGorunović,whereshegraduatedasanhonourstudentin2010.Afterfinishingherbachelorstudies,shecontinueswithmasterstudiesattheFacultyofMusicArtinBelgradeatthedepartmentforchambermusic in theclassofProfessorDejanSubotić.Shehasparticipated inanumberofnationalandinternationalcompetitions,whereshewasgrantedthehighestofawardsandperformedatnumerousconcerts.Besidessolocarriers,AndreaDershowspreferenceforchambermusic.Herpursuitoffurtherimprovementsinthisareacontinuedwiththefoundationofpianoduo“Floreus”withpianistSanjaLukovac.AndreaDerhasattendednumerousmasterclasses inwhichshehad theopportunity tocollaboratewith renownedpianoteachers.CurrentlysheisworkingasapianoteacherandaccompanistinIsidorBajićMusicSchoolinNoviSad.

Piano Duo Recital

W.A.Mozart SonataforTwoPianosinDMajor,KV448/375a Allegroconspirito Andante Allegromolto C.Debussy Enblancetnoir Avecemportement Lent.Sombre Scherzando F.Poulenc SonataforTwoPianos Prologue Allegromolto Andantelyrico Epilogue

40

ALEKSANDAR ĐERMANOVIĆ(SERBIA) AcademyofArts(NoviSad) IsidorBajićMusicSchool(NoviSad)

AleksandarĐermanovićwasbornonAugust14,1991 inVršac,Serbia.Hehadhisfirst piano lessonattheageof11,andheenroled the“IsidorBajić”musicschool inclassofProfessorTatjanaVukmanović.Hislowerandhighschooleducationwerefinishedin6yearsandafterwardshestartedhisundergraduatestudiesattheAcademyofArtsinNoviSadintheclassofProfessorDr.DorianLeljakandcurrentlyheisathisfinalyear.HeattendedmanyMasterclassesworkingwitheminentProfessorsaroundtheworldsuchas:NinoslavŽivković,(Belgrade),PeterMiyamoto(California),AyakoTsuruta(Columbia),SvetlanaBogino(NoviSad),JovankaBanjac(Vienna),EugenInđić(Paris),CarlPonten(Sweden),LidijaNikolić(NoviSad),YosipYermin(Ukraine),IanJones(London),MichaelBaron(Florida),EmanuelKrasovsky(TelAviv),IliaRadoslavov(Missouri),SusanChan(Oregon)andNicholasRoth(Iowa).Hehasbeeninvolvedwithvariousexternalactivities,suchasrecitals,performanceswithorchestras,chambermusic,competitionsandfestivals.Manyoftheseactivitieswereofinternationalnature.Mostsignificantare:FirstPrizesatcompetitions:VojislavVučković,IsidorBajićPianoMemorialCompetition,soloistwithorchestraattheGalaOpeningoftheWorldPianoConference,recipientoftheMelanijaBugarinovićScholarship.ĐermanovićhasbeenawardedafullscholarshipforhisMaster’sdegreestudiesattheRoyalCollegeofMusic(London).

Piano Recital

D.Scarlatti ThreeSonatasBMinor,L.33AMinor,L.379GMinor,L.338

J.Brahms Klavierstücke,Op.118No.1Intermezzoinaminor.Allegrononassai,mamoltoappassionatoNo.2IntermezzoinAmajor.AndanteteneramenteNo.3Balladeingminor.AllegroenergicoNo.4Intermezzoinfminor.AllegrettounpocoagitatoNo.5.RomanzeinFmajor.AndanteNo.6Intermezzoine-flatminor.Andante,largoemesto

F.Liszt RéminiscencesdeDonJuan

41

ANDREI ENOIU-PÂNZARIU(ROMANIA) NationalCollegeofArt“OctavBăncilă”(Iaşi)

Bornin1983intoafamilyofphysicians,AndreiEnoiu-Pânzariuisdedicatedtoaremarkablecareerasapianist.Hestartedpianoattheageonthree,withMihaelaSandaPopescu,andinhighschoolstudiedwithLect.Univ.Dr.ConstantinNiţuinBucharest.Hegraduatedin2006theprincipalpianodepartmentat theNationalUniversityofMusicBucharest at theclassofProf.Univ.Dr.SanduSandrinandin2010obtainedhisPhDinmusicattheUniversityofArts“GeorgeEnescu”fromIaşiunder thesupervisionofProf.Univ.Dr.GheorgheDuţică,with thedistinctionSummacumlaude.As student,AndreiEnoiu-Pânzariudistinguishedhimselfbya sustainedactivityofpianoconcertsor in chamber ensembles.Hewonmanyprestigiousnational and international awards.Since2006,continuingarichartisticactivity,heteachesprincipalpianoattheNationalCollegeofArt“OctavBăncilă”fromIaşi.Theresultsofhisstudents,crownedwithnationalandinternationalawards,bringshimdiplomasofexcellenceandhonor.Hepublishedmanystudies inStudiesofMusicology,with topicsrelatedtohisdissertation.HeparticipatedinEuropeanprograms,suchasLeonardodaVinci(2009)andComenius(2009).From2008,heisamemberofEPTARomania.

Lecture: Beethoven under the Lens of the most important European Schools, a comparative analysis of Editions and Interpretations

ThisLectureintendstoofferassistancetothemusicianswhowishtoapproachthe32pianosonataswrittenbyLudwigvanBeethoven.Wewillanalyzeandremarksomeofthemostimportanteditionsandinterpretations,madebyfamousmusicianswhoinfluencedthefuturegenerations.Wecanmarkdowntheeditionseditedbyfamouspianists,suchasHansvonBülow/SigmundLebert,ArturSchnabel,AlfredoCasellaorClaudioArrau.Bycomparingandanalyzingmanyeditions,wecandiscovervaluableindicationsconcerningthephrasing,dynamics,tempo,fingering,notationsandexplanationsabouttheuseofpedals,takeoversbetweenhandsanddifferentfacilitationsofferedbytheeditors.Allthesetopicswillbefocused,analyzedandcomparedonthepianosonataOp.31No.2–TheTempest.WewillcorrelatetheinterpretiveviewofArturSchnabel(1932),AlfredBrendel(1996)andAndrasSchiff(2006)concerningtheTempestsonata,withthereferenceeditions,todrawcertainconclusionsaboutthestylistictypologiesofEuropeanschools.

42

VICTORIA FISCHER FAW (USA)ElonUniversity(Elon,NorthCarolina)

VictoriaFischerFawreceivedhermusicaleducationatCentenaryCollegeofLouisiana(BMinpianoperformance),theUniversityofNorthCarolinaatChapelHill(MAinmusicology),theUniversityofTexasatAustin(MMandDMA),andtheViennaConservatoryinVienna,Austria(RotaryFoundationFellowship).Shepursuesanactivecareerasperformer,scholar,teacherandadjudicator,withactivitiesin the USA and Puerto Rico, Italy, Hungary, England, Greece, Germany, Austria, and Belize. Inadditiontoperformingandteachingavariedrepertoireofthestandardkeyboardliterature,Dr.FischerspecializesinthemusicofBélaBartók.Afirst-prizewinnerofthe“Bartók-Kabalevsky”InternationalPianoCompetition,andrecipientofthe2004RegionalArtistAwardoftheNationalHonorSocietyofPhiKappaPhi,sheisindemandasaperformer,scholarandclinician.Sheistheauthorofanumberofpublications,including“BartókPerspectives”(OxfordUniversityPress),achapterin“ABartókCompanion”(CambridgeUniversityPress)articlesinscholarlyjournalsandarecentCDontheInovalabel.HeractivitiesatElonincludeteachingpiano,pianopedagogy,chambermusicandmusichistory,aswellasdirectorshipofinternationalstudyprograms.WhennotatElon,sheliveswithhusbandStephenFawinthemountainsofAlleghanyCounty,NorthCarolina.

Lecture-Recital: Bartók’s For Children: Unraveling the mystery of the editions

BélaBartókwrotein1940that“theavailablematerial,especiallyforbeginners,hasnorealmusicalvalue,withtheexceptionofveryfewworks,forinstance,Bach’seasiestpiecesandSchumann’s‘Jugendalbum’”.“Folkmelodies,ingeneral,havegreatmusicalvalue”,hesaid,andsooftenemployedtheminhisdidacticworksaswellashisconcertworks.ThecollectionofHungarianandSlovakfolksongsettingscalled“ForChildren”werefirstpublishedbyRosznyaiin1909,andhavegraduallyassumedaroleofgreatimportanceasworksofamastercomposerforbeginningpianists.Theyhavebeenreprintedanumberoftimesindifferenteditions,andexcerptedfrequently.Thishasprovidedevermoreconfusionin the identificationof the individualpieces,partlybecauseBartókrevisedtheworkin1944-5,andbecausetheanthologiesrarelyidentifytheirsources.DenesAgayprovidedanenlightenedperspectiveinaMarch1971“Clavier”article,whichdescribedthesituationuptothatpointintime,endingwiththeopinion“adefinitiveeditionofthisimportantopusislongoverdue”.Thislecture-recitalwillidentifythedifferencesineditionsof“ForChildren”,clarifythesituationuptothepresentday,andoffersolutionsuponwhichthatelusive“definitiveedition”maybebased.

43

KATHRYN FOUSE (USA)SamfordUniversity,SchooloftheArts(Birmingham,Alabama)

KathrynFouseisProfessorofMusicandAssociateDeanfortheDivisionofMusicatSamfordUniversityinBirmingham,Alabama.Inadditiontohercommitmenttoeducation,shecontinuestomaintainanactiveperforming career. She holds degrees in Piano Performance from Baylor University, Southern IllinoisUniversity at Edwardsville and theUniversity ofNorthTexas.Her principal teachers included EugeniaO’Reilly,DavidAlbee,andRuthSlenczynska.Havingdevelopedastronginterestin“new”music,Dr.Fousefrequentlypresentslecture-recitalsinanefforttobringgreaterunderstandingofthismusictoaudiences.HerspecialinterestinthestudyandperformanceofAmericanpianomusicoftheTwentiethCenturyhasresultedin invitations to present her research in lecture-recitals at such prestigious institutions as theUniversityofIllinois,BaylorUniversity,theDallasArtMuseum,GothenburgUniversity(Sweden)andtheNorwegianStateAcademyofMusic(Oslo).

Lecture-Recital: The Sound and the Story: Presentation of “Portraits from Shakespeare’s Titus Andronicus”

Thecomposercomments:“‘TitusAndronicus’isoneofShakespeare’sbloodiestanddarkestworks.Whatinterestedmemostabouttheworkwasnotthebloodandgore,butthepoweroftheimagesandthemespresentedtotheaudienceaswellasthesomewhattwistedhumor(“O,handlenotthetheme,totalkofhands,Lestwerememberstillthatwehavenone”).Theoverallmessageis–vengeanceconsumesanddestroysall,forvengeancealwayscravesmorethanjustice:itseekstosatisfyitsownhunger.ThesepiecesareaseriesofportraitsinspiredbythisgreatworkofShakespeare.”

PaulD.Szpyrka(b.1985)

“PortraitsfromShakespeare’s‘TitusAndronicus’”(2006)TheSeethingQueenandtheRomanGeneralLaviniaChironandDemetrius

TitusConsumptionEpilogue

44

SAŠA GERŽELJ-DONALDSON(SLOVENIA) ConservatoryofMusicandBallet(Maribor)

UniversityofMusicandPerformingArts(Graz,Austria)

AnativeofSlovenia,SašaGerželj-Donaldsonmadeherdebutin1991withtheMariborConservatoryOrchestra.WhilestudyinginAustria,sheperformedasasoloistwiththeEnsembleforNewMusicGraz.SašaGerželj-Donaldsonhasperformedinnumerousinternationalvenuesandfestivals,includingWorldMusicDays,CiclodePrimaveraBoadilladelMonte,LangeNachtderMusik,InternationalEPTA,RoyThompsonHall,RisingStarsToronto,YamahaCanadaShowcaseandFestivalLent,MozartGalaRCMToronto,Glasbeni September,Narodni domMaribor-Orkesterski cikel. In 2004 she played Strauss’Burleske,Op.1withtheRotterdamOrchestraandConradvonAlphenandSNGMariborOrchestra.ShehasmadenumerousrecordingsforRTVSloveniaandRNESpain.HerawardsincludetheŽigaZoisScholarship(1994),theMartaDebelliPrize(1998),theMinisteriumfürKulturAustriaPrize(2002),theJunFujimotoscholarship(2004,2005)andtheMargaretPhillipsAward(2004,2005).ShewasaprizewinneratthePianelloValTidoneInternationalPianoCompetition.BeginningherstudiesattheConservatoryofMusicandBalletMaribor,SašaGerželj-DonaldsoncompletedherMAwithWalterKamperandEikeStraub atKunstuniversitätGraz. She did herArtistDiplomaunder JohnPerry at theGlennGouldSchool at theRoyalConservatoryofMusicToronto,performinginmasterclassesbyLeonFleisher,RobertMcDonald,RudolphKehrer,MarcDurandPascalRogeandothers.SheiscurrentlyworkingattheConservatoryofMusicandBalletMariborandKunstuniversitätGraz.Shehasconductedpianomasterclassesandsatonthejuryfornationalandinternationaljuniorpianocompetitions.Herstudentshavebeensuccessfulontheinternationallevel,winningthespecialprizeforthebestperformanceofaclassicalpieceatthePanmusicaAustriacompetitioninViennaandArsNovaTrieste,prizesinseveralcompetitions,includingtheZlatkoGrgoševićcompetitioninZagreb,TemsigSloveniaandConcorsoperGiovaniStrumentisti/Povoletto,YoungpianistoftheNorth-Newcastle.SheisalsoamemberoftheMariborPianoTrio.

Piano Recital

W.A.Mozart SonatainDMajor,KV311AllegroconspiritoAndanteRondo-Allegretto

J.Brahms VariationsonthethemebyHandel,Op.24

45

SOPHIA GILMSON(USA/RUSSIA) TheUniversityofTexasatAustin,ButlerSchoolofMusic(Austin,Texas)

SophiaGilmsongraduated cum laude from theLeningrad (St. Petersburg)Conservatory,whereshestudiedwithProfessorVitalyMargulis.SheisarecipientofnumerousawardsincludingtheFirstPrizeintheNYCYoungArtistsCompetitionfollowedbyarecitalinCarnegieHall,thePianoInternationalRecordingCompetition,andaCollegiateTeachingAchievementAwardofTexas.ShehasconcertizedextensivelyinhernativeRussia,EuropeandtheUSAtoahighcriticalacclaim.CarlCunninghamofTheHoustonPostdescribedMs.Gilmson’splayingasa“...brilliant,drivingperformance.”MichaelHuebner,oftheAustinAmerican-Statesman,referredtoherperformanceofBach’sGoldbergVariationsas“oneofthemostrefreshingandthought-provokingperformancesthisseason.”In2001,shewasawardedtheprestigiousMountEverestAwardbytheAustinCriticsTableforthisperformance,inwhichsheplayedtheGoldbergVariationsonharpsichordandpianointhesameevening.MichaelBarnes,chiefartscriticoftheAustinAmerican-Statesman, ranked thisasoneof the top tenartseventsof2001,calling it“unforgettable”. In thecelebrationof its20thanniversary,Austin’sPerformingArtsCenter included thisconcert in the listof twentymostmemorableprogramsof itshistory, one per year.Dedicated educator, SophiaGilmson is the co-founder of bothHouston andAustinYoungArtistsConcerts,theprogramsdesignedformusicallygiftedchildrenthatshedirectedfortwentyyears,sinceitsinceptionin1987to2007.

Lecture: Goldberg Variations by Bach on Harpsichord and Piano

Oneoftheworld’smostmagnificentmusicalcreations,Bach’sGoldbergVariations,waswrittenfortwo-manualharpsichord.There arenumerous recordingsof this pieceperformedbyharpsichordists andpianists.However, listeners havehadnoopportunitiestohearside-by-sideperformancesonbothinstrumentsbythesameperformer.RecentlyIcompletedastudioCD/DVDrecordingthatcontainsanintroductorytalk,ademonstrationofselectedvariationsonharpsichordandpianosidebyside,and twocompleteperformancesoneach instrumentaccompaniedbyadisplayof the score.TheWPCprogramaddressesthehistoryofthispiece’screation, thelegendattachedtoit,andananalysisofitsarchitecture.Italsooffersacomparisonoftheexpressivenessofbothharpsichordandapianoasplayedbyoneperformer.Therhythmicalenergyandlinearclarityofharpsichordarecontrastedwiththelyricalwarmthanddynamicflexibilityofthemodernpiano,allowingnewinsightsintothemostsensitiveissuesregardingtheinterpretationofBach’skeyboardmusic,suchastheintricaciesofcounterpoint,dynamics,articulation,pedaling,andtempi.

46

CAROL GINGERICH(CANADA/USA) UniversityofWestGeorgia(Carrollton,Georgia)

Dr.CarolGingerichisanAssociateProfessorofPiano/PianoPedagogyattheUniversityofWestGeorgia(USA).Theresheteachesappliedpiano,pianopedagogy,keyboardliterature,collaborativepiano,andclasspiano.SheisadoctoralgraduateofColumbiaUniversity,TeachersCollege,whereshestudiedpianopedagogywithRobertPaceandpianowithKarlUlrichSchnabel.SheholdsaMasterofMusicinPianoAccompanyingandCoachingdegreefromWestminsterChoirCollege,andanHonorsBachelorofMusicdegreefromtheUniversityofWesternOntario(Canada).AsaresearcherDr..Gingerich’sinterestsincludecyberspace,Frenchpianostyle,Beethoven,andNeuro-linguisticprogramminglearningstyletheory.ShehasgivenpresentationsforEPTA,theWorldPianoPedagogyConvention,MusicTeachersNationalAssociation, and theCollegeMusic Society, in addition to numerous teacherworkshops.HerarticleshavebeenpublishedinTheJournalofResearchinMusicPerformance,AmericanMusicTeacher,Clavier,KeyboardCompanionandPianoPedagogyForum.SheisactiveasbothasoloandcollaborativepianistandhasperformedasaguestartistatCatholicUniversity,ColumbiaUniversity,NorthernIllinoisUniversity,theUniversityofFlorida,andtheUniversityofMiami.

Lecture: Having Fun with Modern Music: The Canadian “Celebration Series”

Haveyoueverhadtroublefindingapieceofmodernrepertoirewhichbothyouandyourstudentliked?Doyouyourselfperhapshavetroublelikingorevenunderstandingthisrepertoire?Nowthatwearesolidlyinthe21stcenturywemaybeable to lookbackonsomeof the innovationsof the20th centurywith freshandappreciativeeyes, especiallynoting therepertoire’spleasurableaspectswhichcanbehighlymotivatingforstudents.TheCanadian“CelebrationSeries”,publishedbyFrederickHarris,containsmanyattractivemodernpiecesconvenientlyarrangedinprogressiveorderofdifficulty.Inthisseminarwewillexploretheworldforcesthatshapedthisrepertoireandwhichcontinuetoshapeourmodernlifetoday,listentoperformancesofattractiveteachingpiecesfromtheelementarytotheadvancedlevel,andexplorepedagogicalteachingstrategiesformakingthisrepertoiremoreappealingtoandunderstandableforourstudents.

47

VELJKO GLODIĆ(CROATIA) UniversityofZagreb,AcademyofMusic(Zagreb)

VeljkoGlodićgraduatedinpianoattheZagrebAcademyofMusicin1980intheclassofJuricaMurai.AsastudenthewonseveralawardsincludingthefirstpriceattheYugoslavCompetitionofMusicStudents, and“SvetislavStančić”awardof theCroatianMusic Institute.Heperfectedhisartisticskills in theUSA,first inBostonat theNewEnglandConservatoryofMusicwhere,in1982,heobtainedhismaster’sdegreeunderJacobMaxin,andthenatFloridaStateUniversity,whereheachievedhisdoctorateintheclassofEdwardKilenyin1988.Hehasbeenteachingpianosince1993 at theZagrebUniversityAcademyofMusic, andperforms at concerts at homeandabroad(Germany,Hungary,Russia,USA).In2005hegaveaverywellreceivedperformanceasaparticipantattheInternationalCongressinMoscowtomarkthe90thanniversaryofthedeathofAlexanderSkryabin.His2007MoscowconcertwasreviewedbythemostdistinguishedRussianculturemagazine“LiteraturnajaGazeta”:“HeplayedBachandHandelbrilliantly…InfutureMoscowconcertsthisexcellentCroatianpianistwillcertainlyattractmoreRussianpublic.”In2008hewasanArtistinResidenceattheGoucherCollege,Baltimore,USA.In2010VeljkoGlodićwasajurymemberofVeraLotarShevchenkoInternationalPianoCompetitioninRussia.

Piano Recital: Alexander Scriabin

A.Scriabin FourPreludes,Op.22 SonataNo.3,Op.23 Drammatico Allegretto Andante Prestoconfuoco PoemeSatanique,Op.36 SonataNo.10,Op.70 Moderatoallegro Verslaflamme,Op.72

48

ENIKŐ GÖRÖG (SERBIA) FacultyofMusicArt(Belgrade)

GörögEnikőwasborn1987inSubotica.ShefinishedhermasterstudiesattheFacultyofMusicArtinBelgradewithProfessorNinoslavŽivković,withwhomsheisstillstudyingfortheDoctoraldegree.Sheistheprize-winnerofdomesticandinternationalpianocompetitionsinParis–“NicolaiRubinstein”1997,FirstPrize;Torino–“InternationalCompetitionforYoungPianists”1999,FirstPrize;Copenhagen–“InternationalCompetitionforYoungMusicians”2000,FirstPrize;Belgrade–”EPTA2008”,FirstPrize,“DrVojislavVučković” InternationalPianoCompetition2009,FirstPrizeandLaureate titleand“JeunessesMusicales”InternationalPianoCompetition2009,ThirdPrizeand the SpecialPrize for thebestperformanceof the obligatorySerbianpiece;Radford–“Bartók–Prokofieff–Kabalewsky Piano Competition” 2001, Second Prize; Szeged – “B. Bartók” International PianoCompetition2010,SecondPrize.SheplayednumeroussolorecitalsinSerbia,Slovakia,Hungary,Romania,Italy,DenmarkandUSAandappearedasasoloistwithSuboticaandSzegedPhilharmonicorchestras,chamberorchestra“Simphonietta”fromBudapestandBelgradeRadioandTelevisionOrchestra.Asamemberofthepianoduo(withhersisterNoémiGörög)shewastheprize-winnerofinternationalcompetitionsinBelgrade,Torino,OsloandRome.

