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N0. 9 | 2014/2015
Stefan Hderath
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C e l e b r at i o n
eanwhile, the salesroom can look back on 100 unforgettable, special years in the Musikverein building,
where the good vibes no doubt synergize with one another.
Equally unforgettable and special was the anniversary celebration that took place the evening of November 13, 2014
in the superb HalleNsalon of the neighboring Hotel Imperial.
There, a masterful Bsendorfer instrument Model 225 was
waiting to be played in order to show what a Bsendorfer
grand piano is capable of. Yet who was to play on this special evening? After all, many pianists love the highly personal
sound of Bsendorfer pianos. There is hardly a pianist who
performs in the Musikverein who fails to meet Anne-Sophie
Desrez, the Sales Manager, at Bsendorfer Downtown in order to play on the grand pianos on display there. The beautiful atmosphere invites people to stay for a while it is a
salon that provides these wonderful instruments with the
environment they deserve.
n the end, Dr. Johannes Kropfitsch, Vice Dean of the Konservatorium Wien, pianist and composer, was chosen. His
knowledge is immense and poured out of him during his
lecture on Bsendorfer and the Viennese Sound, which he
held to introduce the evening. Yet this was but the first part
of Johannes Kropfitschs performance. Immediately thereafter the audience was treated to a feast for the ears: the
concert on the masterful piano. The programme contained
a Schubert Impromptu, Liszts Mephisto Waltz, the Soire de
Vienne by A. Grnfeld / Johann Strauss, and finally a compo|2
uring his era, Ludwig Bsendorfer, the son of the company founder Ignaz Bsendorfer, placed considerable
emphasis on concert life in his company. This tradition lives
on 100 years later. Bsendorfer Downtown is increasingly developing a select concert culture under the auspices of AnneSophie Desrez. The pianos are pushed aside in order to give
the audience room for small, fine concerts. Presentations of
the latest models with their continually innovative developments, all the way to the new SH Silent System version are
every bit a part of the Bsendorfer Downtown scene as are
concerts on exceptional instruments designed by architects
or other artists. An example is the Klimt Grand Piano with
its inspiring reproduction of The Kiss by Gustav Klimt on the
inside lid.
oung artists then and now continue to be promoted by
Bsendorfer. Already in 1889, Ludwig Bsendorfer donated a premium piano to the winner of the Bsendorfer
Competition. It is good, that these traditions continue to be
cultivated and fostered, that value continues to be placed on
the quality of the instruments, and that they are handmade
in Austria with considerable expertise. We wish these traditions to experience many more beautiful and unforgettable
anniversaries!
E D I T O R I A L
Editorial
Dear Reader,
ur magazine is a collaborative effort with stories contributed by staff members, distributors and friends. The
highlight of this issue is an interview with Tori Amos, an artist with such close ties to Bsendorfer. There is also an interview with one of the most respected teaching professors in
the USA and a passionate fan of Bsendorfer, Eleanor Sokolov.
She celebrated, like our Stadtsalon shop, her 100th birthday
this year. Professor Kropfitsch, Head of Keyboard Studies at
the Konservatorium Wien (City of Vienna University for Music), has kindly written an article on Viennese sound from an
artist and composers view.
Contents
Bsendorfer Downtowns 100th Anniversary ............................... 2
Editorial Imprint .................................................................................... 3
Happy Birthday Mrs. Sokoloff! ........................................................... 4
Harriet Krijgh A Rising Star and Her Festival ......................... 6
International Jen Takcs Piano Competition 2014 .................. 6
Parmigiani Montreux Jazz Piano Solo Competition ................. 7
Nottingham International Jazz Piano Competition 2014 . ..... 7
Marialena Fernandez Passionately Crossing Borders . ......... 8
Wien Modern six grand pianos in 12th-tone tuning .............. 9
Tori Amos: Unrepentent and resonationg with the now .. 10
Viennese sound from an Artist and Composers
perspective ............................................................................................... 12
Imprint Editor, media proprietor, publisher: L. Bsendorfer Klavierfabrik GmbH, Bsendorferstrae 12, 1010 Vienna, Austria, Tel. 01.504.66.51-0 Design and layout: FineStudios e.U., Vienna.
Produced and printed in Austria. Distribution: self-distribution to Bsendorfer friends and interested parties. Editorial office address: L. Bsendorfer Klavierfabrik GmbH, Attn.: Marion Alexander, Gymelsdorfergasse 42, 2700 Wr. Neustadt, Austria. Senior editor: Marion Alexander. Authors: Marion Alexander, Anderson Museum, Mag. Sylvia Marz-Wagner, Forte and Piano Moskau,
Monika Hildebrand, Brian Kemble, Prof. Johannes Kropfitsch, Simon Oss, Ritz Carlton Vienna, Emilio Rodriguez Drop Artist Management, Yamaha Artist Service Center NY, Yamaha Music Asia, Yamaha Music China, Markus Walther, Klaus Wingensiefen General Management. Photos: Anderson Museum, Luca dAgostino Phocus Agency, Forte and Piano, Nancy Horowitz, Kunstuniversitt
Graz Institut Oberschtzen, Montreux Jazz, National University of Singapore, NIJPC, Marialy Pacheco, David M. Peters, Richard Galassini, Gerhard Peyrer, Ritz Carlton Vienna, Sara Ruano/Drop
Artist, Markus Sepperer, Wolfgang Simlinger, Jennifer Taylor, Yamaha Music China; Cover: Stefan Hderath. Translation: Albert Frantz. Primary direction and disclosure according to media law:
Magazine for persons interested in music and friends of Bsendorfer in Austria. Errata and printing errors, etc., including price quotations, excepted. No liability is assumed for unsolicited
pictures and manuscripts submitted. Reprints permitted exclusively upon written consent of the publisher. All rights reserved. Contributions marked by name present the authors opinion,
not always that of the publisher. No legal action will be countenanced for sweepstakes.
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I n t e r v i e w
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Legendary piano pedagogue Eleanor Sokoloff is the oldest and longest-serving member at
the Curtis Institute of Music. She has had more than 75 of her students perform with the
Philadelphia Orchestra. Among her students are pianists such as Hugh Sung, Claire Huangci,
Susan Starr, Kit Armstrong, Leon McCawley and Keith Jarrett. June 16, 2014 she celebrated her
100th birthday. Simon Oss had the honour to meet Mrs. Sokoloff for an interview about her
life as a teacher and her love for the piano.
world? Not many. At the top we have maybe two. Its a mans
world. I think it takes something special to be on the top. It
does. But there are those who could. Yuja Wang is, for example, wonderful. She sits like a princess. She is way up there.
She has had a great start.
BSENDORFER: Do you feel it is changing nowadays and getting easier for women?
Eleanor Sokoloff: I hope that it will get better. Perhaps I use
my own position as an example, but I think its still hard for
women in this field. Women are doing fine in medicine and
other professions, at least better than they used to. But in
music performance they are still a minority. I dont think
were on an equal path with men, even in this country, which
is perhaps more liberal than others. When I was young it was
much worse. But I still think it is bad. Its a long struggle. If
you think back about how hard it was for women to get a
vote. It was a miracle that I was appointed to Curtis as a student. It was a very hard time. My first year was agony. But
I survived. I started teaching in 36 and graduated in 37. In
the early 30s, when a teacher became pregnant, she had to
leave the school. One of the women who was teaching supplementary piano was in that position. And why they picked
me, I still dont know. I was very young, in my early 20s.
BSENDORFER: How did your