Closing Piano Recital

D.Scarlatti SonatainDMinor,K.213 SonatainCMajor,K.420 L.vanBeethoven SonatainA-flatMajor,Op.110

Moderatocantabilemoltoespressivo Allegromolto Adagiomanontroppo Fuga.Allegromanontroppo L’istessotempodiArioso L’istessotempodellaFugaF.Liszt SonatainBMinorA.Ginastera DanzasArgentinas,Op.2

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BILJANA GORUNOVIĆ(SERBIA) AcademyofArts(NoviSad)

Bornin1968.inBelgrade.DuringherprimaryandsecondarystudiesinSerbiashewonseveralFirstPrizesatstateandfederalcompetitions.ShecontinuedherschoolinginMoscowattheTchaikovskyStateConservatory,startingwithpreparatorycoursesunderLarisaMohelandafterwardscompletingundergraduate andgraduate studies in the classofGlebAkselrod.She alsoobtainedamaster’sdegreeattheFacultyofMusicinBelgrade,intheclassofJokutMihailović.ShewontheDiplomaofHonorsattheMariaCanalsInternationalCompetitioninBarcelona1991.Shewasthewinnerof the Second InternationalCompetition inChopin’smusic inGöttingen (Germany) 1993. ShehasbeenalongtimememberoftheOrpheusEnsembleoftheJeunessessMusicalesofBelgrade.AsasoloistormemberofvariouschamberensemblesshetookpartinnumerousconcertsinSerbia.SheappearedwiththeBelgradePhilharmonicOrchestra,StanislavBiničkiSimphonyOrchestraoftheYugoslavArmyArtisticEnsembleandwithSt.GeorgeStrings.SheperformedwiththeStateStringQuartet„Glinka“Moscow,andwiththesingersLudmilaGros,MirjanaSavić,SanjaKerkez,JelenaVlahović,KatarinaJovanović,andtheclarinetistAleksandarTasić.SheworkedwiththeconductorsUrošLajovicandDorianWilson.BiljanaGorunovićgavenumerousrecitalsinRussiaandtheformerUSSR,alsoappearingwiththesingerLudmilaIvanova.SheperformedinGreece,CzechRepublic,Germany,Spain,Norway,Danmark.Tocommemorate50yearsfromthedeathofMilojeMilojević,shegavethepremiereperformanceofhiscycleCameosOp.51.SheisamemberoftheUnionofPerformingMusicians.SheisthewinneroftheprizeoftheUnionofPerformingMusiciansforthebestconcertin2006.Sheisalsoengagedinteaching,asaProfessoratthePianoDepartmentoftheAcademyofArtsinNoviSad.


J.S.Bach ConcertoinDMinor,BWV1052 Allegro Adagio Allegro

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ELLEN GREGORIE(USA)WilkesUniversity(Wilkes-Barre,Pennsylvania)

EllenGregorieiscurrentlyAssociateProfessorofMusicandDirectorofUndergraduateEducationatWilkesUniversityinWilkes-Barre,Pennsylvania(USA).SheholdstheBMinPianoPerformancefromVirginiaCommonwealthUniversityinRichmond,Virginia,theMMinMusicTheoryfromtheShepherdSchoolofMusicofRiceUniversity,andthePhDinMusicTheoryfromtheUniversityofMarylandatCollegePark.Gregorieisactiveasapublishedscholar,guestlecturer,andasasoloandcollaborativepianist andhaspresentedpapers and lecture-recitals at regional, national, andinternationalconferences.Herarticles,papers,andbookandmusicreviewshaveappearedinTheMusicalQuarterly,PerspectivesofNewMusic,ContemporaryMusicReview,AmericanMusicTeacher,andtheColloquede IannisXenakis.Gregorie is a formermemberof theBoardofDirectorsofMusicTeachersNationalAssociationandImmediatePastDirectorofMTNAEasternDivision.ShecurrentlyservesontheBoardoftheCMSFundoftheCollegeMusicSociety.

Lecture-Recital: Pedagogical Perspectives on J. S. Bach’s “Little Preludes and Fugues”

TheworksthatBachspecificallywroteforthetrainingofyoungkeyboardstudentsofferrewardingopportunitiestodevelopwhatthecomposerandpedagoguedemandedofallofhisstudents:“aclear,cleantouchofallthefingersofbothhands”.Inaddition,therichnessoftheprogressivecomplexityofthecounterpointisworthyofstudynotonlybybeginnersatthekeyboardbutofolderstudentswhomayneedadditionalpreparatoryworkforthecontrapuntalmasterpiecesfoundinTheWell-TemperedClavier.As is frequently the case in college and universitymusic programs in theUSA, piano studentscometotheirpost-secondarystudywithknowledgeofandtraining(oftenfaulty)inthetwo-partinventionsandafewofthesinfonias.Bachcomposedtheinventionsandsinfoniasasstudiesincounterpoint,asdemonstrationsfortheworkingoutofamusicalidea(theinventio)andnotnecessarilyasprogressiveandexpressiveétudestodevelopartfulperformanceatthekeyboard.The“LittlePreludesandFugues”provideexcellentmaterials for theolderstudentwhorequiressupplementaltraininginordertounderstandandappreciatethecontrapuntaldevicesandcomplexitiesofpreludesandfuguesinTheWell-TemperedClavierandapproachwithconfidencethetechnicaldemandsofthesemoredifficultworks.

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MARY ELLEN HAUPERT (USA) ViterboUniversity(LaCrosse,Wisconsin)

MaryEllenHaupertiscurrentlyatenuredAssociateProfessorofMusicatViterboUniversityinLaCrosse,Wisconsin,wheresheteaches theory,music history, and piano classes. She holds a bachelors degree inmusic education and piano/flute performancefromtheCollegeofSt.Scholastica,aswellasMMandPhDdegreesinPianoPerformancePracticefromWashingtonUniversityinSt.Louis,Missouri.Herperforminginterestsarealmostexclusivelyintherealmofchambermusic.Inthefour-handworld,hercollaborationswithTimothySchorrhaveincludedappearancesattheEdinburghSocietyofMusiciansandWisconsinPublicRadio’s“LivefromtheChazen”.ShehasalsoperformedextensivelywithviolinistNancyOliverosandtheArtariaStringQuartet.TheirfrequentduoandpianoquintetcollaborationshasbecomeastapleofViterboUniversity’sOne-of-aKindChamberMusicSeries,forwhichsheisfounderandartisticdirector.Dr.HauperthaspublishedandpresentedhertheorypedagogyattheSecondAnnualInternationalConference on Fine and PerformingArts (Athens,Greece), the “InternationalConference onEducation andNewTechnologies”(Barcelona,Spain,2009),the“Lilly-WestConferenceonTeachingandLearning”(Pomona,California),andatthe“FinchCenterforTeachingandLearning”atMaryvilleUniversityinSt.Louis,Missouri.

Lecture: Creativity, Meaning, and Purpose: Essential Ingredients for Taking the Fear out of Music CompositionTheartofmusiccompositionrequiresatremendousinvestmentoftimeandpatience,butmoreoftenimprovesastudent’sabilitytocomprehend,utilize,andperformmusicatmoresophisticatedandinformedlevel.“Creativity,Meaning,andPurpose:EssentialIngredientsforTakingtheFearoutofMusicComposition”exploresthebenefitsofmusiccompositioninauniversity-levelmusicprogramthroughacourse-embeddedproject.Threecomplementarystudentlearningoutcomeswillbeexplored:1.Studentswillbeabletocreativelyapplyanddevelopthefoundationsofmusictheorylearnedintheirfreshmanyear,2.Studentswilldevelopproficiencyusingmusicwritingsoftware,and3.Studentswillovercometheirfearofcompositionandgainconfidenceasmusicians.Thisoralpresentationwillexploreeffectivepedagogicaltoolsforeachstageintheprojectandincorporatestudenttestimonials,examplesofcompletedprojects,andrecordingsofliveperformances.Eachstudentcompositionisinspiredbyacommonbroadtopic,iscreatedand/orfinishedforperformanceusewithFinale®orSibelius®musicwritingsoftware,andthenperformedforlocalandregionalaudiences.ViterboUniversitygraduateshavesaidthattheylookbackattheircompositionprojectsasoneofthemorerewardingexperiencesintheirundergraduatetraining.

Piano Duet Recital: Viva España: Spanish Piano Duets by Moszkowski & RavelThisprogramhighlightspianoduetsthatevokethevibrantyetseductiverhythmsofSpanishdancemusic:MoritzMoszkowski’sSpanishDances,Op.12,andMauriceRavel’sRapsodieespagnole.TheSpanishDanceswerecomposedin1876asoneofthreesetsofpianoduetsbearingthesametitle(alongwithOp.21andOp.65).Appearinglaterinsoloandorchestralversions,thefivepiecesdemonstratethecomposer’sinnateunderstandingofthepianoandhowtowriteforiteffectively.Infact,Paderewskiclaimedthat“afterChopin,Moszkowskibestunderstandshowtowriteforthepiano”.EachmovementfusesnativeSpanishdancerhythmswithMoszkowski’scharacteristicmusicalcharm,technicalbrilliance,andfreshmelodicappeal.Interestingly,thefifthpiecewasperformedbyatrioinascenefromthe1945Britishfilm–BriefEncounter.Arguablythemostdifficultworkinthefour-handrepertoire,RavelcompletedtheoriginalduetversionofhisRapsodieespagnole by1907,withanorchestrationofthepieceappearingthefollowingyear.Thisfour-movementcycleisanevocativedepictionofthesights,sounds,dances,colors,andcultureofSpainthatalsoshowsRavel’sfascinationwithexoticculturesandgeographicalregions.Infact,thecomposer’sidentificationwithSpanishmusicstemmedfromtheBasqueandSpanishancestryofhismother.ManueldeFalladescribedRavel’sSpanishmusicas“subtlygenuine”,eventhoughRavelwrotemostofhisSpanish-inspiredworkswellbeforehisfirstvisittothecountryin1924.TheRapsodieespagnoledemonstratesavarietyofmusicalinfluences,notablytheDebussy-likeostinatotexturesandimpressionistsonoritiesoftheopening“Préludeàlanuit”.Themiddletwomovementscelebratethreedances:thetango,thehabañera,andthemalagueña.Andthefinal“Feria”recallstherelentlessrhythmicrepetitionofthe“Alboradadelgracioso”fromRavel’searliersetofMiroirs.

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IVAN HOLODOV(SERBIA) IsidorBajićMusicSchool(NoviSad)

IvanHolodovwasbornonJune4,2000inNovocherkassk(Rostovregion-Russia).Since2007IvanhasbeenastudentofIsidorBajićMusicSchoolinNoviSadintheclassofProfessorČilaStojšić.At themoment Ivanattends thefifthgradeof thePrimaryMusicSchool. Ivanhas successfullyparticipated in several music competitions: First Prize at the 13th International Competition ofYoungPianists,2009(Šabac,Serbia),FirstPrizeat the13th InternationalCompetitionofYoungPianists, 2009 (Šabac, Serbia), First Prize at theMusicCompetition of theRepublic of Serbia,2009 (Belgrade, Serbia),Laureate of the 14th InternationalMusicCompetition ofYoungPianists, 2009 (Šabac, Serbia),SecondPrizeatthe15thInternationalMusicCompetition“PetarKonjović”,2010(Belgrade,Serbia),FirstPrizeatthe11th CompetitionofYoungPianists,2011(Zrenjanin,Serbia),FirstPrizeattheMusicCompetitionoftheRepublicofSerbia,2011(Belgrade,Serbia),FirstPrizeattheInternationalMusicCompetition“PetarKonjović”,2012(Belgrade,Serbia),FirstPrizeattheFirstInternationalMusicCompetition“Fantast2012”(Bečej,Serbia).

Piano Resital - Young Concert Platform

J.P.Rameau SuiteNo.4inAMinorGavotteandVariations

L.vanBeethoven RondoaCapriccioinGMajor,Op.129F.Chopin EtudeinCMinorOp.10No.12P.Tchaikovsky NocturneinFMajorOp.10No.1R.Schumann ArabeskeinCMajorOp.18B.Bartók SonatinaSz.55 Bagpipers.Moltomoderato BearDance.Moderato Finale.Allegrovivace

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INGMAR PIANO DUOSLOBODANKA STEVIĆ – ALEKSANDAR GLIGIĆ(SERBIA) IsidorBajićMusicSchool(NoviSad)

IngmarPianoDuowas founded in 2005 by pianists and piano teachersSlobodankaStević andAleksandarGligić inNovi Sad. In the following year, theDuo recorded its first album for theAustrianmarketwith theworksofBarber,Piazzolla andKovačević.TheyhaveparticipatedonnumerousoccasionsatworldandEuropeanpianisticgatheringsasSerbianrepresentatives,oftenperformingpremieresofnewworksbycontemporarycomposers. In2009, IngmarDuowas thehighestrankedpianoduoattheInternationalPianoCompetitioninRoma,Italy,winningaswelltheSpecialCalligarisPrizeforthebestrenditionofthisItalianauthor.Furthermore,in2010,IngmarPianoDuoachievedgreatsuccessintheWorldPianoCompetitioninSanMarino,havingqualifiedamongthe7bestinternationalduos.TheDuohassofarcollaboratedwithmanyprominentartistsandProfessorsinmasterclassesandseminars:DuoTurgeon,JeniSlotchiver,VladimirOgarkov,SvetlanaBogino,DorianLeljak,NinoslavŽivkovićandmanyothers.TheDuohasrecordedforSerbianRadioandTelevision,TVSanMarinoandTVVaticana.StevićandGligićarethewinnersoftheAnnualAchievementPrizeawardedbytheSerbianAssociationofMusicandBalletPedagoguesin2010.TheyareregularparticipantsattheWorldandEuropeanPianoConference.Inthelasttwoyears,IngmarPianoDuoimplementedseveralprojectswhichfocusedonthenewSerbianclassicalmusicfortwopianos,presentingitincitiesinVojvodinaandSerbia.TheseprojectshavebeenfinancedbytheProvincialGovernment,theCityofNoviSadandtheSerbianAssociationofComposersandAuthors.MaestroSergioCalligarisonIngmarDuo’sperformanceofhiswork:“IngmarPianoDuoplayswithgreatexpression,supportedbypowerfultechniquewhichallowsthemusicianstobuildcomplexionofmyworkinanimpressiveway,offeringasuperbvision.”



AndanteAllegroassai

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KOSTA JEVTIĆ(SERBIA) AcademyofArts(NoviSad)

InhisnativetownofPrizrenKostaJevtićwasguidedthroughhisearlymusicaltrainingbyProfessorMarkoSavićwhoisanoffspringoftheIsidorPhillippe’sandAlfredCortot’s“pianogenealogytree”.HegraduatedfromtheAcademyofArts,UniversityofNoviSad,underMaestroKemalGekić.Hestartedgivingpianorecitalsattheageof13andexploringthecraftofaccompanyingwhenhewas15.DuringmanyyearsofofficialacompanyingintheStudioforVocalInterpretationofBelgradeOperasoloistProfessorLjubicaVrsajkovSivčevhehasgainedrichexperienceinvocalcoaching.Numerous concert apperianceswith the Studio attendants include those in theNationalTheatre inBelgrade, “Kolarac”Foundation,NationalMuseum,JewishCulturalCentreetc.HealsotookpartinvariousmusicaleventsorganizedbyTheInternationalClubinBelgrade,TheIsraeliEmbassyandJewishCulturalCenterinBelgrade.AsanaccompanistherecentlyattendedmasterclassesforFluteperformanceheldbyLauraLevai–Aksin,NorbertGirlingerandNatasaMarić.AfterstartinghisMaster studieswithProfessorRatimirMartinovićKosta Jevtićwas engaged as a teaching assistant for piano and iscurrentlyacollaborativepianistattheWindDepartmentoftheAcademyofArtsinNoviSad.

Piano Recital

D.Scarlatti SonatainCMajor,K.159 SonatainAMinor,K.188 SonatainDMinor,K.1 SonatainAMinor,K.54 SonatainEMajor,K.531 SonatainBMinor,K.87 SonatainGMajor,K.13 SonatainHMinor,K.27 SonatainGMinor,K.8 SonatainDMinor,K.141

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CARINA JOLY (BRAZIL/SWITZERLAND)ZurichUniversityoftheArts(Zurich,Switzerland)

IndependentMusicTeacherandPosturalConsultant

TheBrazilianpianistCarinaJolyhasdevelopedintenseactivityasaperformer,teacher,speaker,andposturalconsultantinBrazil,Portugal,theUSA,DenmarkandSwitzerland.MostrecentlyshereceivedadoubleDoctorofMusicalArtsdegreeinpianoperformanceandpianopedagogyfromtheUniversityof Oklahoma, where her dissertation “Selections fromAlmeida Prado’s Jardim Sonoro:A CriticalEditionforPianistsandTeachers”andotheracademiccontributionwererecognizedwiththeMarthaM.BoucherPianoScholarship.ShewonprizesinBraziliannationalpianocompetitionsandhasreceivedrecognitionasa“musicallyremarkable”pianistbythespecializedpress.CurrentlylivinginSwitzerland,besidesteachingprivatelyandperformingregularly,Dr.Jolydevelopspost-graduatestudiesinthenewareaofmusicphysiologyattheZürcherHochschulederKünste(Zurich).Between2009and2011,shewasasaresearchassistantattheCollegiumHelveticum(ETHZurich)whereshecontributedforascientificprojecttowardstheoptimizationofmusicperformancesponsoredbytheSwissNationalFoundation.

Workshop: Beyond Your Hands: A Preventive Approach for Optimal Piano Performance

Studies realized between 1985 and 1999 pointed to the alarming number ofmusicianswho suffer from occupational healthproblems.Theyshowedthat,twothirdsofprofessionalmusiciansdealwithplaying-relatedproblems,whilehalfofmusiciansstillintraining(i.e.beforebecomingprofessionals)experiencesymptomsofpainandotherphysicaldiscomfortrelatedtoplaying.Thestrictrequirementsofmusicstudysurelycontributenotonlytothephysical,butalsotothepsychologicalandemotionalpressuresofamusicalcareer.Inspiteofthehighoccurrenceofpainamongmusicians,accesstopreventivetreatmentremainedscarceinthemajorityofmusicstudy institutions.Thisworkshopwill (1)providean introductionofgeneralknowledgeofposture, (2)offerrelevantinformationregardingthemechanicsofpianoplaying,and(3)presentexercisesthatarespecificforpianists.AfterparticipatinginthisworkshoplastApril2012,themanagerofthephysicaltherapysectionattheUniversityofOklahomaHospital,thephysiotherapistMs.KarenBradford,enthusiasticallywrote“Istronglybelievethatifinstructorsofmusiccouldlearnandteachtheseprinciplestotheirstudents,injurieswillbedramaticallyreducedinourmusicalperformers!Istronglyencourageallmusicalperformerstotakeadvantageofthisoutstandingworkshop!!”

Piano Master Class

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IAN JONES(UNITEDKINGDOM) RoyalCollegeofMusic(London)

Ian Jones’career as a SteinwayArtist has taken him to all five continents, including acclaimedperformancesinLondonwiththeRoyalPhilharmonicandNationalSymphonyOrchestras.HehasbroadcastforradioandtelevisionnetworksinmanycountriesandhisWorldPremièreperformancesandrecordingsofmusicbyBritishcomposerRebeccaClarke(onDuttonDigital)havereceivedenthusiasticattentiononradioandinthemusicpress.OntherecentreleaseofhisCD,“Chopin:Summer inNohant”, “Classic FMMagazine” drew comparisonwithRubinstein andArrau andclaimed that “Jones possesses the ‘pearl’ touch that marks out the finest Chopin exponents”.InternationalPiano commentedon“somemagicallyveiledsonoritiesandexquisitepianissimo…reminiscentof1970sPollini”and“Gramophone” praisedhisabilityto“transformpassagesoftentreatedassuperficialrhetoricintosomethingthoughtfulandcommuning”.“BBCMusicMagazine” describedhisplayingashaving“alyricaleleganceandunselfconsciouspurityofexpression”andClassicalsource.com noted“Afinesenseofline,volatilityandraptconcentrationinformshisperformances”.HeisAssistantHeadofKeyboardandProfessorofPianoattheRoyalCollegeofMusicinLondonandajuroratseveralinternationalpianocompetitions.Healsofrequentlyconductsinternationalmasterclasses,mostrecentlyinItaly,USA,Japan,Greece,Serbia,IrelandandSweden.

Piano Master Class

RCM Pre-Audition Consultations

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LUKA JOVANOVIĆ(SERBIA) IsidorBajićMusicSchool(NoviSad)

Luka Jovanovićwas born inNovi Sad in 1994. He finished elementarymusic school “TeodorTošaAndrejević” inRuma, in class ofProfessorNemanjaOgnjanović.Duringhis education inelementarymusicschool,hewonnumerousawardsonvariousinternationalcompetitionsinSerbia,and participated inmaster class ofworld knownPianist andPedagogueKemalGekić inKotor2005.RecentlyheparticipatedinSixthMemorial“IsidorBajić”PianoCompetition.HeiscurrentlyastudentofthirdyearinSecondaryIsidorBajićMusicSchoolinNoviSad,inclassofProfessorBiljanaDabić.


L.vanBeethoven SonatainC-sharpMinor,Op.27No.2 Adagiosostenuto Allegretto Presto F.Liszt Valléed’Obermann

(From“YearsofPilgrimage”;BookI:“Switzerland”) HungarianRhapsodyNo.11inAMinor R.Schumann RomanceOp.28No.2 S.Prokofiev EtudeOp.2No.4 SuggestionDiaboliqueOp.4No.4

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HAYSUN KANG (USA/KOREA) LoyolaUniversityChicago(Chicago,Illinois)

Internationallyacclaimedpianist,HaysunKang,isrecognizedforherperformancesofelegancewithawidepaletteofcolors.ThePolishmusicjournal,RuchMuzyczny,proclaimedherperformancewith the Philharmonia Sudecka as having “immaculate technique and flawless dexterity”. TheTexasMonitor said of her performance, “her performancewasmagnificent andwe reallyweremesmerized”. Haysun Kang has appeared at major concert venues such as the Carnegie Hall,Merkin Hall, Chicago Cultural Center and Pick-Staiger Concert Hall. Her performances werebroadcastedliveonWQXR-FMradioinNewYorkandtelevisedoncableTV.AnativeofKorea,shereceivedherbachelor’sdegreefromSeoulNationalUniversity.IntheUnitedStates,sheearnedMaster’sdegreefromDePaulUniversitywhereshestudiedwithaChopinInternationalCompetitionlaureate,DmitryPapernoandalsoDoctorofMusicdegreefromNorthwesternUniversityunderDr.DavidKaiserman.Shealsoreceivedhermusical trainingfromJulianMartinatthePeabodyConservatoryofMusic,andAlexisGolovinattheAcademyofMozarteuminSalzburg,Austria.HaysunKangwasawinnerinnumerouscompetitionsincludingtheFrinnaAwerbuchInternationalPianoCompetition,theYoungKeyboardArtistAssociation InternationalPianoCompetition, theVernaRossOrndorffAustrian-AmericanMusicAward.SheiscurrentlyaheadofpianoprogramandthedirectorofappliedmusicattheLoyolaUniversityChicago,andhasbeenendorsedasaYamahaArtist.

Piano Recital: Busoni, Schumann and Chopin

J.S.Bach–F.Busoni ChaconneinDMinor R.Schumann SonatainGMinor,Op.22 F.Chopin ScherzoNo.1inBMinor,Op.20

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DAVID KARP (USA) SouthernMethodistUniversity,MeadowsSchooloftheArts,(Dallas,Texas)

DavidKarp, nationally knownpianist, composer, educator, lecturer, and author, holds degrees from theManhattanSchoolofMusicandtheUniversityofColorado.Inaddition,Dr.KarphasdonedoctoralstudiesatTeachersCollege,ColumbiaUniversity.AProfessorofmusicattheMeadowsSchooloftheArts,SouthernMethodistUniversity,Dr.Karpteachescoursesinpianoperformance,composition,theoryandauralskills,improvisation,andclasspianotechniquesforthecollegeteacher.HisformerstudentsarenowprofessionallyengagedoncollegecampusesthroughouttheUnitedStates.Hehasperformed, lectured,andconductedworkshopsandseminarsatmanycollegesanduniversities fromAlaskatoNewHampshireandasfarawayasTaiwan.AlfredPublishingCo,CarlFischer,Inc,FJHMusic,HalLeonard,LeeRobertsMusicPublications,andShawneePress,publishDr.Karp’scompositionsandcollections. In1993,Dr.KarpwashonoredwiththeestablishmentoftheDavidKarpPianoFestival,anannualeventheldatKilgoreCollegeinKilgore,Texas,inwhichstudentsperformandarejudgedonKarpcompositions.Dr.Karpwasfeaturedinalecture-recitalofLeonardBernstein’sPianoMusicatthe2011NationalConferenceonKeyboardPedagogyinChicago,IllinoisandtheNationalPianoInstituteforTeachersandYoungArtistsatSMU’sMeadowsSchooloftheArts.

Lecture-Recital: The Piano Teaching Music of David Karp

DuringaworkshopattheUniversityofDenverinDenver,Coloradoin1967Dr.RobertPaceaskedDavidKarptocomposeajazzduetbasedonthefolktune,PollyWollyDoodle.“PollyWollySwings”becameDavidKarp’sfirstpublicationandthusbeganacomposingcareerthathasextendedoverfourandahalfdecadesandnowincludeshundredsofcompositions;theseembodysoloandduetcollectionsaswellasseparatesheets.InthissessionDr.KarpdiscussesandperformsmanyofhispianoteachingpublicationswithFJH,Alfred,LeeRoberts,ShawneePressandWillisMusic.Dr.Karpwilldiscussthepianisticandtheoreticalconceptsinhiscompositionsandpointupthebenefitsofusingexcitingsupplementaryteachingpieces.InthewordsofcomposerWilliamGillock:“Morestudentshavelearnedtoplaythepianowellbecauseofexcitingsupplementaryteachingpiecesthanforallotherreasonscombined.”Beautifulmelodiesandlusciousharmoniesaswellasjazzrhythmsandasymmetricaltimesignaturescreateapacketofmotivationalconceptswhichinspireyoungstudentsandadultsaswellasseniors.Discoversomenewsolosforyourstudentsandhaveanopportunitytoaskthecomposerquestions.

Lecture-Recital: The Piano Music of Leonard Bernstein

LeonardBernsteinisoneofthemostcompellinganduniquemusicalpersonalitiesofthe20thcentury.NedRoremsaid“ByanystandardsLeonardBernsteinwasthemostsuccessfulmusicianofhistime”.Hiscareerasacomposertraversedacrosstheboundariesandtranscendedconventionalmusiccomposition.Itisexcitingtoexposeteacherstothemusicofamanwhowassocommittedtoteaching,therebyinfluencingandeducatingawholenewgenerationofmusiciansandmusiclovers.IplantopointupthesignificanttheoreticalconceptsinBernstein’scompositionalstyleaswellastheeclecticbutuniquemusicalandpianistictexturesinhisscores.IwillfocusprimarilyonthefoursetsofAnniversaries.Theseshortmusicalvignettesencapsulatedthemelodiccellswhichlaterbecamethethemesformanyofhislargercompositions.InadditiontoperformingworksfromtheFour,Five,SevenandThirteenAnniversaries,IwillendthesessionwithaperformanceofTouches,commissionedforthe1981CliburnCompetition.

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NINA KAVTARADZE (DENMARK)

Commencedhermusicalstudiesattheageof6attheCentralMusicSchooloftheConservatoireinhercityofbirth,Moscow,whichwasestablishedin1932especiallyforgiftedchildren.Alreadyattheageof8,NinaKavtaradzeplayedintheColonnadeattheHouseoftheUnion.ElevenyearslatershegraduatedtotheConservatoireproperjoiningtheclassofLevOborin.Followinghergraduation,thegreatteacherwastowritethisofhispupil:“Sheisamusicianwhopossessestalentoftheveryhighest order,with considerable artistic depth and brilliant individuality.”NinaKavtaradze hasgivenconcertsallovertheformerSovietUnion,USAandinmostEuropeancountries,performingasasoloist.Kavtaradze´srepertoireincludesa.o.50concertswithorchestra,whichshehasplayedwithnumerousconductors.AmongthemYuriAhronovich,SirCharlesGroves,LeifSegerstam,JormaPanula,KurtSanderling,MosheAtzmon,MarissJansons,KirilKondrashin,LambertoGardelli,MichaelSchönvandt,OsmoVänskä,JanLatham-Koenig,PetriZakari,GunnarStaern,DaronSalomon,PeterErös,OleSchmidtetc.Hervastrepertoirecomprisesboththefamiliarandthelesserknown:shehasrecordedthecompleteworksforpianoofRichardWagner(andeditedtheseworksfortheinternetcompanywww.freehandmusic.com,amongstthesefourpieces,whichwereneverpublishedbefore)andMussorgsky.TheWagnerrecordingwaschosenasbeingoneof the top10pianoCD in theworld for theyear2000by thegermanmusicmagazine“NeueMusikzeitung”(foundedbyRobertSchumann).ManyofherotherCD-recordingswereprizeawarded,a.o.herrecordingofHermanD.KoppelsPianoConcertoNo.3,whichreceivedtheDanishMusicAwards2004.NinaKavtaradzehasparticipatedasjuroratinnumerableinternationalpianocompetitions.

Piano Recital: Schubert’s Sonata

FranzSchubert SonatainB-flatMajorD.960 Moltomoderato Andantnesostenuto Scherzo.Allegrovivacecondelicatezza Allegromanontroppo

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JUDY KEHLER SIEBERT(CANADA) UniversityofManitoba,MarcelA.DesautelsFacultyofMusic(Winnipeg)

Soloandconcertoperformances,teachingandadjudicatingopportunitieshavetakenJudytoIsrael,Lithuania,Serbia,Montenegro,Bosnia,Paraguay,Mallorca,Spain,Brazil,Cuba,aswellas tocentersacrossNorthAmerica.InChamberMusicrecitals,shehasperformedwithmembersoftheIsraeliPhilharmonicbothinCanadaandIsrael,400concertswithQuarks!trioacrossNorthAmerica,andwithleadingartistssuchasIsraelipercussionist,ChenZimbalista,SwedishclarinetvirtuosoMartinFrost,CanadianvocalistsValdineAnderson,KevinMcMillan,andtheGlinkaQuartetfromMoscow.Thepastthreesummersshehasperformedand taught inBrazilat theRioInternationalCelloEncounterwithcellists fromaround theworld.She ispassionateaboutsharingmusic—whetherasa teacher,performeror life-longstudent. In this spirit, Judyindulgesinresearchofherlife-longenjoymentofjazzinCanada,NewYork,andthisAugust,inItaly.AMastersgraduate(UniversityofToronto)andaDoctoralgraduate(EastmanSchoolofMusicinNewYork),JudytaughtinCanadaandtheUSAbeforereturningtoWinnipeg.SheiscurrentlyanAssociateProfessorofPianoandChamberMusic,andCo-ChairofCollaborativePianoattheUniversityofManitoba’sMarcelA.DesautelsFacultyofMusic.

Lecture-Recital: “You’re Not REALLY Listening!” The Magic of Chamber Music Interaction

Musiciansallcreatesoundinperformance—but“Whoislistening?”Forhundredsofyears,pedagogyhasconcentratedondetailssuchaspracticestrategies,technique,PerformancePractice,andmorerecently,psychologyandmotivation.However,rarelyis“listening”atopicofinterest.Toooftentheassumptionofactivelisteningistakenforgrantedandthescoreishaphazardlyinterpreteddueto“peripheralhearing”,lackofensembleandconviction.Asteachers,wemustuncovertherealmoflisteningandaurallydecodeascoredespitebeingvisuallypersuaded.Whilepracticingandmakingdecisions,ourchoicesmaybebasedonpersonaltaste,or,atworst,reflectthelimitationsofourindividualtechnique.Involvementinplayingchambermusicinspiresandexpandsthedevelopmentofdiscriminatinglisteningskillsinuniquewaysthatsolostudycannot thoroughlyexplore.Thelessonswelearnby“playingtogether”encouragemorejudiciouslisteningwhenappliedtooursolopreparation.Eachmemberchallengestheunderstandingofthescorefromindividualperspectivesthusresultingina“dueling”synthesisthatheightenstheintentionofthemusic.TheKehler/RoseDuowilldemonstrateexamplesfromtheDebussySonataforcelloandpianoandChopin’sPolonaiseBrillianteinamotivatinglecture/recitalprogram.

C.Debussy Sonata F.Mignone Modinha F.Chopin PolonaiseBrillanteOp.3

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ANNA KIJANOWSKA(POLAND/USA) TheCollegeofWilliamandMary(Williamsburg,Virginia)

HailedbyTheNewYorkTimesas“AnexcellentPolishpianist”,AnnaKijanowskahasdistinguishedherselfinternationallyasarecitalist,chambermusicianandconcertosoloist.Kijanowska’srecordingofTheCompleteMazurkasbySzymanowski(Dux)wasrecentlypraisedbyAdrianCorleonisofFanfareMagazine”assuperior toanyother interpretationsthatcamebeforeorafterher”.Asaninternationallyrecognizedmusiceducator,Kijanowskahasbeeninvitedtopresentmasterclasses,recitalsandlecturesatleadinguniversitiesandconservatoriesaroundtheworld,includingtheYongSiewTohConservatoryofMusicattheNationalUniversityofSingapore,NanyangAcademyofFineArtsinSingapore,FrankfurtUniversityofMusicandPerformingArtsinGermany,theSydneyKonservatorium,theChineseConservatoryinBeijingandtheXinghaiConservatoryofMusicinGuangzhou,China,BardCollegeinNewYork,andHarvardUniversity,amongothers.SheholdsaDoctorateinPianoPerformancefromtheManhattanSchoolofMusicinNewYork,whereshestudiedwithByronJanis.Ms.KijanowskaiscurrentlyonthefacultyoftheCollegeofWilliamandMaryinWilliamsburg,VirginiaandisaformerfacultymemberoftheUniversityofNevadainLasVegas.

Lecture: Mazurka: Dance of a Polish Soul

Thispaperdiscussesthecharacteristicsofamazurkadance,anditscomplexity.Thedancehasbeeninexistencesincethe15th centuryandhasbeentranscribedandstylizedbyanumberofcomposers,mostnotablybyChopinandSzymanowski.Although it is impossible to separate the ancientversion from themodern stylized form, it is essential formusicians toknowthedance’soriginsandcharacteristics.ThispaperexploresolderformsofPolishfolkmusic,andexplainstraditionalperformancepracticeinrelationshiptoitsstylized,modernformasitappearsinthemusicofChopinandSzymanowski.

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YOUMEE KIM (USA) OhioUniversity,SchoolofMusic(Athens,Ohio)

YoumeeKim,DMA,AssistantProfessorofPianoatOhioUniversity,Athens,Ohio.BorninKorea,Dr.KimreceiveddegreesfromEwhaWomansUniversity,(BMwithDr.MijaeYoun),IndianaUniversity(MMandPerformerDiploma,withProfessorEdwardAuer),andTheOhioStateUniversity(DMAwithProfessorStevenGlaser)inpianoperformance,wheresheworkedasaGraduateTeachingAssistant.ShehaswonnumerousawardsincludingtheWomeninMusicCompetitionandtheOhioFederationofMusicClubsScholarship.ShehasperformedextensivelyinKoreaandNorthAmerica,andhasbeenfeaturedbytheSaskatoonSymphonyOrchestrainCanada.Dr.KimperformedattheAmericanMusicFestivalinLancaster,Ohio,theChamberseriesConcertofTroy-HaynerCulturalCenterinTroy,Ohio,andhadrecitals atEwhaWomansUniversity,SangmyungUniversity,HansaeUniversity andSeoulTheologicalUniversity.She has presented a lecture recital at theCollegeMusic Society InternationalConference in Seoul andKyung-ju,Koreain2011.SherecentlyperformedatBoston,MarshallUniversity,NorthCarolinaSchoolofArtsandUniversityofNorthCarolina,Greensboro.Aspecialistin20thCenturyAmericanpianomusic,Dr.Kimhasauthored“AnAnalysisandPerformanceGuidetoBenjaminLees’OdysseyIandII”(VDMVerlag,Germany),andpublishedarticlesfor“InternationalPianoMusic”.AsanactivememberofMusicTeachers’NationalAssociation(MTNA),sheservesViceChairoftheSouthEastDistrictofOhioMTNA.

Piano Duo Recital: Ars Nostra, Dulcis Domus (Our Art, Sweet Home)

Pianoduo,Sang-HieLeeandYoumeeKimpresentsaprogramofnewmusiccomposedbycolleaguesandfriends.JBFloydisaprominentcomposer-pianistwithadistinguishedcareerattheUniversityofMiamiinMiami,Florida.TributeforTwoPianos(1991)hasthreeparts,eachwithdistinctstructureandmood,yet,noprogramisattachedtothiswork.Rather,thecomposerpresentsabstractformswithminimalisticmarkings,givingtheperformerthefreedomtomovewiththecontrapuntallinesandchangingrhythms.RobertPatersonisa“risingstar”residinginNewYork.DeepBlueOceanforTwoPianos(2010)waswrittenwhilethecomposerlearnedtoscubadiveintheoceanforthefirsttime,andthepiecedepictsafascinationofthechangingwaters.ChanHaeLeeisoneofthestellarKoreanWomencomposers(J.Robison,2012),whoseworkshavebeenperformedworldwide.FrozenLandforTwoPianos(2010)wascommissionedbySang-HieLeewithaspecificrequesttoexpressyearningsandhopesforunificationofthetwoKoreas. JBFloyd TributeforTwoPianos PartI PartII PartIII RobertPaterson DeepBlueOceanforTwoPianos TheDarknessBelow SunbeamsandWaterfalls AccentsandWaves ChanHaeLee FrozenLandforTwoPianos

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MICHAEL KIRKENDOLL(USA) OklahomaStateUniversity(Stillwater,Oklahoma)

Bridgingthegapsbetweenoldandnew,MichaelKirkendollisanotyoureverydaypianist.Equallyat home in the worlds of Beethoven and Haydn as in those of Frederic Rzewski and JohnCage,Michael’s concerts are uniquemusical experiences leaving audiences eager for the nextperformance.MichaelhasperformedtoravereviewsatmajorvenuesintheUSA(includingCarnegieHall),Asia,andEurope.HisrecentappearancesasafinalistintheAmericanPianistsAssociationClassical Fellowship Awards were lauded as “inspired” showcasing “extraordinary” technicalgifts and “superior intelligence”.His performanceof JohnCorigliano’sPianoConcertowith theIndianapolisSymphonyOrchestra“dazzledfromthemomenthesatdownatthekeyboard”andhiscollaborationwiththeParkerStringQuartetintheShostakovichPianoQuintet“hadyouhangingoneveryphrase”.MichaeliscurrentlyAssistantProfessororPianoatOklahomaStateUniversity,andalsoisartisticdirector/founderoftheCortonaSessionsforNewMusic.HehasearneddegreesfromtheUniversityofKansas(DMA,BM)andtheManhattanSchoolofMusic(NewYork).

Lecture-Recital: Acting like a pianist: Music for Theatrical Pianist Jerome Kitzke’s “Sunflower Sutra” &Frederic Rzewski’s ’De Profundis

Alecture-recitaldemonstratingtheimportanceandrelevanceofmusicfortheatricalpianists,featuringperformancesoftwopillarsoftheatricalrepertoire.

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HERIBERT KOCH(GERMANY)

HeribertKochstudiedattheacademiesofCologneandKarlsruheandlaterwithPeterFeuchtwangerinLondonwhohadamajorinfluenceonhisartisticdevelopmentandwhomhefrequentlyservedasanassistantinhismasterclasses.TheencounterwithsuchrenownedartistsasTatjanaNikolayevaorMieczyslawHorszowskibroughthimadditionalinspiration.Beyondconcertprogrammeswithmajorworksfromthestandardrepertoire,hefrequentlyperformsunfamiliarcompositions,oftenpresentingthemintheformoflecturerecitals.Hisrecentconcertschedulefeaturesappearancesin10Europeancountries,withrecitalsinLondon,Paris,St.Petersburg,PragueandBonn.Inadditiontohiscareerasaperformer,heisasought-afterlectureroninternationalconferencesandafrequentjurorinmusiccompetitions.HeribertKoch is amember of the presidiumofEPTAGermany (EuropeanPianoTeachersAssociation).The particularqualityofhispedagogicalworkhasbeenwidelyrecognized.Hehasbeeninvitedtogivemasterclassesatvariousmusicschools,collegesanduniversitiesaswellaslecturesonpedagogicalissuesandteachingdemonstrationsintheframeworkofinternationalfestivalsandconferences.Hisindividualapproachoftreatingthevariousaspectsofsolvingtechnicalproblemsanddevelopingapersonal interpretationasawholemakehismasterclassesequallyvaluablefor talentedyoungpianists,experiencedperformersandpianopedagogues.

Piano Master Class

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LORETTA LANNING (USA) Loretta Lanning, a native of Michigan, completed her graduate studies at Central MichiganUniversity in Mount Pleasant, Michigan studying piano performance and pedagogy with Dr.AlexandraMascolo-DavidandDr.AdrienneWiley.WhileatCentral,shewasawardedagraduateassistantshipandinductedintoPiKappaLambda,thatnationalmusichonorssociety.ShecompletedundergraduatestudiesatGrandValleyStateUniversityinAllendale,Michigan,havingstudiedpianowithVanCliburn-medallistAviramReichert.AtGrandValley,Lorettawasawarded theStudentSummerScholars research grant, a second-yearmusic scholarship, and a universityLeadershipAward. Currently, Loretta operates a privatemusic school in LansingMichigan, offering adultgroupclasses inpiano in addition toprivate lessons.Loretta specializes inDalcroze-basedgroupclasses that instil life-longmusicalskillsinyoungbeginners.ShehastaughtmusicinprivateschoolsinGrandRapids,MichiganandinCentralMichiganUniversity’sCommunityMusicSchool,aswellasgivenmasterclassesinbothcities.SheisafrequentperformerinmanyvenuesinMichigan,soloandcollaboratively.Lorettaisactiveinherlocalteachersassociations,servingasDistrictChairfortheStateSemifinalsCompetitionandasjudgeforotherlocalcompetitions.SheisamemberoftheMusicTeachersNationalAssociationandtheMichiganMusicTeachersAssociation.Anavidresearcher,LorettahaspresentedherpedagogicresearchatGrandValleyStateUniversity,CentralMichiganUniversity,theMichiganMusicTeachersConference,andtheUniversityofMichigan’sMTNACollegiateChapter.

Lecture: Sequencing Czerny’s Etudes with Beethoven’s Sonatas in the High School Curriculum

CarlCzerny’shundredsofEtudesrevealaphilosophyofpreparationforthestudent;essentially,Czernybelievedthatstudentsshouldnotbelearningsomethingentirelynewineachpiecetheylearn,butratherrememberingoldconceptsinanewway.ItisforthisreasonthatCzernybelievedinteachingetudesandscalesbeforeandduringsolorepertoirestudy.Atthehighschoollevel,studentsshouldbeabletoapplyknowledgeoffamliarconceptstosoloworksthattheyhaveneverstudied.Thisensuresafastandconfidentlearningofthepiece.BecauseofCzerny’scloserelationshiptoBeethovenandtheClassicalstyle,thiscanbeespeciallyappliedtoBeethoven’sSonatas.Inthehighschoolcurriculum,sequencingthestudent’srepertoiretolearnacertainsetofCzerny’sEtudesbeforeassigningaparticularBeethovenSonatacanbringstrongandpositiveresultstothestudent’sperformanceofthework.Inthispresentation,Czerny’sOp.299andOp.740areappliedtoBeethoven’sSonataOp.2No.1,Op.10No.3,andOp.14No.2.

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TERESA LAVERS (AUSTRALIA) TeresawasborninAdelaide,inSouthAustralia.ShestudiedmusicandEnglishattheUniversityofAdelaide,graduatingwithaBachelordegreewithHonours,aDiplomainEducationandaMastersinMusic,undertheguidanceofClemensLeske.ShemovedtoMelbourneinordertostudywithRonaldFarren-Price and completed aMasters inMusic (performance) at theUniversity ofMelbourne.During thatperiodshespenta three-monthsojournstudyingpianowithRussianpianistEugeneSkovorodnikovattheUBCinVancouver,Canada.TeresahasperformedfrequentlyinAustraliaasasoloistandhaswonawardsincompetitionsinbothAustraliaandtheUK.Shehasakeeninterestinchambermusicandhasgivennumerousrecitalsasamemberofaduo,mostrecentlywithsoprano,CatherineNorthey.SheisregularlycalledontoadjudicateEisteddfodsandin2010wasinvitedtobeonthejuryoftheIsidorBajićPianoMemorialCompetition.TeresahasbeenHeadofKeyboardStudiesatScotchCollegeMelbournesince2003,andiscommittedtodevelopingmusicaltalentinyoungchildren.SheistheArtisticDirectorandfounderoftheScotchCollegePianoFestivalandtheScotchCollegePianoCompetition.

Piano Duo Recital

W.A.Mozart SonatainDMajor,KV381 Allegro Andante Allegromolto F.Schubert FantasieinFMinor M.Infante RitmofromDansesAndalouses

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SANG-HIE LEE(USA) UniversityofSouthFlorida(Tampa,Florida)

Sang-HieLee hasreceivedaBAinpianoperformancewithhonorsfromEwhaWomansUniversity,Seoul,Korea,receivedMMinpianoperformance fromAmerican Conservatory ofMusic, Chicago, completed both EdD and DMA curricula with specialization on pianoperformanceandpedagogyfromTheUniversityofGeorgia.SinceherdebutrecitalsinRome,Italy;BrunoWalterAuditoriumattheLincolnCenter,NewYork;andDr.BethuneCollegiateAuditorium inOntario,Canada,Leehasperformedsoloandchambermusic throughouttheUnitedStates,China,SouthKorea,Canada, andEurope.A foundingmemberof “ars nostra”, she continues to champion “our art”by commissioning and performing newmusic by colleagues and other contemporary composers. Dr. Lee’s research on pianists’ handbiomechanicshasappearedinMedicalProblemsofPerformingArtists,Psychomusicology,MédicinedesArts,theAmericanMusicTeacher,andAustralian Journal ofMusicEducation.Her research is cited inMENCHandbook ofResearch onMusicTeaching andLearning,thePianist’sReferenceGuide,Pianographie,thePianoQuarterly,theJournaloftheAmericanLisztSociety.SheisalsopublishedintheInternationalSocietyforMusicEducationConferenceProceedings,CollegeMusicSocietyNewsletter,PsychologyofMusic,ThePianoQuarterly,theBulletinoftheCouncilofResearchinMusicEducation,ConferenceonPianoPedagogyProceedings,MusicTeachersNationalAssociation,andMusicEducatorsNationalConference.SheistheEditorofthenewCMSCulturalExpressionsinMusicMonographSeries,andservesontheEditorialBoardoftheCMSSymposiumandBoardofDirectorsofthePerformingArtsMedicineAssociation.HavingreceivedaPhDinHigherEducationfromUniversityofMichigan,Dr.Leecarriesadualcareerasanadministratorandhighereducationresearcher.SheistheauthorofScholarlyResearchforMusicians:aComprehensiveStrategy(2012)publishedbytheLearningSolutionsDivisionoftheMcGrawHillPublishingCompany.

Lecture: “What’s up Doc: Music and Medicine, a New Paradigm for Music Performer Education”

Sang-HieLeewilldiscussthreemajorissuesinvolvedincollegiatemusicperformanceeducation:1)ahealthinterventionprogramincollegeinstrumentalmusicianswithkinematicanalysesoftwoexamples,2)handbiomechanicsinpianotraining,and3)educationalandrehabilitationprograms

Piano Duo Recital: Ars Nostra, Dulcis Domus (Our Art, Sweet Home)

Pianoduo,Sang-HieLeeandYoumeeKimpresentsaprogramofnewmusiccomposedbycolleaguesandfriends.JBFloydisaprominentcomposer-pianistwithadistinguishedcareerattheUniversityofMiamiinMiami,Florida.TributeforTwoPianos(1991)hasthreeparts,eachwithdistinctstructureandmood,yet,noprogramisattachedtothiswork.Rather,thecomposerpresentsabstractformswithminimalisticmarkings,givingtheperformerthefreedomtomovewiththecontrapuntallinesandchangingrhythms.RobertPatersonisa“risingstar”residinginNewYork.DeepBlueOceanforTwoPianos(2010)waswrittenwhilethecomposerlearnedtoscubadiveintheoceanforthefirsttime,andthepiecedepictsafascinationofthechangingwaters.ChanHaeLeeisoneofthestellarKoreanWomencomposers(J.Robison,2012),whoseworkshavebeenperformedworldwide.FrozenLandforTwoPianos(2010)wascommissionedbySang-HieLeewithaspecificrequesttoexpressyearningsandhopesforunificationofthetwoKoreas. JBFloyd TributeforTwoPianos PartI PartII PartIII RobertPaterson DeepBlueOceanforTwoPianos TheDarknessBelow SunbeamsandWaterfalls AccentsandWaves ChanHaeLee FrozenLandforTwoPianos

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WILLIAM LIPKE(USA) AdamsStateUniversity(Alamosa,Colorado)

PianistWilliamLipkemaintainsanactivescheduleasaperformer,composerandteacher.HehasperformedwithmusiciansofinternationalstaturesuchastheYingQuartet(fourdifferentseasons)andinternationaloperabaritoneHåkanHagegård.HehasperformednumeroussolorecitalsintheUSAandinEurope,includingrecentrecitalsinSt.Petersburg,Russia.AppearanceswithorchestraincludetheLisztConcertoinAMajor,whichwasbroadcastonpublicradio.Hehasgivennumerouspresentationsatstate,nationalandinternationalconventions.LipkeholdstheDMAdegreeinpianoperformancefromtheUniversityofCincinnatiCollege-ConservatoryofMusic.HisearlyteacherwasagraduateoftheRoyalCollegeofMusicinLondonandhefirstappearedasaconcertosoloistwithayouthorchestraattheageoftwelve.HestudiedprivatelyorinmasterclasseswithWalterHautzig,OzanMarsh(apupilofEmilvonSauerandEgonPetri),MenahemPresslerandchambermusicwiththeLaSalleQuartetandDorothyDelay.OneofhisstudentsperformedasasoloistwiththeHonoluluSymphony.HeiscurrentlyaProfessorinColorado.

Piano Recital

J.Haydn SonatainE-flatMajor,Hob.XVI/52 Allegro Adagio Finale.Presto S.Prokofiev SonataNo.3inAMinor,Op.28 (FromOldNotebooks) W.Lipke Sonata (WorldPremiere)

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SANJA LUKOVAC(SERBIA)MusicSchoolDr.MilojeMilojević(Kragujevac)

Sanja Lukovacwas born inKragujevac in 1988,where she finished elementary and secondarymusicschool in theclassofProfessorNataliaTomić.Whenshewas justundersixteenyearsofage,sheenteredtheAcademyofArtsinNoviSad,SubsectionforPiano,theclassofProfessorRitaKinka,whereshegraduatedasanhonourstudentin2009.Afterfinishingherbachelorandmasterstudies,trainingcontinuesonadvancedstudiesattheFacultyofMusicArtinBelgradethesectionsforsolopiano(intheclassofProfessorDejanStošić)andchambermusic(intheclassofProfessorDejanSubotić).Herpreviouslyschooling,SanjaLukovachasaattendednumerousmasterclassesinrenownedpianoteachers.Shehaswonmanyawardsatnationalandinternationalcompetitions,performedatnumerousconcertspresenting to theaudienceasasoloist,withorchestraandasamemberofchamberensembles.Alongwithsolocarrers,SanjaLukovacshowspreferenceforchambermusic.Herpursuitoffurtherimprovementsinthisareacontinuedwiththefoundationofpianoduo“Floreus”withpianistAndreaDer.Intheperiodbetween2009and2011shewasemployedasateachingassistantattheAcademyofArtsinNoviSad,forthepianosubject.Sheiscurrentlyworkingasapianoteacherandaccompanistinmusicschool“Dr.MilojeMilojević”inKragujevac.

Piano Duo Recital

W.A.Mozart SonataforTwoPianosinDMajor,KV448/375aAllegroconspiritoAndanteAllegromolto

C.Debussy EnblancetnoirAvecemportementLent.SombreScherzando

F.Poulenc SonataforTwoPianosPrologueAllegromoltoAndantelyricoEpilogue

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JANE LUTHER SMITH (USA) UniversityofSouthCarolinaSumter(Sumter,SouthCarolina)

JaneLutherSmithreceivedtheLicentiatePerformer’sDiplomainPiano(LRAM)fromtheRoyalAcademyofMusic,London, England. Her work with first generationMatthay students includes extensive study with the late DeniseLassimonne in England and additional work with the late FrankMannheimer in the United States. She receivedtheBachelorofMusicandMasterofMusicdegrees(cumlaudeandPhiBetaKappa)inpianoperformanceandthepost-graduatePerformer’sCertificateinpianofromtheUniversityofSouthCarolinawhereherteachersincludedW.JohnWilliamsandJohnKennethAdams.MissSmithwasalsoastudentofthelateElizabethNewell,CokerCollege,Hartsville,SouthCarolina.Herexperienceasaperformerhasbeenvaried,includingappearancesintheUnitedStates,EnglandandCanada.ApastFirstPrizewinnerof theprestigiousClaraWellsPianoCompetitionandrecipientofaChattanoogaCottonBallFellowshipforadvancedstudyinmusic,MissSmithhasbeenafeaturedperformerontheSouthCarolinaEducationalTVandRadionetworks.ShehasrecordedtwoCD’sofclassicalpianomusicandreceivedthe“WomanofAchievementAward”intheareaofFineArtspresentedbytheSCYWCAoftheUpperLowlands,Inc.Inadditiontoherdemandasasolorecitalist,sheisafulltimefacultymemberoftheUniversityofSouthCarolinaSumter.JaneLutherSmithislistedontheSouthCarolinaArtsCommissionApprovedPerformingArtistRoster.SheisownerofJaneLutherSmithPianoStudiosinSumter,SouthCarolinaandisorganistforthehistoricChurchoftheAscension(Episcopal),Hagood,SouthCarolina.

Lecture-Recital: Schumann Davidsbundlertanze, Op. 6

Davidsbundlertanze,Op.6composedin1837is,inmanyways,RobertSchumann’smostpersonalwork.TheeighteenintimatecharacterpiecesforpianoarenotonlyafertilecreativegenreforSchumann’sexperimentalideasandemotions,butarealsoaself-portraitofhisRomanticardor,variedstatesofmindandhisperfectloveandlongingforhisfuturewifeClaraWieck.Thisstudywillexploresomeoftheseintertwiningthemesandconcludewithaperformanceofthework.

Lebhaft Balladenmassig,SehrraschInnig EinfachMitHumor MitHumorUngeduldig WildundlustigEinfach ZartundsingendSehrrasch FrischNichtschnell MitgutemHumorFrisch WieausderFerneLebhaft Nichtschnell

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MARIANN MARCZI(HUNGARY) LisztFerencAcademyofMusic(Budapest)

MariannMarcziwasborninHungaryin1977.In1991enteredthepianoclassofMarianneÁbrahámandGáborCsalogattheBélaBartókConservatory,Budapest.ShereceivedherPerformanceArtistDiploma (MasterofMusic)degree in2000at theLisztFerencAcademyofMusic inBudapestunderProfessorsSándorFalvai,PéterNagy,andAndrásKemenes.ShecontinuedherpostgraduatestudiesinBerlinattheHochschulefürMusik“HannsEisler”withDAADScholarshipin2001.Shetookpartinvariousmasterclasses(GyörgyKurtág,ZoltánKocsis,FlorentBoffard,Pierre-LaurentAimard).Shecompletedherstudiesin2005,intheDoctorofMusicDepartmentoftheLisztFerencAcademyofMusicinBudapestunderProfessorMártaGulyás.Shehaswonprizesinnationalandinternationalcompetitionsandplayed in themost importantconcerthallsofHungaryandEurope.Shereceived theSchönbergPrizeof theArnoldSchönbergStiftungin2000andtheAnnieFischerPerformanceArtistPrizein2002.ShereceivedherPhD(DLA)degreein2008(GyörgyLigeti’sPianoEtudes).ShehaspublishedarticlesinHungarianjournals.ShegivesmasterclassesyearlyatCrescendoSummerAcademyofArtsinHungary.SheisProfessorofthePianoDepartment,LisztFerencAcademyofMusic,Budapest.

Lecture-Recital: Claude Debussy’s influence on Zoltán Kodály’s Piano Pieces

Lecturerecitalwiththefollowingprogramme:ZoltánKodály:MeditationsurunMotifdeClaudeDebussy,ZoltánKodály:Épitaphe,ZoltánKodály: ”-il pleut dansmoncoeur comme il pleut sur la ville -”,ClaudeDebussy:Selection from theImages, fromtheEstampesand fromthePreludes.The lectureoutlinesZoltánKodály’spianopieces,withemphasisonClaudeDebussy’simpactonhisharmonicstructuresandusingthepossibilitiesofthepianoinstrument.AnalysisofsoundlayersandconstructionofmelodicmodelsinZoltánKodály’sPianoWorks.ThelecturecommemoratesClaudeDebussy’s150thandZoltánKodály’s130thanniversary.

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MAURÍCY MARTIN(BRAZIL) StateUniversityofCampinas(Campinas,SãoPaulo)

MaurícyMartinisProfessorofpianoattheUniversidadeEstadualdeCampinas(UNICAMP),oneofthetoptwouniversitiesinLatinAmerica.HeactivelyperformsrecitalsandchamberappearancesthroughoutBrazil,theUSAandArgentina.AsanorchestralsoloisthehasworkedundersomeofBrazil’smost important conductors.His playinghas beenpraised for its “clear, clean, beautifulsound”.A performance ofAlberto Ginastera’s Sonata No. 1 was noted as “showing profoundmusicalityandunderstandingoftheinnersoulofthemusic,aswellastechnicalfacilityatthehighestlevel” (Kent Lyman,MeredithCollege).A devoted educator,MaurícyMartin enjoys a nationalreputationasateacherandadjudicator,appearingasavisitingartist/clinicianatnumerouscolleges,conservatoriesandmusicfestivalsthroughoutBrazilandtheUSA.Hissummerprogram“ParatyPianistEncounter”,waswarmlyacclaimed:“asanencounterthatwillattractthemostgiftedyoungpianistsfromacrosstheworld…andcontributestothedevelopmentofanewgenerationofpianists”(KennethDavidJackson,YaleUniversity).MaurícyMartinholdsdegreesfromBostonUniversity,IndianaUniversityandIndianaStateUniversity.HisteachersincludeAnthonyDiBonaventura,AlfonsoMontecino,BronjaFoster,RobertC.SmithandJoelBelloSoares.

Lecture-Recital: Select Brazilian Composers and their Piano Works

Brazilisanimportantcontributorto20thcenturypianorepertoireandhasprojectedmanyimportantpianistsinternationally.TheobjectiveofthislecturerecitalistoprovideashorthistoryandoverviewofthemusiccomposedforpianosolobynativeBraziliancomposerswithparticularfocusonexamplesoftheNationalistperiodandcontemporaryworks.Forthispurpose,thelecturerwilldiscusstheworksoftwocomposersthatareimportantfiguresoftheNationalistperiodandthreecomposersthatwellrepresenttherichandvariedaesthetics,stylesandcompositionaltechniquespresentintherepertoireofBraziliancontemporarycomposers.Therecitalprogramincludes:Chorosn.5“AlmaBrasileira”byH.Villa-Lobos(1887-1959);“Preludios”No.1,No.2andNo.4byE.Villani-Cortez(b.1930);“Sonatina”–IModerato,IIAllegrobyEdinoKrieger(b.1928);“Soneto”No.2and“Poesiludio”No.5byJ.A.AlmeidaPrado(1943-2011);andfinalizingwith“SecondSuiteBrasileira”IModeratoIIModaIIICateretebyO.LorenzoFernandez(1897-1948).

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MILAN MILADINOVIĆ(SERBIA) AcademyofArts(NoviSad)

MilanMiladinovićwasborn inNiš,Serbia.Hestudiedpiano inHighSchoolofMusic inNišwithProfessorBorivojeMladenović,Bachelor’sandMagister’sdegreeinAcademyofArtsinNoviSadwithProfessorSvetlanaBoginoandUDKBerlinwithProfessorFabioBidini.HeisworkingasAssistantforPianoandDocentforHistoryof piano performance at theAcademy ofArts inNovi Sad.Hewas a participant in several important pianofestivalsandmasterclasses.HewasaLaureateandFirstPrizewinnerofmanyNationalandInternationalPianocompetitions,andwasascholarshipholderofYamahascholarship,DAADscholarshipforstudyinginGermany,andScholarshipofSerbianRoyalfamilyKarađorđević2004.HehasperformedinmostimportantConcerthallsinSerbiaandalsoinItaly,Greece,USA,Brazil,Norway,Russia,Israel,Holland,Austria,GermanyandEngland.HehasrecordedforradioandTVNoviSad,RTS,GreekandHollandradioandtelevision.

Lecture-Recital: The three styles of Alexander Scriabin

PreludesOp.13PolonaiseinB-flatMinor,Op.22DeuxpoemesOp.32SonataNo.5Op.53SonataNo.6Op.623EtudesOp.65

Lecture: Mazeppa as inspiration of Franz Liszt (from simple exercise to Symphonic poem)

The main goal of this presentation is to examine principles of creative process of Liszt such as: transformation of thematic materials,transcription,improvisation,hisperformingpractice,constantimprovementofmusicalmaterialthroughseveralversionsofthesamework,influenceofprogram.Hisprovocativeideasaboutprogrammusichadleadhimtoradicallychangemanytraditionalpostulatesofmusic.Theabilitytoreformulateamusicalidea,andtoreordermaterialaccordingtovariousdramaticscenarioshadmadeLisztthetruemasterofprogrammusic.CharlesRosenpointsoutthatLisztisoneofthefirstcomposerswhofullyunderstoodtheexpressivepossibilitiesofthenewpianotechnique.Hisoriginalfingeringsareofteninserviceofvarietyoftouch,andtonecolorandnotonlytoplayasmuchnotesaspossibleinasshortpossibletime.ThefactthatLisztwroteeightversionsof“Mazeppa”,andthathewrotethemthroughouthislifeisgivingthepossibilitytoresearchandtoidentifyallthepreviouslymentionedaspectsofhisart.Thispresentationwillincludeaudioandvideoexamplesoffamousartistsperforming“Mazeppa”.

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MARTA MILOSEVIĆ BRANKOVIĆ(USA)

MartaMilosevićBrankovićwasborninBelgrade,Serbia.ShehascapturedtheattentionofaudienceandcriticsalikesinceherconcertodebutatGanzRudolphHallinChicagoin2005whereoneofthemostfamouspianistsalive,AbbeySimon(ProfessoratJulliardSchool)personallyattendedtheconcertandhighlyacclaimedherperformanceofBachandGershwin.AtageofsixMarta tookherfirstpianolessonandalreadyayearlatersheplayedherfirstpublicconcert.Shewas21yearsoldwhenshegraduatedpianoperformanceattheMusicArtAcademyinBelgradeastheyoungeststudentwiththehighestGPAinthegeneration.CurrentlyMartalivesinMiami,FloridawhereshehasfinishedsecondMasterprograminpianoperformanceatFloridaInternationalUniversityinthestudioofwell-knownconcertpianistandProfessorKemalGekić.From2006,Martaheldnumerouspublicappearancesperformingpianosolisticly,fourhands,andasasoloistinsmallerandlargerensemblesinallestablishedhallsofeasterncoastofUnitedStatessuchasArschtPerformingArtCentre,MOCA,WertheimPerformingArtCentre,BassMuseumofArtetc.InSeptember2010,MartaheldasoloconcertinprestigiousJuliusLittmanhallinNorthMiamiBeachfor1000peoplethatlaunchedhercareerasestablishedsoloclassicalconcertpianist.During2012,Martahasmorethan25solisticrecitalsincludingfamousAventuraArtsandCulturalCentreandKravisPerformingArtCentre.

Piano Recital

F.Chopin EtudeNo.12inCMinor,Op.10 NocturneinC-SharpMinor PolonaiseinAMajor,Op.40 W.A.Mozart FantasyinDMinor,KV397 E.Satie TroisGnossiennes B.Galindo ThreePreludes O.J.Garcia RecuerdosdeOtraMusicaParaPiano A.L.Webber ThePhantomoftheOpera

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MINA MLADENOVIĆ (SERBIA)

Mina Mladenović was born in 1985 (Belgrade). She attended and graduated violin at KostaManojlovicMusicHighSchool.AtAcademyofАrtatNoviSadshegraduatedviolinin2008andfinishedpostgraduated studies in 2009 (Professor/mentorEvgeniaKravceva).MinaMladenovićplayedviolin inVojvodinaSymphonyOrchestra,TheNoviSadChamberOrchestra, CamerataAcademicaNoviSad, FlorilegioFestivalOrchestra(Spain).Sheplayedasasoloist withTheNoviSadChamberOrchestraandCamerataAcademicaNoviSad.MinacooperatedwithcomposersA.Vrebalov,M.Rose,E.Ficklin,D.Sonnenberg,R.Maksimovićplayingtheiroriginalchambercompositions.SheattendedmasterclassesconductedbyJ.Maksimović,D.Bogdanović,S.Gürtler,F.Lermer.SheteachesviolinatKostaManojlovićMusicSchool.SheisalsoparttimeviolinplayeratBelgradePhilharmonicOrchestra.


MišaCvijović “Carpediem”forviolinandpiano

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DOTAN NITZBERG(ISRAEL) HailingfromAshkelon,Israel,pianistDotanNitzberghasperformedinprestigiousvenuesaroundtheworld.HeearnedhisundergraduateattheAcademyofMusicinTelAviv,anArtistCertificatefrom theSchool of theArts,CollegeofCharleston,SouthCarolina,where he studiedwithMr.EnriqueGraf.CurrentlyheresidesinBocaRaton,Florida,heisenrolledintheMaster’sprogramattheLynnUniversityConservatoryofMusicandisamemberofthepianostudioofRobertaRust.Nitzbergislaureateofseveralcompetitions-theMTNAStatePianoCompetition,inSpartanburg,SouthCarolina(HonorableMention);theAmerica-IsraelCulturalFoundationScholarship;“Lions”organizationAll-Israeli Piano Competition; National Piano Competition inAshdod; First PrizewinnerataregionalpianocompetitioninAshdod.Nitzberg,whohasAsperger’sSyndrome,receivedtheVSAInternationalYoungSoloistsAwardin2010.NitzberghastakenpartinMasterclasseswithacclaimedpianistssuchasDanielPollack,AlexanderGavrylyuk,VladimirKrainev,IlanaVeredandMattiRaekallio.HehasappearedassoloistwiththeAshdodStringOrchestra,theAshkelonChamberOrchestraandthePerugiaSymphonyandhasperformedrecitalsinIsrael,ItalyandtheUSA,includingaperformanceattheKennedyCenterfollowinghisVSAaward.

Lecture-Recital: Teaching piano to people with Asperger’s more effectively

Asperger’sSyndromeisbothaphenomenonandriddleformany,becauseof itsvariablenature,asexpresseddifferentlywithineachindividual.Sinceitsdiscoveryandimpactoneducation,itbecameasubjectforresearchforpsychologistsandeducators,includinginthefieldsofmusicandpianopedagogy.Thislecture-recitalpresentationisbothamusicalandpersonaljourneythroughtheeyesofapianistwhocopeswithAsperger’sSyndromehimself.Ashepassesthroughthestationsoflife,asallartistsmust,thispresenteroffersbiographicaldetailofhisdevelopmentandpresentshisownperspectiveaboutdifferent idiosyncrasies, learning styles, and approaches to practice.All deliveredwith a hint of humor, this program istargetedtohelpthoseteachingindividualswithAsperger’sinamoreeffectivelyfriendlyanddelightfulway.Repertoiretobeperformedintheprograminclude:D.Scarlatti–TwoSonatas,F.Liszt–LiebestraumNo.3,ConcertEtude“Gnomenreigen”,C.Debussy–Minstrels,andimprovisations.

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ANTHONY OLSON (USA) NorthwestMissouriStateUniversity(Maryville,Missouri)

Anthony Olson’s career has taken him throughout the United States, Europe, and China. Hisperformances have been broadcast onAmerica’s National Public Radio, KSCITelevision (LosAngeles,California),andNanjingTelevisionBroadcasting(China).HisrecentCDreleaseshavefeaturedmusicbyFredericChopinandLouisMoreauGottschalk.Adedicatededucator,AnthonyOlson is currentlyAssociateProfessorofPianoatNorthwestMissouriStateUniversity.HehasalsotaughtatImperialCollegeinLondon,England,AdelphiUniversityinNewYorkCity,TeikyoUniversityinMaastricht,Holland,andtheRooseveltAcademyinMiddleburg,Holland.Anactiveauthor,OlsonhaswrittenarticlesforThePianoJournal,AmericanMusicTeacherMagazine,ClavierMagazine,ClassicalSingerMagazine,andtheChoralJournal.

Lecture-Recital: Coming to America: Thalberg in the USA

Thislecture/recitalexploresSigismundThalberg’swildly-successfultouroftheUSA(1856-58)andthemusichewroteforhisAmericanaudiences.Withhismorethan300concertsthroughouttheeasternandMidwesternstatescarefullymastermindedbyoneoftheleadingimpresariosoftheday,hereturnedhomewithmorefameandfortunethananyotherEuropeanpianistofthenineteenthcentury.Followinginthetraditionofthetime,hecreatedarrangementsofseveralAmericanfolksongs.

SigmondThalburg Home!SweetHome,AirAnglais,Op.72 TheLastRoseofSummer,AirIrlandaisVarié,Op.73 LillyDale,AirAméricainVarié,Op.74

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ROSS OSMUN (CANADA)Bishop’sUniversity(Sherbrooke,Quebec)

OriginallyfromWindsorOntarioCanada,RossOsmunhasappearedinCanadatheUnitedStates,Europe and Russia as lecturer, recitalist, accompanist and chamber musician. Important NorthAmericandebutsincludethoseinBanff,Regina,Winnipeg,Toronto,Montreal,Detroit,AnnArbor,WashingtonD.C.andNewYorkCity.Hehasalsoperformedon severaloccasions inFranceaswellasSpain,AustriaandSt.Petersburg,Russia.RossOsmunholdsdegreesfromtheUniversityofWindsor,RoyalConservatoryofMusicandtheEastmanSchoolofMusic.HisprincipleteacherswereGregoryButler(Windsor)andBarrySnyder(Eastman).CurrentlyanAssociateProfessorofMusic atBishop’sUniversity,Dr.Osmun teachescourses inPiano,PianoLiterature,RussianMusic,MusicTheoryandFilmMusic.In2008,hereceivedtheHumanitiesTeachingAwardfromBishop’sUniversity.Heremainsactiveasasoloist,chambermusician,guestlecturerandfestivaladjudicatorthroughouttheEasternTownshipsandacrossCanada.HehasalsobeenfeaturedinrecitalonCBCRadio-CanadawithsopranoMelindaEnns.Presently,heresidesinQuebecwithhiswifeMelindaandtheirtwochildren.BeforearrivingatBishop’s,Dr.OsmunheldteachingpositionsattheEastmanSchoolofMusicandtheUniversityofPrinceEdwardIsland.

Lecture-Recital: Franz Liszt’s Mid-Life Crisis and the Genesis of the B Minor Piano Sonata

In1848afteryearsoftouringasavirtuoso,numerousfailedrelationships,FranzLiszt,nowapproachingtheageofforty,acceptstheofferofKapellmeisterintheDuchyofWeimar.Inadditiontodirectingallmusicalactivities,hefreelycomposesand more importantly experiments with musical form, thematic development, piano sonority and perfects his skills atorchestrationandconducting–allfreefromthescrutinyofthepubliceye.Aproductofthiswell-deservedhiatuswasthemonumentalPianoSonatainBMinorof1853.Inthislecture-performance,Iwilldiscussthesonata’shistoricalcontextandrevealhowLisztrevolutionizedthisage-oldformintermsofthematicpresentationandtreatmentinadditiontoitslarge-scalestructureandprogrammaticimplications.Thiswillbefollowedbyacompleteperformanceofthework.

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SOFIJA PALUROVIĆ(SERBIA)IsidorBajićMusicSchool(NoviSad)

SofijaPalurovićwasborninNoviSadin1997.SheenrolledIsidorBajićMusicSchoolin2005,thepianodepartment,underProfessorTatjanaVukmanović.SheparticipatedinthecompetitionforyoungpianistsinZrenjaninMarch,2007andwontheSecondPrize.InMay2007sheparticipatedintheRepublicCompetitionofMusicandBalletstudentsfromSerbia,inBelgrade,whereshewontheFirstPrize.InJune12,2008shetookpartinaconcertthatwasorganizedtomarktheopeningofthepermanentexhibitionattheMuseumofNoviSadandJune15thatyear,shehadasoloconcertattheConcertHalloftheMusicSchool.InMay2009,participatedintheRepublicCompetitionofMusicandBalletstudentsfromSerbia,inBelgrade,whereshewontheSecondPrize,andinFebruary2010.SheparticipatedinInternationalCompetition“DavorinJenko”inBelgrade,whereshewontheFirstPrize.AlsotheInternationalCompetitionofYoungPianistsinŠabac,wheresheagainwontheFirstPrize.InOhrid(Macedonia)atthecompetition“OhridPearls”in2010shewontheFirstPrize.Sofija’ssuccessesandthemediacoverage(TVPanonija-reportsfromthesoloconcert,TVPanonija-guestappearanceontheshowdedicatedtoyoungtalents,TVshowsZvrkVojvodina,noticeinthemagazine“Dnevnik”journaland“Citizen”journal).


J.S.Bach–E.Petri SheepmaySafelyGrazeL.vanBeethoven SonatainE-flatMajor,Op.31No.3 IAllegroS.Rachmaninoff Études-tableauxinCmajor,Op.33No.2F.Chopin VariationsBrillanteOp.12

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ILONKA PUCIHAR(SLOVENIA) MusicSchoolVrhnika(Vrhnika)

IlonkaPucihartookherdegreeattheLjubljanaMusicAcademywithProf.TatjanaOgnjanovič.AsasoloistsheconcludedherstudiesofthepianoaccompaniedbytheSymphonyOrchestraoftheRTVSloveniaandperformedinthesubscriptioncycleofconcertsoftheSymphonyOrchestraoftheMariborPhilharmonicSociety.AsamemberofvariouschambergroupsshehasplayedthroughoutSloveniaandasaguestinGermany,Austria,France,Israel,Spain,ItalyandtheNetherlands.Sheisalsodevotingherselftopedagogy.In1999sheobtainedaDiplomaofthemusicteachingmethodsofEdgarWillemsandisalsoattendingdifferentkindsofpedagogyseminarsthroughEuropeandUSA.Togetherwithherhusband(JakaPucihar)shehaswrotepianomethodbooksnamed“MyFriendPiano”andhasregularlecturesaboutcreativepianoteachinginSloveniaandabroad.

Lecture: Creativity and Improvisation: a Vital Part of Piano Pessons in the First Years of Learning

Creativepotentialispartofeverypersonality.Everychildisbornwithaninnatesenseofcreativity.Aninsightfulteachercanencourageastudent’screativepotentialthroughmusicalexpression;andconsequently(onadeeperlevel)helptonurtureaholisticself-perception;becauseinamomentofcreativitythebody,mind,andsoul,combinetoexceedexpected“rational”behaviour.Creativityalsohelpsus tofindnew,originalsolutionsandbringsout thebest inus.Whenbeingcreativewearefilledwithenergy,intenseness,andhappiness.So,itisimportanttolearnhowtorecognizethecreativity,andhowtotrust it.Creativityshouldbeencouraged inallareasofmusic,however itcanbe fullyexpressed through improvisation.Throughimprovisationthechilddevelopsintuition,spontaneity,listeningability,presenceinamoment,andself-realisation.Improvisationalsohelpstostrengthentechnicalandinterpretiveskills,listeningawareness,musicalmemory,topographyofthekeyboard,securityoftonality,understandingofmusic,andmostofallitencouragestheimaginationandcreativity.Childrenwill be able to address theproblems in a creativemanner bybeingdrivenby theneed for artistic expression.Believinginthecreativitywithinusalsoresultsinself-motivation,powerandself-confidence.Thisiswhyitissoimportantforthemusicteachertobeabletorecognizeachild’simpulsesandtosystematicallynurture,developandintegratethem.

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VIKTOR RADIĆ(SERBIA) IsidorBajićMusicSchool(NoviSad)

HewasborninNoviSadin1996,currentlyastudent inthesecondarySchoolofMusic“IsidorBajić”,NoviSad.Hestartedplaying thepianoat theageofsixasastudentofProfessor IvanaBranovački.Since2006hecontinuedhisstudieswithProfessorSrđanDalagija.ViktorwonmanyInternationalPrizesincludingtheSecondPrizeattheInternationalCompetitionNikolaiRubinstein,Parisin2008,SecondPrizeatVirtuosipermusicadipianoforte,UstinadLabem,CzechRepublicin2011,GoldenMedalandSpecialPrizeforthefirstperformanceofapieceFuguebyI.RijavecattheEPTAInternationalCompetitionIvanRijavec,Idrija,Sloveniain2012.Hewasgiventheaward“GoldenBell”forachievedresultsin2009.fromthetownofNoviSad.AlsohewontheFirstPrizeandLaureateAwardattheInternationalCompetitionofYoungPianistsMihailoVukdragovićin2009,andFirstPrize,Šabac,Serbiain2011.HeplayedmanyconcertsinSerbiaandSlovenia.HeperformedasasoloistwithTheChamberOrchestra“IsidorBajić”inSynagogueinNoviSad2009,andgivenaPianoRecitalasapartof3rdWorldPianoConference2011.ViktorattendedmasterclasseswithProfessorDr.ArboValdmaandProfessorSvetlanaBogino.


J.S.Bach ConcertofortwoPianosinCMinor,BWV1060AllegroAdagioAllegro

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STEFAN RAKIĆ(SERBIA) AcademyofArts(NoviSad)

StefanRakićwasbornonMarch24,1989inŠabac,Serbia.HismusiceducationbeganwhenhewassixwithProfessorGoaraLazićatthe“MihailoVukdragović”MusicSchoolinŠabac.In2006heenrolledtheAcademyofArtsinNoviSadwherehestudypianowithProfessorSvetlanaBogino,studentoffamouspianistandProfessorLevOborin.Heworkedasherassistantonthesameacademy.HehasattendedinmasterclasseswithrecognisedProfessors:SvetlanaBogino,VladimirOgarkov,KonstantinBogino,JeanEfflamBavouzet,DianeAndersen,KemalGekić,AvedisKouyoumdjian,MartinHughes.HegaveperformancesinTownhallandCulturalCentreofNoviSad,KolaracHallinBelgrade,throughoutofSerbiaandalsoinItaly,Austria,Slovenia,France.StefanRakićhaswonnumerousprizesonnationalandinternationalpianocompetitionamongwitchare:SpecialAwardandLaureateinRepublicancompetition(Belgrade2003,2005),FirstPrizein“GradusadParnassum”competition (Kragujevac2003),SpecialAward inFestivalOfMusicSchools (Čačak2003),FirstPrize in internationalcompetition“FestivalmusicainLaguna”(Chioggia2004),SpecialAwardinCompetitionofYoungpianists(Šabac2006),FirstPrize,SpecialAward“O.Messiaen”andLaureatein4thMemorial“IsidorBajić”(NoviSad2008),semifinalistin3thInternacionalpianocompetition(SanMarino2008),semifinalistin4thInternationalpianocompetition“SvetislavStančić”(Croatia2011).In2009hegotfullscholarshipforattendingofISAcourseinAustriaandhewonAwardforthebestperformanceinISAcourse.In2010hegotacademicprize“Littleprince”forattainedexceptionalresultsinartonAcademyofartsinNoviSadandalsohegotprizeforthesameresultsfromUniversityofNoviSad(2011).

Piano Recital

J.S.Bach–F.Busoni Choralprelude“Nunfreuteuch,liebeChristen”F.Chopin EtudeOp.10,No.1inCMajorL.vanBeethoven SonatainAMajor,Op.101

Allegretto,manontroppoVivace,allaMarciaAdagio,manontroppo,conaffettoAllegro

F.Liszt MephistowaltzNo.1 S.Prokofiev SonataNo.8inB-flatMajor,Op.84

AndantedolceAndantesognandoVivace

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LACHLAN REDD (AUSTRALIA)

LachlanReddgraduatedfromtheManhattanSchoolofMusicinNewYork,asascholarshipholderandarecipientoftheQueen’sTrustforYoungAustralians:MasterofMusic.AttheAustralianNationalUniversity,hegraduatedwith aBachelorofMusicdegree,withfirst classHonors andwas awarded theprestigiousUniversityMedal.OverthelasttenyearsLachlanhasbeeninvitedtoparticipateinsomeoftheworld’smostimportantpianocompetitionsincluding:Scottish(1998),Leeds(2000),Rachmaninov(2002)&Bechstein(2006). He has twice been awarded the Bach Prize at consecutiveAustralian National PianoAwards.Internationally, hewonFirst Prize at theFourth InternationalYouthMusicFestivalVirtuosi of theYear2000Competition,heldinStPetersburg.ThisculminatedinaperformancewiththeTchaikovskyChamberOrchestrainthehistoricMarinskyTheatre.AfinalistintheinauguralABCTVQuestCompetition,hewontheKeyboardFinalsoftheYoungPerformersAwards,appearingonABCTVinthegrandfinalsofbothevents.Sincethen,LachlanhasappearedasbothrecitalistandconcertoartistfortheABCinsimulcastsonABCTVandABCClassicFM.HehasappearedthroughoutAustraliawithallthemajorsymphonyorchestrasandwithleadingconductorsincludingVladimirVerbitskyMichaelHalasz,NicholasBraithwaite,JanosFurstandYanPascalTortellier.HisperformanceofRichardMeale’s“Coruscations”formsananthologyofAustralianmusicondiskandtheliveperformancewasseenonTVfromtheUltimoCentreinSydney.LachlanwasengagedassoloistforTheAustralianBallet’srevivalofGeorgeBallanchine’s“BalletImperial”.HegaveoversixteenperformancesofTchaikovsky’sPianoConcerto2betweentheAdelaideSymphonyandStateOrchestraVictoriaunderthebatonofNicoletteFraillon.

Piano Duo Recital

W.A.Mozart SonatainDMajor,KV381 Allegro Andante Allegromolto F.Schubert FantasieinFMinor M.Infante RitmofromDansesAndalouses

Piano Recital

J.S.Bach FrenchSuiteNo.5inGMajor,BWV816 R.Schumann Carnaval,Op.9

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KEVIN RICHMOND(USA) UniversityofMemphis,RudiE.ScheidtSchoolofMusic(Memphis,Tennessee)

Dr.KevinRichmondisAssistantProfessorofPianoandCoordinatorofClassPianoattheUniversityofMemphis.HeservedpreviouslyonthefacultiesoftheUniversitätKasselinGermanyandtheLoireValleyMusic Institute inChinon,France.HehasperformedsolorecitalsofcontemporarymusicattheWienerTagederZeitgenößischenMusik(Austria),Gießhauskonzerte(Germany),andHuismes concerts d’été (France).Dr.Richmondhaspresentednumerousworkshops and lecturerecitalsofavant-gardemusicrangingfromnotationandtechniquesinbeginningpianorepertoiretothatofartist-levelliterature.HeholdsdegreesfromtheUniversityofWisconsin-MadisonandtheUniversityofTexasatAustin.

Lecture-Recital: Eine Kleine Mitternachtmusik: Crumb’s Fascination with Jazz and Nocturnal Imagery

2012marksthefiftiethanniversaryofthepremiereperformanceofGeorgeCrumb’sFivePiecesforPiano,hisfirstpieceincorporatingdirectstringmanipulationandamilestoneinthegenreofextendedtechniques.“EineKleineMitternachtmusik”,Crumb’smostrecentsolopianowork(2001),presentsasetofruminationsbasedonTheloniousMonk’sJazzclassic’RoundMidnight.CrumbexpandsonthedarkcharacteristicsofMonk’sthemeandexploresothernocturnalelementsofdreams,visions,nightmares,bells,andfantasyintheidiomaticandcolorfulpianowritingforwhichheisbestknown.Inadditiontodirectharmonicandmelodicquotesof’RoundMidnight,twootherelementsofAmericanpopularmusicareimmediatelyrecognizable:ragtimeandBlues.Currentlyinhis83rdyear,Crumbremainsunsurpassedinhisinnovationsofnon-traditionalplayingtechniquesandevocativesoundpalette.Thislecturerecitalpresentsexamplesofunconventionalnotationandplayingtechniquesinstudentrepertoireofalllevels,fromtheverybeginningpianostudenttotheadvanced,andaddressesCrumb’sfascinationwiththenocturnalelementinaperformanceof“EineKleineMitternachtmusik”.

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NÉLIDA SÁNCHEZ (ARGENTINA)

ShestudiedinSantaAnaInstitutewithAldoRomaniello.In1971shegraduatedandwasawardedwiththegoldenmedal.LatershestudiedintheNationalConservatory“C.L.Buchardo”withAntonioDeRaco.In1978shegraduatedasaSuperiorProfessorofPiano.LicenciadainpianograduatedatTheSuperiorNationalInstituteofArts.ShehasbeenattendingmasterclassesdeliveredbyMaestrosI.GómezCarrillo,C.Bruno,S.Blech,A.Golovine,P.Mildner,J.Stompel,M.CarraandA.Iglesias,etc.In1991chairedtheboardofjudgesintheContestofYoungPianistsorganizedbythe“AsociaciónEstímuloMusicaldeLincoln”.In1995/96shewasgrantedascholarshipbytheUniversityofSantiagodeCompostelatostudySpanishmusic.SeveralArgentineandSpanishcomposershadrequestedhertoperformforthefirsttimeworks-someofthesepieceswereevendedicatedtothepianist.ItisalsoworthmentioningthefactthatNélidaSánchezwasselectedtoperformseveralSpanishandArgentineworksforthefirsttimeintheworld.In2010shewaspremiere“DanzadelaPampa”byJavierJacinto,aSpanishcomposerwhospeciallydedicatedthispiecetoher.Shehasrecorded2Cd’s.

Lecture-Recital: Presentation CD Recital

IpresentmyCDRecitalwithawrittenexplanationaboutcomposersandcompositions.TheCDisatravelsinceBaroqueperioduntil21thcentury.

P.Soler Thissonatahastwothemes.ItwasintroducingthetypicalsonataoftheClassicperiod.L.vanBeethoven Thisisafirstperiodsonata.Ithasthreemovementsdifferencedbythetempoandtheexpressivequalities.A.Piazzolla “InviernoPorteño’’and“VeranoPorteño’’createaperfectdescriptionoftheCityofBuenosAire whichis

subjecttotheweatherchangestypicalofeachseason.F.Chopin Asublimethemecharacterizedbytheintimatemelodiestypicallydevelopedbythiscomposerthroughouthis

works.J.Prohens “Ombres’’melodiesarediffusedand,fromtimetotime,timbralmotifscreatecontrasttostaticsonorities.

“Lallum’’isamelodyaccompaniedbytonalchordswithinasimplestructure.J.Jacinto Thisisapianopieceaimedatinvokingaveryintenseandevenwilddancethatboaststhetypical strengthand

dynamismoftheLatinAmericansoutherncone.E.Granados Extremelyoriginalcompositiontypicaloftheromanticperiod.Itsclearlybrilliantopeningisfollowedby7

briefwaltzeswithdifferentcharacters.J.Rodrigo “DanzaValenciana’’isoneofthe4Spanishdances.It’sajoyfulandmerrypiece.

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PAOLA SAVVIDOU (USA/CYPRUS) UniversityofMissouri,SchoolofMusic(Columbia,Missouri)

Paola Savvidou serves asAssistant Professor of PianoPedagogy at theUniversity ofMissouri.SheregularlyperformsacrosstheMid-West,andhasmadesoloandchambermusicappearancesinNewZealand,aswellashernativeCyprus.Adevotedadvocateofcontemporarymusic,Paolaistheco-founderandco-directorofNewMusicEverywhere,anensemblespecializinginlocation-specificandmultidisciplinaryperformancesofcontemporaryworks,basedinMadison,Wisconsin.HerresearchisfocusedonutilizingLabanMovementAnalysisandcreativemovementtoimprovealignmentwhiledeepeningexpressivityinperformance.Thishasgrownoutofanextensivedancebackground,includingtraininginballet,modern,BartenieffFundamentalsandLabanMovementAnalysis.Sheisestablishinganationalprofile,havingpresentedherworkatprominentconferencesincludingtheMTNANationalConference, the International Society forMusicEducationConference and theCMSGreatLakesConference.Amongotherawards,herresearchearnedPaolatheDavidandEdithSinaikoFrankGraduateFellowshipforaWomanintheArtsfromtheUW-MadisonArtsInstitute(2010),andanawardfromtheMacroAnalysisCreativeResearchOrganization(2010).SheholdsaBMfromtheUniversityofNorthCarolinaatGreensboro,andgraduatedegrees(MMandDMAinPianoPerformanceandPedagogy)fromtheUniversityofWisconsin-Madison.

Workshop: Playing with the Whole Body

Theimportanceofhealthfulphysicalalignmentinperformancehasbecomepartoftheconversationamongpianoteachersinrecentyears.Dynamicalignmentgoesbeyondthetraditionalnotionofposture,whichmayimplyastiffandforcedposition.Poortechniqueandinflexibilityareoftentheresultofadisconnectbetweentheouterextremitiesandthecore,orbetweentheupperbodywiththelowerbody.Principlesofalignmentmustextendbeyondthepositionofthearmsandfingerstoincludeprimarypointsofsupport.Theseare:head-neckjoint,spine,pelvis,kneesandankles.Keyconceptsthatwillbeaddressedinthisworkshoparejointaction,weighttransferandbodilyadjustmentsthataccommodatebalancere-adjustmentwhileplaying.Asanydiscussionthatinvolvesthebodyanditsmovementisbetterunderstoodwhenactuallyexperienced,thissessionwillbeinteractive.Theaudiencewillbeinvitedtoparticipateinashortseriesofkinestheticexperiencesthatexploretheabove-mentionedconcepts.Theseexperiencesmaybeusedwithpianostudentsofallagesaswarm-upstotheirdailypracticeroutine.

88

TIMOTHY SCHORR (USA) ViterboUniversity(LaCrosse,Wisconsin)

TimothySchorrisanactivesoloistandcollaboratorthroughouttheUnitedStatesandinEurope.Amonghisperformancecreditsare theEdinburghSocietyofMusicians,KunstUniversität(Graz,Austria),ClassicalMusic Festival (Eisenstadt,Austria),WeillRecitalHall (NewYorkCity), the SchubertClubCourtroomConcertSeries(St.Paul,Minnesota),andWisconsinPublicRadio’sSundayAfternoonLiveattheChazen.Hefrequentlyadjudicates,presentsworkshops,andgivesmasterclassesthroughouttheUnitedStates,hasauthored and edited publications forAmerican Music, Clavier Companion, Keyboard Companion, andHalLeonard,andhasgivenpresentationsorperformancesfortheCollegeMusicSociety,MusicTeachersNationalAssociation,theTeachingProfessorConference,theInternationalAllianceofTeacherScholars,theMaryvilleUniversityConferenceontheScholarshipofTeachingandLearning,theLillyConferenceonCollege&UniversityTeaching,andtheWisconsinMusicTeachersAssociation.Dr.SchorrearnedaBMinpianoperformancefromEasternIllinoisUniversityandMMandDMAdegreesinpianoperformancefromtheUniversityofCincinnatiCollege-ConservatoryofMusic.HeiscurrentlyDeanofFineArtsandAssociateProfessorofMusicatViterboUniversityinLaCrosse,Wisconsin,USA.

Piano Duet Recital: Viva España: Spanish Piano Duets by Moszkowski & Ravel

ThisprogramhighlightspianoduetsthatevokethevibrantyetseductiverhythmsofSpanishdancemusic:MoritzMoszkowski’sSpanishDances,Op.12,andMauriceRavel’sRapsodieespagnole.TheSpanishDanceswerecomposedin1876asoneofthreesetsofpianoduetsbearingthesametitle(alongwithOp.21andOp.65).Appearinglaterinsoloandorchestralversions,thefivepiecesdemonstratethecomposer’sinnateunderstandingofthepianoandhowtowriteforiteffectively.Infact,Paderewskiclaimedthat“afterChopin,Moszkowskibestunderstandshowtowriteforthepiano”.EachmovementfusesnativeSpanishdancerhythmswithMoszkowski’scharacteristicmusicalcharm,technicalbrilliance,andfreshmelodicappeal.Interestingly,thefifthpiecewasperformedbyatrioinascenefromthe1945Britishfilm–BriefEncounter.Arguablythemostdifficultworkinthefour-handrepertoire,RavelcompletedtheoriginalduetversionofhisRapsodieespagnole by1907,withanorchestrationofthepieceappearingthefollowingyear.Thisfour-movementcycleisanevocativedepictionofthesights,sounds,dances,colors,andcultureofSpainthatalsoshowsRavel’sfascinationwithexoticculturesandgeographicalregions.Infact,thecomposer’sidentificationwithSpanishmusicstemmedfromtheBasqueandSpanishancestryofhismother.ManueldeFalladescribedRavel’sSpanishmusicas“subtlygenuine”,eventhoughRavelwrotemostofhisSpanish-inspiredworkswellbeforehisfirstvisittothecountryin1924.TheRapsodieespagnoledemonstratesavarietyofmusicalinfluences,notablytheDebussy-likeostinatotexturesandimpressionistsonoritiesoftheopening“Préludeàlanuit”.Themiddletwomovementscelebratethreedances:thetango,thehabañera,andthemalagueña.Andthefinal“Feria”recallstherelentlessrhythmicrepetitionofthe“Alboradadelgracioso”fromRavel’searliersetofMiroirs.

89

DOMINIK STADLER (GERMANY) UniversityofMusicFreiburg(FreiburgimBreisgau,Baden-Württemberg)

DominikStadlerwas born inBruchsal,Germany, inAugust 1991.DominikStadlerwonprizesat national youth competitions (Bundespreise Jugendmusiziert) and later prizes at internationalpiano competitions such as Third Prize in Enschede (“6th International Piano Competition forYoungMusicians”, 2010), Second Prize inVienna (“3rd International RosarioMarciano PianoCompetition”, 2011), First Prize inCortemilia (“17th InternationalMusicCompetition”, 2009 -VittoriaCaffaRighettiPrize,100/100points),FirstPrizeinPadova(“7˚ConcorsointernazionalediesecuzionemusicalePremioCittádiPadova”,2009-98/100points),SecondPrizeinJeseník(17thInternationalSchubertCompetitionforpianoduos,2011).DominikStadlerhasstudiedpianowithProfessorChristophSischkaattheprecollegeinFreiburg(FreiburgerAkademiezurBegabtenförderung)withascholarshipfromhishometownandisnowaregularstudentattheUniversityofMusicFreiburg(HochschulefürMusikFreiburgimBreisgau,Germany).DominikStadlergivespianorecitalswhicharehighlyacclaimedbynewspapersandevengotTVreports.


J.Haydn SonatainFMajor,Hob.XVI/23 Moderato Adagio Finale.Presto M.Mussorgsky BildereinerAusstellung

90

TORI STØDLE(NORWAY) UniversityofTromsø(Tromsø)

ToriStødle,ProfessorofpianoattheMusicConservatory,FacultyofArt,TromsøUniversityandArtisticDirectorofTopoftheWorldInternationalPianoCompetition.Torihasgivenmasterclassesandconcerts inUSA,RussiaandseveralotherEuropeancountries. InNewYorkshehasgivenlecture-recitals at The Juilliard and Manhattan Schools of Music. She has world premieredNorwegianworksdedicatedtoherandproducedseveralCDs.ToriStødlehasreceivednumerousgrantsandprizes.ShestudiedwithRobertRieflingOslo,JùrgenUhdeStuttgartandthelegendaryAdeleMarcusinNewYork.AfterherNewYork-debutin1990atCarnegieHall,JamesR.OstreichinNewYorkTimeswrote“Sheisasuberblyrefinedminiaturist,abletocreatelittleworldsofcolourandpoetrywithexquisiteshadingofdynamics and shapingofphrases”.She is an appointedSteinwayartist and isby theWorldPianoTeachersAssociationbestowedtheTitleofHonoraryPresidentforNorway.HisMajestytheKingofNorwayhasappointedhertoKnight,FirstClassoftheRoyalNorwegianOrderofSt.OlavforhercontributionstotheNorwegianculturalscene.SheisArtisticDirectorofTopoftheWorldInternationalPianoCompetitionwhichreceivedin2011WPTADiplomaofExcellencepermanentlyaccredited.

DVD Presentation: “Bells are shining and calling”

AfilmbytheNorwegianFilmdirectorKnutErikJensenaboutthechurchofHonningsvåg–theonlybuildingleftafterWorldWarIIinthenorthernmostcityintheworld.ThemusicofthefilmisFirstmovementoftheSchubertsonatainBbmajorplayedbyToriStødle.

91

TEA STOJŠIĆ (SERBIA)IsidorBajićMusicSchool(NoviSad)

TeaStojšićwasbornonNovember11,1997inNoviSad.Shestartedtoplaypianoattheageof7intheclassofProfessorTatjanaVukmanovićattheIsidorBajićMusicSchool.Attheageof9Teagaveherfirstpianorecital,attheageof11sheperformedBach’sPianoConcertoinNoviSad.TeahadpianorecitalsinMadeira(Portugal),London(England),Linz(Austria).TeahaswonmanyFirstPrizesoncompetitionsinŠabac,Zrenjanin,Beograd.Themostimportantprizesare:FirstPrize,SpecialAwardandLawrenceAwardofSerbiaCompetitionofSchoolsofMusicandBallett(2007,2009);FirstPrizeoftheRepublicofSerbiaCompetitionofSchoolsofMusicandBallet(2011);FirstPrizeoftheInternationalPianocontestPetarKonjović,Belgrade,Serbia(2008);ThirdPrizeoftheInternationalPianoContestVirtuosiperMusicadiPianoforteofTheNorthBohemianTheatreofOperaandBalletUstinadLabem,CzechRepublic (2009).TheGovernmentof theAutonomousProvinceofVojvodinaawardedherwith recognition for superiorresultsachievedinnationalandinternationalcompetitionsinmusic.


J.S.Bach PreludeandfugueinAMajor,BWV888,DTKIIJ.Haydn SonatainCMajor,Hob.XVI/48

IAndanteconespressioneIIPresto

R.Schumann ABEGGVariations,Op.1S.Rachmaninoff Études-TableauxinDMinor,Op.33No.5C.Debussy Préludes,BookII

BruyèresLestiercesalternéesFeuxd’artifice

92

MAREK STUPAVSKÝ (SERBIA) IsidorBajićMusicSchool(NoviSad)

MarekStupavský wasborninNoviSadin1996wherehefinishedelementarymusicschoolintheclassofProfessorVeraHofman-Momčilović.Heattendssecondarymusicschoolinthesameclass.HeparticipatedinmanymasterclasseswiththeseProfessors:OlgaBorzenko,CarlPonten,DorianLeljak, DavidWestfall,MarinaHorak, Jitka Fowler Fraňková, Jennifer Cruz, SophiaGilmson,NelidaSanchez.Hecompetedin19competitions,wonmanyawards,andthemostsignificantareCompetition“DeziderKardoš”,Slovakia(2006)–Laureate;Nationalcompetition,Belgrade(2007)–FirstPrize;InternationalCompetition“ZlatkoGrgošević”,Croatia(2008,2010)–SecondPrize;Memorial“DušanProtić”,Belgrade(2009)–Laureate;InternationCompetitionMemorial“IsidorBajić”,NoviSad(2012)-Semi-finalist;Competition“Piano20thand21stcentury”,Slovakia(2012)–SpecialPrizeoftheInternationalSocietyforContemporaryMusic(ISCM)forbestperformanceofpiecewritteninthefirsthalfofthetwentiethcentury(C.Debussy).Hiscareerwasmarkedbynumerousperformances,mostnotably:ConcertwithChamberOrchestrafromSlovakia2006,Firstsolorecital2008,ConcertwithChamberOrchestraofsecondaryIsidorBajićMusicSchool2009,attheopeningoftheWorldPianoTechersConference.


J.S.Bach PreludeandFugueinB-flatMajor,BWV866,WTKIJ.Haydn SonatainGMinor,HobXVI/44

ModeratoS.Rachmaninoff Morceauxdefantaisie MélodieOp.3No.3V.Mokranjac Threedances

C.Debussy Preludes,BookIILaPuertadelVino

Preludes,BookILafilleauxcheveuxdelinMinstrels

93

RAUL M. SUNICO(PHILIPPINES) UniversityofSantoTomas,ConservatoryofMusic(Manila) CulturalCenterofthePhilippines RaulM.Sunico obtained hisBachelor ofMusic degree from theUniversity of thePhilippines,wherehealsofinishedhisBachelorofScienceinMathematicsandMasterofStudiesdegrees.HelaterfinishedhisMasterofMusicdegreefromtheJulliardSchoolandaDoctoratedegreefromtheNewYorkUniversitymajorinPianoPerformance.HehadwontheSilverMedalatthe1979ViottiInternationalPianoCompetition,Finalistatthe1979BusoniInternationalPianoCompetition,andtheHCPat the1980UMIPianoCompetition.Hewassoloistof theMoscow,VietnamNationalSymphonyOrchestra,HanoiSymphonyOrchestra,TaipeiSymphonyOrchestra,TaipeiNationalWindOrchestra,TowsonSymphonyOrchestra(Maryland),andmostmajorPhilippineOrchestras.HehasgivensolorecitalsintheUSA,Canada,Mexico,Austria,India,Asia,EuropeandtheMiddleEast.HehasservedasjurymemberofthePSIPC(Bangkok).HeisanauthorofMusictextbookandhasconcurPresidentoftheCulturalCenterofthePhilippinesandDeanoftheUniversityofSantoTomas-ConservatoryofMusic.

Lecture-Recital: Piano music in the Philippines

Thecultural landscapeof theRepublicof thePhilippines isaneclecticbutharmoniousclassofEast&West influences.FromtheEastcomesthetraditionofMalay,Moslem,Chineseinfluencesandmusicandtheartsaregraduallyseekingtheirown identity butwith some difference of acceptance. PhilippineMusic is divided into threemain periods. Pre-Spanishculture,SpanishandpostSpanish.Duetothedominantmethodofitscolonization,EthnicmusicwerealmostobliteratedbytheintroductionofWestforms.ThesewouldincludetheadaptionofWestern-stylemusicanditscharactersuchasscales,tonality,melody,style,formsandrhythmicpatterns.PianomusicinthePhilippinesispredominant.ClassicallyinfluencedanumberofFilipinocompositionsforpianohaveexistedbutlackthepopularityandattractionoftheirWestcountryarts,althoughsomeofthesehaveeffectivelyportrayedtheessenceoftheFilipinocharacterandsentiments.Anumberofthesearetobeperformed:

A.Molina MalikmataF.deLeon KundimanF.deLeon SayawngIfugao G.Canseco-R.Sunico HanggangsaDulongWalangHanggan

94

VLADIMIR ŠOVLJANSKI(SERBIA) IsidorBajićMusicSchool(NoviSad)

VladimirŠovljanskiwasborninNoviSadonMarch30,1994.HestartedhismusicaleducationattheageofnineattheElementaryMusicSchool“JosipSlavenski”intheclassofProfessorBiljanaBogosavljević.IntheSecondaryIsidorBajićMusicSchoolhewasinitiallyintheclassofProfessorVeraLiliandnow,athisthirdyear,heiswithProfessorAleksandarGligić.AtthesametimeVladimiralsoattendsComprehensiveSchool“JovanJovanovićZmaj”intheclassformathematicallygiftedstudents.Hehasparticipated inmanypianocompetitionsat thenational and international levelwherehehaswonnumerousawardssuchas:theSecondPrizeatIXConcoursInternationaldePianoNikolaïRubinstein(Paris,France),theFirstPrizeatthe13thInternationalPianoContest(Šabac,Serbia),andtheFirstPrizeattheRepublicofSerbianationalcompetition(Belgrade,Serbia).VladimirhashadseveralsoloconcertsandparticipatedintheFirstWorldPianoConferenceinNoviSad(YoungConcertPlatform).In2010heattendedmasterclassheldbyDr.DavidGlenHatchattheSecondWorldPianoConferenceinNoviSad.In2011,atthethirdWorldPianoConferenceinNoviSad,hehadPianoRecital–YoungConcertPlatform.ThisishisfourthyearattheWorldPianoConference.Vladimirreceivedanawardandaspecialpraiseforcontinuallyachievinghighresultsinthefieldofart(music)atthecompetitionsinthecountryandabroadawardedbytheprovinceofVojvodina.


J.S.Bach PreludeandFugueinCMajor,BWV846,WTKIL.vanBeethoven SonatainDMinor,Op.31No.2

Largo-Allegro Adagio Allegretto

F.Chopin BalladeNo.3inA-flatMajor,Op.47S.Rachmaninoff Etude-tableauinCMinor,Op.39No.1

95

GORICA ŠUTIĆ(SERBIA) IsidorBajićMusicSchool(NoviSad)

GoricaŠutićwasbornin1996inthevillageofGajdobra,Serbia.SheattendedtheStevanHristićMusic School in the nearby town of Bačka Palanka, where she completed her primary musiceducation,majoringinpianounderProfessorKsenijaĐukić.Inadditiontopassingherexamswithdistinctionandinrecordtime,sheparticipatedinawiderangeofmusiccompetitionsthroughoutSerbia,includingLittleVirtuoso2008–Belgrade,FirstPrize,PianoCompetition“Slavenski”2009–NoviSad,FirstPrize.Goricahasalwayshadapassionforsinging.Inparallelwithherpianostudies,shehasalsoconsistentlyundertakenformalvocaltraininginvariousmusicalgenres,includingpop,R&Bandjazz.Combiningherpianoskillsandsingingprowess,Goricahasperformedanumberofprofessionallystagedsoloconcertsplayinganeclecticmixofworldknownsongs,fromjazzthroughtocurrentchart-toppinghits.GoricaiscurrentlyattendingtheIsidorBajićSecondaryMusicSchoolinNoviSad,underProfessorKsenijaĐukić.


J.S.Bach PreludeandfugueNo.6,inDMinor,BWV875,WTKIIM.Clementi SonatainF-sharpMinor,Op.25No.5

Allegroconespressione M.Glinka TheLark F.Chopin EtudeinCminor,Op.10No.12 F.Chopin NocturneinC-sharpMinor,Op.posth.

96

IVANA TABAK(SERBIA/CZECHREPUBLIC) CharlesUniversity,FacultyofArts,InstituteofMusicology(Prague) BohuslavMartinuInstitute(Prague)

IvanaTabak studied piano playing at the Isidor Bajić Music School and theAcademy ofArtsin the class ofProfessorDorianLeljak. In 2000 shemoved toBratislava,where she graduatedpianoperformanceandpedagogyattheAcademyofPerformingArtsunderthetutelageofTatianaFraňová.Since2007shehasbeenlivinginPrague,whereshehascontinuedherdoctoralstudiesattheInstituteofMusicologyofCharlesUniversity.Since2010IvanaisemployedintheBohuslavMartinuInstitute,asamusicologist,andfurtherprogressesinherstudies.Thetopicofherdoctoralprojectis:ConcertoforPianoandOrchestrano.4–IncantationbyBohuslavMartinů.Inthesameyearshebecameanartistmanageroftheprofessionalchamberensemble–BSQ.ShehasparticipatedinpianocompetitionsinSerbia,FranceandItaly,andattendednumerouspianoworkshopsgivenbyeminentpedagogues.Since2005shehasbeengivingpianolessons.Asastudentofdoctoralstudies,shehasbeenteachingattheDepartmentofMusicologyinBratislavaandinPrague.Withinhermusicologicalpractice,shehasactivelyparticipatedinnumerousmusicologicalconferences.In2008/09sheworkedonproofingofthescoreandpartsofBedřichSmetana’soperaTheBarteredBrideforBärenreiter.SheiswritingcritiquesandarticlesformusicperiodicalsinSlovakiaandCzechRepublic.

Lecture: Critical Edition of Martinů’s Concerto for Piano and Orchestra No. 4 / Incantation

IncantationisoneofthemostfamousandmostfrequentlyperformedofMartinů’scompositions.Itwascomposedinthelastperiodof theauthor’s residence in theUnitedStates in1956.Theworldpremiereof Incantationwasgiven in1956at theMetropolitanMuseumofArt.TheSymphonyof theAirOrchestraandRudolfFirkušnýplayedunderthebatonofLeopoldStokowski.Duringhislifetime,MartinůdidnotattendanyofthenumerousperformancesofIncantation.Norwasnotinvolvedinthework’spublication;thecompositionwasfirstpublishedbyBärenreiteronlyin1970.ItfollowsthatinthecaseofIncantation,therelevantsourcesspanaperiodofapproximatelyfifteenyears.AccordingtoMartinů’swords,thecomposerisstandingatthebeginningofacreativeprocessandissearchingfortruth.Inorderthatthetruthofamusicalworkisconveyedtoperformersandsubsequentlytotheaudience,themusicaleditorhastheresponsibilityofestablishingatextofthatworkwhichreflectstheauthor’sfinalconception.Theresearchofthesources,aswellaseditorialproblemsofIncantationis unique, highly specific and complex.Therefore, there are expectations that the theoretical interpretation (the author’sthesis)andthepracticalintent(thecriticaledition)oftheprojectwouldimproveeditorialissuesaswellastheperceptionof Incantation.

97

MAJA TAJNŠEK(SLOVENIA) KASofMusicMuse(Idrija)

Maja Tajnšek is a pianist and pedagogue, graduate of Academy of Music in Ljubljana, andMaribor (from1995 till1997).SheFinishedExperimentalCourse forpiano teachers inGoriziawithProfessorS.Gadziev,andattendedoneyearstudiesinPariswithProfessorI.LazkoonSlaveInstitute.Shehasworked,formanyyears,inMusicSchoolinIdrijaasapianoteacher.Herstudentshave receivedmany international awards. She has benefited fromattendingmaster classeswithProfessorI.Lazko,V.Lobanov,S.Senkov,A.Valdma.AtthemomentsheisfinishingdoctorstudiesatUniversityofPrimorska (Koper),Manyyearsshe iscontact studen inCologne,Hoschule furMusic,andnowstartedspecialisticstudiesofpianoinALUBeogradwithProfessorA.Valdma.SheisapresidentofKASofMusicMuseinIdrija,whoorganizedinternationalmasterclasses.HerCDrecordingsinclude“Slovenia’smostbeautifulsongs”,compositionsofSloveniancomposerRijavec,hergrandfather.MajahadanumberofpianorecitalsandconcertsthroughoutEurope:Paris,Vienna,Gratz,Sttutgart,Parnu,etc.InEstoniasheplayedJ.S.Bach–ConcertoinDMinorwithEstoniaphilharmonicorchestra.

Piano Recital

A.Scriabin PreludeinC-sharpMinorforlefthandOp.9No.1PreludesOp.11(choise)EtudeinC-sharpMinorOp.42No.5

M.Ravel PavanepouruneinfantedefunteA.Ginastera ArgentineDanceNo.2S.Rachmaninoff PreludeinG-sharpMinorOp.32No.12I.Rijavec Passacaglia,LiricnikomadL.M.Škerjanc PreludijNo.1B.Glavina Idrijskasuita

VrudnikuCipkarnicaPridivjemjezeruPles

98

MARTHA THOMAS(USA) UniversityofGeorgia,HughHodgsonSchoolofMusic(Athens)

MarthaThomasmaintainsanactivecareerasrecitalistandclinician.HerperformancesatmusicconferencesincludethoseoftheAmericanLisztFestival,CollegeMusicSociety,MusicTeachersNationalAssociation,InternationalHornSymposium,NorthAmericanSaxophoneAlliance,NationalAssociationofCollegeWindandPercussionInstructors,andWorldSaxophoneCongress.ShehasgivenconcertsonuniversitycampusesacrosstheUS,includingtheUniversityofWisconsin,OhioStateUniversity,UniversityofOklahoma,UniversityofMassachusetts,ArizonaStateUniversity,UniversityofMinnesota,andUniversityofTexas.Featuredonsixrecordings,herCDofthesolopianomusicofGeorgeRochberggarneredfavorablereviewsandacitationintheNew York Times.AnativeTexan,MarthaThomasreceivedherdoctorateinpianoperformancefromtheUniversityofTexas.HermajorpianoProfessorswereWilliamRace,DanielleMartin,andHowardKarp.Additionally,shehasperformedinmasterclassesandcoachedwithLeeLuvisi,JackRadunsky,MaryleneDosse,LeonFleisher,JohnPerry,andRonaldTurini.MarthaThomasisProfessorofPianoandKeyboardAreaChairat theUniversityofGeorgiaHughHodgsonSchoolofMusic.Active inprofessionalmusicorganizations,sheistheMTNASouthernDivisionDirector.

Lecture-Recital: Rediscovering The Piano Music of Max Reger

MaxRegerisconsideredoneoftheoutstandingGermankeyboardcomposersofthelatenineteenthcentury.Hisprodigiousoutputincludes146opusnumbers,numerousworkswithoutopusnumber,andmorethan20opusnumbersforpianosolo.MostofReger’spianomusiciswritteninthestyleoftheshortcharacterpiece,modeledprimarilyafterSchumann’s.Other19th-centuryinfluencesincludeBrahms,Chopin,andGrieg,evenWagnerandLiszt.ThemostinfluentialcomposerinReger’slife,though,wasJ.S.Bach.MuchofReger’smusicpresentsgreattechnicalandmusicalchallengestotheperformer.Evenso,hewasamasterfulcomposer,andmanyofhisshortercompositionstendtoshedthesedifficultiestoagreatextent,makingthesepieceshighlyapproachableandappealing.Thislecture-recitalwillpresenttheanalysisandperformanceoffivesolopianocollectionscomposedbyRegerin1898-1902.ThesepieceswillchallengetheconventionalwisdomthatRegeristoocomplicated.Instead,youwillbepresentedwithRegerashumorist,modernist,imitator,virtuoso,andmelodist.ExplorethisuntappedrepertoireandrediscoverMaxReger,acomposerinwhosemusictraditionandmodernismunitetocreatehisownuniquemusicalvoice.

99

NATALIJA TOMIĆ (SERBIA)FacultyofPhilologyandArts(Kragujevac)

Owingtoheroriginalapproachinworkingwithyoungtalents,NatalijaTomićisoneofthemosteminentmusicpedagogues in the region.Herexceptionallybroadand intenseactivity spectrumgaveasignifcantriseinqualityofpianoteaching,whichresultedinmanyinvitationsforholdingworkshopsandcoursesalloverSerbia.Sheisalong-timejurymemberformostlocalandanumberof international competitions.NatalijaTomić started hermusic education in herhometownVla-dikavkaz,NorthOssetia.ShegraduatedfromtheGnesinMusicpedagogicalInstitutein1978,withI.Malinyina.Duringthecourseofherstudies,andlater,shesuccessfullyperformedasasoloistandmemberofchamberensembles.Since1980,herartisticandpedagogicalactivityhasbeencontinuedatMusicSchool“DrMilojeMilojević”inKragujevac.Since2007,NatalijaTomićhasbeenteachingatthepianodepartmentoftheFacultyofphilologyandartsinKragujevac.Forherlong-timesuccessfulcreativeactivityineducating,NatalijaTomićreceivednumerousrecognitions.

Piano Recital – Class of Professor Natalija Tomić

W.A.Mozart AdagioinBMinor,KV540 KatarinaPantelićS.Rachmaninoff Études-TableauxinC-sharpMinor,Op.33No.9S.Rachmaninoff Vocalise SaraAbramovićM.Clementi SonatainCMajor,Op.33,No.3,I-Allegroconspirito TamaraMiletićC.Debussy EveninginGrenadaM.Ravel Pavanepouruneinfantedefunte TijanaStankovićC.Franck Prelude,FugueandVariationsinBMinor,Op.18 LjiljanaKocovićS.Gubaidulina ChaconneJ.S.Bach-F.Busoni ChaconneinDMinor BojanaStankovićF.Liszt Sonetto104delPetrarcaA.Ginastera DanzasArgentinas,Op.2No.3J.S.Bach-F.Busoni Chorale-PreludeinDMinor,“NunkommderHeidenHeiland” DarkoIvanovićF.Chopin PolonaiseNo.6inA-flatMajor,Op.53N.Kapustin EtudeOp.68No.1

100

LESLIE TUNG(USA) KalamazooCollege(Kalamazoo,Michigan)

LeslieTunghaswoncriticalacclaimforhisinterpretationsonthefive-octaveViennesefortepiano,theinstrumentfavoredbyMozart,Haydn,andBeethoven.HebeganhisstudyofpianoinhisnativeSt.Louis,Missouri,USAbutpursuedinterestsinthenaturalandsocialsciencesatYaleUniversitywherehegraduatedwithadegreeinsociology.HisprofessionalcommitmenttomusicwasasresultofintensestudyunderpianistandscholarJohnKirkpatrick.GraduatepianostudiesfollowedunderBarrySnyderattheEastmanSchoolandwithbothBrooksSmithandJohnPerryattheUniversityofSouthernCalifornia.HeiscurrentlyProfessorofMusicatKalamazooCollegeinMichigan,whereheteachesawiderangeoftopics,includingacourseintheStructureofScientificRevolutions.TunghasbeenrecitalistattheFirstInternationalFestivalandConferenceonFortepianoinAntwerp,theMichiganMozartFest,theConservatoireNationaldeRégionChabrier,AcademyforPerformingArtsinHongKong,theGilmoreInternationalKeyboardFestival,andattheConservatoriesofMusicatBeijingandShanghai,China.

Piano Recital: Works by Mozart, Haydn, and Beethoven

PerformedonareplicafortepianobyRobertA.Brown(Salzburg)ofanoriginalinstrumentbyAntonWalterbuiltaround1780.Compass:FF-g3.Twokneelevers:moderato(left)damperlifter(right)Theoriginal instrument isstored in thecollectionof theHaydnHausof theBurgenländischeLandesmuseuminEisenstadt,Austria.

W.A.Mozart SonatainFMajor,KV332 Allegro Adagio AllegroassaiJ.Haydn SonatainCMinor,Hob.XVI/20 Moderato Andante Finale.AllegroL.vanBeethoven SonatainC-sharpMinor,Op.27No.2 Adagiosostenuto Allegretto Prestoagitato

Piano Master Class

101

DRAGUTIN VUČIĆ (SERBIA)IsidorBajićMusicSchool(NoviSad)

DragutinVučićwasbornonSeptember27,1996inNoviSad,Serbia.HeattendsIsidorBajićMusicSchoolinNoviSadinclassofProfessorVeraLili.HehaswonFirstPrizesatseveralinternationalcompetitionsandtwoSecondandoneFirstPrizeatthenationalcompetition.HetookpartinthemasterclassofProfessorIrisKobalandinatwo-weekcourse“ViennaYoungPianists”,whereheworkedwithmanyProfessorsfromdifferentcountries.HeisaregularparticipantofEPTAfestivalandhealsoparticipatedinthemasterclassesofDianeAndersen(Belgium)andDavidGlenHatch(USA).In2012,hereachedthefinalsofthecompetitionMemorial“IsidorBajić”inNoviSadandhadmanyconcertsinSerbia.


J.S.Bach ConcertofortwopianosinCMinor,BWV1060 Allegro Adagio Allegro

102

DAVID WESTFALL(USA) UniversityofHartford,HarttSchoolofMusic(Hartford,Connecticut) MTNA

DavidWestfallmaintainsanactivecareerasconcertpianist,collaborativeartist,andteacher.HehasconcertizedandgivenmasterclassesthroughouttheUnitedStates,Canada,Spain,Brazil,GermanyandSerbia.Hehasperformedwith internationallyacclaimedstringquartets suchas the Jupiter,Colorado,Chiara,andAmerican.HehaspresentedattheMusicTeachersNationalAssociationandWorldPedagogyConference,andwillreturnagainthissummerforathree-weekresidencyattheThreeBridgesChamberMusicFestivalattheUniversityofMinnesota.Hehasgivenmasterclassesat theRoyalConservatory inToronto, theRoyalCollege inLondon, andMannheimUniversityofMusic and thePerformingArts, andUniversityofTexas.He recently touredSouthKorea,wherehewill returnnextfall for another seriesof concerts andmasterclasses in addition to teaching at theLiceuConservatory inBarcelona.Hehas servedon theFulbrightScholarshipScreeningCommittee, andwasa juror for the6th IsidorBajićPianoMemorialCompetition.Dr.WestfallisagraduateofIndianaUniversity,TexasChristianUniversityandtheJuilliardSchoolofMusic.HeisAssociateProfessorofPianoatTheHarttSchool,whereheiscurrentlyCo-chairoftheKeyboardDepartmentandChairofAccompanying.

Piano Master Class

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KATIE ZHUKOV(AUSTRALIA)UniversityofQueensland,SchoolofMusic(Brisbane,Queensland)

KatieZhukovisaPostdoctoralResearchFellowinPerformanceattheSchoolofMusic,UniversityofQueensland,Australia.FollowingundergraduatestudyattheUniversityofAdelaide,shecompletedherMastersdegreeinperformanceattheJuilliardSchoolofMusic,NewYork,andrecentlyaPhDfromTheUniversityofNewSouthWales.Herresearchinterestsincludeinstrumentalmusicteachinginhighereducation,sight-readingofmusicandAustralianpianomusic.HerresearchhasbeensupportedbygrantsfromTheUniversityofSydney,TheUniversityofQueenslandandUniQuestandpublishedinPsychologyofMusic,MusicEducationResearch,ResearchStudiesinMusicEducation,BritishJournalofMusicEducation,InternationalJournalofMusicEducationandAustralianJournalofMusicEducation.ShehasrecordedthreesoloCDsofpianomusicbyAustraliancomposers(AustralianPianoAnthologyforthe21stcentury,vol.1,2011;SixProfiles,2010;Ragtime,DreamsandVisions,2008)andeditedWirripangAustralianPianoAnthology(2011).

Lecture: New sight-reading course for advanced pianists

Sight-readingofmusic isoftenviewedasan inborntalentrather thanaskill thatcanbe trained.Researchintosight-readinghasbeenfragmented,withfewstudiesusingsimilarapproaches.Theliteraturesuggeststhatthesizeofaccompanyingrepertoire,rhythmtrainingandunderstandingofcharacteristicsofdifferentstylesaresomeofthefactorscontributingtofluentsight-reading.Thesethreeareasformedthebasisfornewpedagogiesthatwereevaluatedagainstacontrolgroupinalarge-scalestudy,showingimprovement in sight-reading skills after training.The threeapproacheswerecombined ina single sight-readingcurriculum forhigher education thatwas trialled in late2011-early2012infourhighereducationinstitutionsinsmalltutorialsandstudiolessons.Thecourseconsistsof10weeksofmaterials,eachweekfocusingonthreeareas:rhythmtraining,understandingofmainstreammusicalstylesandduetplaying.Thecontentisintendedforquickstudyonly.TheRhythmtrainingsectionfocusesonapplicationofbasic rhythms insimpleandcompound time tosimplemelodicmaterial,progressing to longermixedrhythmicpatterns.Theaimof theStylesection is todevelop theanalyticalunderstandingandpracticalexperienceofcharacteristicsofeachstyle,inparticularstructure,harmony,melodicshapeandtypicalformulas.TheplayingofpiecesinDuetsectionimproveshorizontaleyemovementandabilitytocountandkeepthepulse.Therepertoireforthecoursewasdevelopedincollaborationwiththeparticipatingteachersandundergonemajorrevisionsafterthefirsttrial.Acommercialreleaseofthetextbookisplannedfortheendof2012.

Lecture-Recital: Wirripang Australian Piano Anthology (2011)-new Australian repertoire for beginner, intermediate and advanced students

TheconceptfortheWirripangAnthologywasseededattheAustralasianPianoPedagogyConferenceinSydneyin2009withtheaimofproducingabodyofrecentlycomposedAustralianrepertoireforpianoteachers.WirripangareindependentpublishersthatspecialiseinAustralianmusic,includingscores,booksandCDs.Theycommissionedalloftheircomposerstocomposeandsubmitnewworkssuitedtopianostudentsfrombeginnertoadvancedlevel.ThesewerereceivedinNovember2010andaftercarefulreviewashort-listofrepertoireforeachgradewascompiled.TheworkswererecordedinJanuary-February2011attheSchoolofMusic,UniversityofQueensland,andCriticalNoteswerewritteninApril2011.TheprototypesofthebookswerecirculatedamongstteachersforcommentregardingthegradingoftherepertoireandeachcomposerhadtheopportunitytoreviewandamendtheCriticalNotesabouttheirpieces.Thelecture-recitalconsistsofatleastonepiecefromeachgradeandincludesworksbyBettyBeath,DianaBlom,ColinBrumby,AnneCarr-Boyd,AmandaHandel,AndrewHelberg,MayHowlett,JocelynKotchie,JohnMartin,StephenO’ConnellandJohnPeterson.TheyrangeinstylefromClassicalandRomantictoJazzandcontemporaryandprovideteacherswithnewrepertoirefortheirstudents.Thediscussionincludesaspectsofstyle,structuralanalysis,technicalandmusicalchallenges,andwaysofovercomingtheseinteaching.

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BRANKA ŽIRAVAC JEREMIĆ(SERBIA)Dr.VojislavVučkovićMusicSchool(Belgrade)

BrankaŽiravacJeremićwasborninmusicians’family,playingpianosincetheageoffour.ShestudiedwithProf.IgorLazko(Russia,France)andProf.ZoraMihailović(Serbia,USA).GraduatedBachelor’sDegreeattheageof19,thenthePostgraduatedegreeattheFacultyofMusicinBelgrade.AftergraduatingcoursExcellenceoftheSuperiorlevelattheEuropeanConservatoryinParis(ProfessorLazko),BrankaspentnexttwoyearsstudyingatTchaikovskyStateConservatoryinMoscow,withintheclassofProfessorAlexeiNassedkin.BrankaŽiravacJeremićwonmanyprizesduringher studies andwasawardedmany timesas a teacher.Sheperformed solorecitalsandwithinchamberensemblesinwholeformerYugoslavia,nowinSerbia,alsoinFrance,Russia,Italy,GreatBritain,Greece,Bulgaria.DuringthepasttwoyearsBrankahasperformedrecitalsinMoscow,Belgrade,Šabac,NoviSad,Niš,Plovdiv,Paris,recordedtheSonatabyKulenović.AfterherrecitalinMoscow,therewasthereviewatthemagazine“Cultura”:“...sheisarepresentativeofa“caste”ofinelectualpianists,theaestheticsprevailsoverfeelingsandthe innercontents-over theexternaleffects.Noisypianism isnot inher style!Restrainedexpression,consideratepedal, laconicphrazing,extremelyunderstandablethoughtandcomprehensibleexposure...Inher interpretation,Brankaaspiresgreatlytoapproachtheideasof thecomposers”.Brankaistheauthorofaseminarforteacher’sprofessionaldevelopmentbythetitle:Teachingtheinterpretationofpiecesofvariousstylesonpiano.SherecordedforRAIandinSerbia.ShegavemasterclassesinSerbiaandBulgaria.BrankawasamemberofthePresidencyofEPTA-Serbia.ForeightyearsshewasadirectoroftheVučkovićInternationalPianoCompetition.BrankaŽiravacJeremićisteachingatVučkovićHighschoolofmusicinBelgradesince1985.Also,shewasinvitedasajurymemberatmanypianocompetitions(NikolaiRubinsteininParis,NassedkininYaroslavl,Russia,MusiciansfortheNewMillenium,Skopje,Macedonia,Schumann–BrahmsinPlovdiv,Bulgaria,PetarKonjovićBelgrade,SerbianStatecompetition,MontenegrianRevueofMusicalTalents,BelgradePodiumofMusicalTalents,EPTACompetitioninBelgradeetc.)HerpupilswonmorethanhundredandfiftyprizesatvariouscompetitionsandplayedaroundEurope.

Piano Recital

W.A.Mozart FantasiainCminor,KV475C.Debussy Estampes

PagodesLasoireedansGrenade

JardinssouslapluieV.Kulenović FirstSonataA.Scriabin SonataNo.4inF-sharpMajor,Op.30

AndantePrestissimovolando

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SRNA ŽUGIĆ(SERBIA) IsidorBajićMusicSchool(NoviSad)

SrnaŽugićwasbornonMay18,1994inasmalltowncalledRuma.Shehasfinishedelementaryschool of music in Ruma, in Professor Nemanja Ognjenović’s class. Srna has been on manycompetitionsandhaswonmanyawards.SheisattendingthirdgradeofhighschoolofmusicinNoviSadatthemoment,inProfessorCileStojšić’sclass.Herbeginningsofcomposingmusicdatefromelementaryschoolofmusic.Shehasbeguntoengagewithcomposingmoreseriouslyinthirdgradeofhighschool.


SrnaŽugić SuiteforSolarSystemProgramJupiterVenusMarsUranusNeptuneEarthPlutoMercurySaturn

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ISIDOR BAJIĆ(1878-1915)

Hisgreatgiftformusicwasevidentfromanearlyage,andIsidorBajićstartedtocomposeandtoconducttheschoolchoiratgrammarschool.In1897heenrolledlawfacultyinBudapestbecauseitwashisfather’swish,buttwoyearslaterheleftandstartedstudyingcomposingattheAcademyofMusicwithH.Koesler.Asacomposer,Bajićwasinterestedinvariousmusicforms,rangingfromsolosongstooperaandfrompianominiaturestosymphonies.Mainfeaturesofhismusicexpressionareromanticism,simplicityandstrongrelianceonfolkmodels,whichgavecertainfreshnesstohisworksandmadethempopular.Closenesstothefolkspiritissostrongthatsomeofhissongsfromtheatreplayswerelatersangandconsiderdtobetraditionalfolksongs(Jesen stiže, dunjo moja,Zračak viri,Srpkinja).In1910BajićwroteoneofthefirstSerbianoperas,Knez Ivo od Semberije(Prince Ivo of Semberia),whichisalsohismajorwork.Althoughhewasaprofiliccomposer,Bajić’sgreatestcontributiontoSerbianmusicliesintheareaofmusiceducationandpromotionofmusiccultureinthispartoftheworld.HavingcompletedhisstudiesinBudapest,hereturnedtoNoviSadandstartedintensiveanddiversemusicactivities:withthechoirandorchestraofVelikasrpskapravoslavnagimnazija(GreatSerbianOrthodoxGrammarSchool,today“JovanJovanovićZmaj”)heorganisedfamousconcertsofthetimeSvetosavskebesede;in1903heinitiatedperiodicalSrpski muzički list(Serbian Music Magazine),theonlySerbianmagazineonmusicatthetime;in1902heinitiatededitionSrpska muzička biblioteka(Serbian Music Library),wherehepublishedhisownmusicworksandtheworksofhiscontemporaries;in1909hefoundedaschoolofmusic,whichcarrieshisnametoday.Apartfromtheseactivities,hewrotemusictextbooks,articlesforhismagazine,forLetopisMaticesrpske,andothermagazines,dealtwithteachingpianoandsinging,collectedtraditionalfolkmelodies,andsoon.Duetohisdedicatedworkandoutstandingcontributiontoexpansionofmusicculture,whichwasextremelyimportantforSerbiancultureingeneral,particularyinverydifficultsocialandpoliticalcircumstanceshelivedin,BajićdeservesaprominentpositioninSerbianhistoryofmusic.

…It happened a long time ago, on a cold night, I do not recall precisely when, whether winter was drawing to a close, or if it was late into fall. Under the sky’s black dome, there hung a secret or maybe that was just how it appeared to me – I do not know! I was still very, very young, and had my own dreams, my own aspirations. But it was on exactly such a night, following aimless wandering around the well-known streets of Novi Sad, that I remember crossing the lantern-lit City Hall Square, walking in the direction of the theatre. The large windows of a tavern named Jelisaveta were glaring. In that smoke and sultriness, were many, many people whose lives went drifting by without a higher purpose, people who have certainly passed by now, without leaving a single trace, people idling away their futile hours. The sidewalk in front of the tavern was swarmed with walkers, and all around me, I still remember vividly, was boiling the laughter and conversation of this smug crowd. I was, however, pressing and prodding my way through these people, hastening to reach the passage way of the Jelisaveta Hotel so I could get closer to the theatre building where the performance of a Hungarian operetta was scheduled to be performed this night, an operetta whose music originated from the feather of a Serbian composer. That composer was named Isidor Bajić, and the operetta, “Seven years of hunger“. There, alone at the balcony, surrounded by people who could not have been thinking what I was thinking then, and could not have been feeling what I was feeling then, I awaited expectantly the appearance of Isidor Bajić at the conductor’s stand, excited, nervous. Because Isidor Bajić had just completed his studies at the Academy of Music in Budapest with Professor Kössler, to all of us who carried a love for music at the bottom of our souls, he served as an ideal. In him we saw a higher being, for us he was the incarnation of a certain mystical beauty we longed for, but had not yet seen: from his spritely smile, maybe slightly stylized, which I remember quite vividly, a magical current of music that we adored murmured, which is why we adored him, Isidor Bajić, as well. That night, I was supposed to see him at the helm of a major piece for the first time, and I did. His small stature appeared from the orchestra space; he must have been excited, though I could not perceive so from the balcony. I remember only the silhouette, outlined against the stand in front of him, and the overflow of light at his face, and I still see him waving the baton through the air, holding in his hands the numerous threads of the orchestra and the stage from which a colourful lie, the operetta, poured. At the time, however, this was not a colorful lie to me. This was the work of the adored Isa, and this signified – I admit – a peak, something I could not dare to approach, not even in my dreams...

MilojeMilojević, Isidor Bajić – on the occasion of the tenth anniversary of Isidor Bajić’s death (1925)

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…TheatmosphereattheMemorialwassopleasant.Imetmanypeople,theparticipantsoftheMemorial,Iplayedonexcellentinstruments.Antonii Barishevskyi (Ukraine)

the young Ukranian pianist, the Laureat in C category of the Fourth Isidor Bajić Piano Memorial

…Ilikeithereverymuch,theorganizationisonahighlevel.Onecantelljustbylookingatthebrochurethatpeoplehaveworkedhard,puttingalotofeffortinthis.Dr. Baruch Meir (Israel/USA)

Jury member of the Fifth Isidor Bajić Piano Memorial

...Ifeelprivilegedtobehereandworkwithsuchmarvelousjurymembers.Ienjoyedhearingsomanytalentedstudentshere.Teresa Lavers (Australia)

Jury member of the Fifth Isidor Bajić Piano Memorial

…thereforetheMemorialisonareallyhighlevel.Asajurymember,IcansaythatI’mquiteimpressedwiththewholeorganizationhere.Theycareabouteverything.Iknowhowitgoeswiththeorganization,sinceIwasadirectorinTromso.Youarewonderfullyorganized,allofyou.

Tori Stødle (Norway)Jury member of the Fifth Isidor Bajić Piano Memorial

…WithintheMemorial’smanagementprogram,Ihadtheopportunitytoplaysomereallyimportantconcerts.IntheperiodbetweenthatMemorialandthisone,Ihavesignificantlyexpandedmypianisticrepertoireandgainedplentyofexperience.

Tijana Andrejić (Serbia)First Prize Winner in B category at the Third Isidor Bajić Memorial competition

...IsidorBajićPianoMemorialisdoingaveryimportantthing,whenyoulookatthenumberofparticipants.ItisanimportantplacewhereweareheardandwhereweareplacingournameonthemusicalmapsoftheEarth.

Bojan Suđić (Serbia)Conductor of the RTS-s Symphony Orchestra

…Iamveryexcitedtobeonthejuryofthisevent,thelevelofplayingisextremelyhigh,andthethingIlovetodomostistohearagreatpianoplaying,andmeetnewandinterestingpeople.

Arthur Greene (USA)Jury member of the Third Isidor Bajić Piano Memorial

…Thisisafamousinternationalcompetitionwithalotoffamouspeopleinit,andIamveryhappytobeherewiththem.ThecityandtheMemorialarefullofmusiclovers,talent,andpotential.

Hae Won Chang (RepublicofKorea)Jury member of the Third Isidor Bajić Piano Memorial

…IparticipateasajurorinmanyinternationalcompetitionsandIcansaythatthelevelofthiscompetitionishigh.Ihadtheopportunitytohearmanytalentedpeople,whoarewellprepared,gifted,veryseriousandprofessional.Believeme;thiscompetitionisonahighlevel,justlikeotherfamouscompetitions.

Marcella Crudelli (Italy)the founder and president of the “F. Chopin” association, the international pianist competition “Roma” and European Piano Teachers Association (EPTA) in Italy

Jury member of the Third Isidor Bajić Piano Memorial

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150th anniversary of composer’s birth

DEBUSSY – A COMPOSER, PIANIST ORMR. QUAVER-THE GREAT-MASTER?

“It is the music at the needle-tips“ ... I created a religion for myself out of mysterious nature. Who can know the secret of musical creation? The whooshing of the sea, a horizon line, the rustling of the wind through the leaves, the call of a bird leave numerous impressions on us. And all of a sudden, without our intention, one of those memories expands beyond us and finds its expression in a musical language. That feeling carries within itself its own world of harmony. As much as we try, we will not find any more fitting, nor more truthful harmonies. I hate doctrines and their haughtiness. I desire to sing about my inner paysage in a way of naive childish innocence... Claude Debussy

“I mentioned Claude Debussy because one can claim, without fear of denial, that an innovative movement in theart of sound undoubtedly came out ofhis work. It is clear that the groundwork for this innovation, as with all others recorded in the history of mankind, had been incrementally laid by predecessing works of music (never treatises on technique) by European composers. But the spirit, aesthetics, and procedures of this new music had not been definitely, permanently, and precisely confirmed until the appearance of the Nocturn, Quartet in G minor, the Afternoon of a Faun, Pelleas and Melisande, and others works through which Debussy disclosed a new doctrine to the musical world as a starting point of one essentially new art of sound.Its spirit has, nuanced by various personal, even national, characteristics of artists following the path blazed by Debussy, created works of exceptionally powerfulexpressiveness and evocativenes, a wide spectrum of emotions that could not have been anticipated... ... I can not overlook the fact that certain notable revolutionaries of today follow a particular aesthetic, an even apply procedures that have nothing in common with the aesthetics and the procedures of Claude Debussy. Nevertheless, would these newest musical means be used so exclusively if not for Debussy, who, breaking the chains that had previously fettered music, gave it freedom, proving that music that is free in such a way can live just as logically, just as harmoniously, and just as perfectly (if not more so) as in the classical period?

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... I will add one more thing. Haven’t all other artists who, following the achieved freedom in their noble quest to conquer new forms and new procedures in the art of sound, relied extensively on Debussy’s already won battles in all those fields as a starting point for their own battles?” Manuel de Falla

Mysterious Shadows of Pianism

Debussy was an incomparable pianist. How could one forget his suppleness, the caress of his touch? While floating over the keys with a curiously penetrating gentleness, he could achieve an extraordinary power of expression. There lay his secret, the pianistic enigma of his music. There lay Debussy’s individual technique; gentleness in a continuous pressure gave the colour that only he could get from his piano.

Marguerite LongDebussy seldom played in public. But when he did so, at the Société Nationale or the Concerts Durand, it was an excellent

demonstration of his principles. Once at the Salle Erard he played several of his ‘Préludes’. As usual, an attendant raised the lid of the concert grand. But when Debussy came on, the first thing he did was to lower the lid. ‘C’était pour mieux noyer le son,’ he said.

Drown the tone... how wonderfully he did just that in ‘La cathédrale engloutie.’ It was truly unforgettable. Maurice Dumesnil

On one occasion, after tea, Debussy played his first Prélude, ‘Les danseuses de Delphes’ to us. It was as yet unpublished. I have never heard more beautiful pianoforte playing ...In the intimity of his own room it was like hearing a poet reciting some of his own delicate lyrics. He had a soft, deep touch which evoked full, rich, many-shaded sonorities.

Louisa LiebichAfter dinner we used to go into the drawing-room, and Lily and I would go into a corner and talk about things. Then Debussy

would sit at the piano, and for an hour or so he would improvise. Those hours stay like jewels in my mind. I have never heard such music in my life, such music as came from the piano at those moments. How beautiful it was, and haunting, and nobody but Lily and I ever heard it! Debussy never put those improvisations down on paper; they went back to the strange place they had come from, never to return. That precious music, lost for ever, was so unlike anything Debussy ever published. There was a quality of its own about it, remote, other-worldly, always saying something on the verge of words.

Mary Garden, about a dinner visit from Debussy and his wife LilyThe power of magic will be realized by all who have ever heard his marvellous playing; the sounds seem to be produced without

any impact of hammers or vibration of strings; they rise up into a transparent atmosphere where they unite without merging, and then dissolve in iridescent mists. M. Debussy puts the keyboard under a spell, the secret of which is unknown to any of our virtuosi.

Louis Laloy

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Mr. Quaver-man or more than a Man?

Debussyhas livedouthis time intensely, in touchwith themostnotableartistsofhisera. ThearticlesandcritiquesDebussywrote inreactiontotheworksofhiscolleaugesandcontemporaries,aswellasthoseheproducedinlookingbackatthegreatmastersofthepast,areespeciallysignificant.Hefeltresponsibleforthesituationinmusic:hewasarevolutionaryandinnovatorwhofoughtforthepurificationofFrenchmusic,andstoodupagainsttheestablishedacademismandrulingconventions.HewroteforvariousFrenchmagazinesunderthepseudonymMr.Quaver–theGrandmaster(Anti-Dilettante). ...and despite the obstacles brought about by civilization, there still exist humble magical peoples who study music in a way so simple and unaffected – like a manlearning to breath. Their conservatory is the rhytm of the sea, the wind and leaves, and they listen to it carefully... Javanese music uses counterpoint in such away that Palestrina’s counterpoint in comparison sounds like a child’s toy. ...I am persuaded that it is not possible to fit music into the frame of strict traditional forms... I wish music would evolve from one singular color motif, possessing a flow undisturbed by anything, and in which no repeitions would occ

... How far away were those discussions on art in which the names of great men sometimes sound like swear-words! Forgotten was the petty fever of first-night performances. I was alone and delightfully unconcerned. Never, perhaps, did I love music more than at this period when I never heard it mentioned. I saw it entirely in its beauty and not in symphonic fragments or feverish and scrappy lirics...

From the Pianist’s Quill

InMarch1914aconcertwasarrangedinAmsterdamwiththeworksofDebussys,andhewasinvitedtoperformasaconductorandapianist.HewritesinananswertotheconductorGustavDoretJanuary30,1914:

„Three piano preludes: I. Dancers of Delphi, II. The Girl with the Flaxen Hair, III. La Puerta del vino. In fact that’s all my limited capabilities allow me to play! If necessary, I could always improvise on the Dutch national anthem?“

InalettertoGabrielFauré,whoapparentlyhadaskedhimtogiveaconcertwiththeEtudes:„I can no longer play the piano well enough to risk a performance of the Etudes... In public a peculiar phobia takes hold of me: there are too

many keys; I haven’t enough fingers any more; and suddenly I forget where the pedals are! It’s unfortunate and extremely alarming. „

InGatti’saccusationofthewordswithwhichDebussyhimselfflippantlyendedtheprefaceheincludedinhislastmajorpianisticcollection,the1915Etudes:

“Our old Masters - I mean to say ‘our’ admirable clavecinistes - never indicated fingerings, relying, no doubt, on the ingenuity of their contemporaries. To doubt that of the modern virtuosos would be unseemly. The absence of fingering is an excellent exercise, suppresses the spirit of contradiction that pushes us to prefer not to use the author’s indicated fingering, and verifies those eternal words: One is never better served than by oneself.”

Let us search for our fingerings!Claude Debussy

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Novi Sad

ItisconsideredthatNoviSad,cityontheleftbankoftheDanube,wasfoundedin1694orpossiblyevenafewyearsearlier.ItispossiblethatasettlementofcottagesbelongingtocraftsmanwhofollowedmasonsandarmyexistedontheleftriverbankatthebeginingoftheconstructionofPetrovaradinFortressin1692.ThesettlementwasatfirstknownasRackaVaroš(Reizenstadt,meaningSerbiantown)andPetrovaradinDitch,andlaterin1748itwasnamedNoviSad.TheoriginalinhabitantsweremainlySerbs,butalsoGermans,Jews,Hungarians,Armenians,BulgariansandGreeks,whosepresenceisnowdayswitnessedbyanumberofarchitecturalandculturalmonuments.In1784NoviSadbecamefreeroyalcityandgaineditspresentnamethankstoitsrichinhabitantswhowenttoViennaandboughtthestatusfromtheempressMariaTheresafor80.000forints.During18thand19thcenturies,NoviSadwasthelargestSerbiancity(in1820thecityhadabout20.000inhabitants,athirdofwhomewereSerbs).NoviSadwasthecenterofpolitical,culturalandsociallifeoftheSerbianpeopleatthetime,soitwascalled“SerbianAthens”.Despitedestructionin1848,NoviSadregaineditspowerandcontinuedtobetheculturalandeconomiccenter.In1864Maticasrpska,theoldestculturalandscientificinstitutionofSerbs,wasmovedtoNoviSadfromBudapest,whereithadbeenfoundedin1826.ItstaskwastoeducateSerbianpeopleandtospreadSerbianliterature.PeriodicalLetopis Matice srpske,publishedbythisinstitution,isconsideredtobetheoldestperiodicalforliteratureintheworldasithasbeenissuedcontinuouslysinceitsfounding.Some timebeforemovingMaticasrpska toNoviSad, in1861,SerbianNationalTheatrewas founded. Itwas thefirstprofessionalSerbiantheatre,createdfromamateurtheatretroupesandsinceitsfoundinghasbeenthemainculturalinstitution,whoseworkwasapillarofSerbianpopulation,especiallyatthetimeofHabsburgmonarchy.Today’sTheatrebuildingwascompletedin1981andconsistsofthreetheatres–big,smallandchamberstage,aswellasthreeensembles–opera,balletanddrama.ConstructionofPetrovaradinFortress,symbolofthecity,andalsoknownastheDanubeGibraltar,lastedfrom1692till1780ontherightbankoftheDanube.ItconsistsoftheUpperTownandLowerTown(Fortress)anditssymbolistheclock-tower.Followingconservationworks,theFortressbecameanimportantculturalvenue–itisthelocationoftheCityifNoviSadMuseum,AcademyofArts,ArtGallery,88artists’studiosandtheCityofNoviSadArchives.In2001,PetrovaradinFortressbecametheworldfamousvenueofthebiggestmusicfestivalinEasternEurope–EXIT,attractingtopnamesoftheworldmusicscene,alongwiththousandsofdomesticandforeignvisitors.In2007EXITwasvotedthebestEuropeanmusicfestivaloftheyear.UniversityofNoviSadwasfoundedin1960.Itcomprises14faculties,attendedbyabout30.000students.UniversityofNoviSadisoneofthemostup-to-dateuniversitiesinSerbia,andatpresentisjoiningEuropeanuniversitiesintheareaofhighereducationasanequalpartner.Oneoftheimportantfactorsthatcontributedtothisiscooperationwitheducationalinstitutionsaroundtheworld.

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June16-21,2013 deadlineforapplicationsFebruary15,2013

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ThePianoSocietyofKorea 136-1,HanshinBldg,R.310,Mapodong,Mapoku, Seoul,Korea,121-050 T.:+82-2-3272-2121F.:+82-2-6352-2121 [email protected]

The Piano Society of KoreaDuringthepasttwentyyears,thePianoSocietyofKoreawithEwonCulturalCenterhasbecomeoneoftheforemostmusicsocietiesinKorea,boastingofabout1000professionalpianists.ItpublishedbypianistProf.Hae-WonChangwhoisnowChairpersonoftheSocietyandtheCenter.Everyyear,itinvitespianists,musicians,andscholarsfromallovertheworldtotakepartinavarietyofevents,includingconcerts,masterclasses,symposiumsandseminars.Recentlyithastakenspecialinterestinnurturingyoungmusiciansbyhostingmusiccampsandworkshops.Inordertoenlargethescopeofitsactivitiesandtobecomeaninternationalcenterformusicandculture,theSocietywiththeCenterhasformedtieswithmanyinternationalassociationssuchasEPTAandWPC.

WPC/WPTAAFFILIATEDMEMBER

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TheMunicipalCultureCenterinSochaczewFryderykChopinStateMusicSchoolinSochaczew

ItalianInstituteofCultureinWarsaw

20thINTERNATIONALCHOPINFESTIVALINMAZOVIAPOLAND

SOCHACZEW16-22November2012

www.festiwal.vin.pl

tel/fax48468622962mobilephone48501666884,48604469391

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IMPRESSUM

RadmilaRakin-Martinović TatjanaVukmanović DorianLeljakExecutiveDirector SecretarGeneral ArtisticDirector

VeraHofman-Momčilović

MilenaApićDanijelaKličkovićMilaMajstorovićJelenaAlargić

AleksandraBunjevčevićNadaMijatovićCsilaStojšić

MiodragBlaževićAndreaMijatovićIgorMolnarSzilágyiÁron

ProfessorsandpupilsoftheIsidorBajićMusicSchool

It seems like I’m not listening to the sound of the piano, but to the … · 2018-01-15 ·...

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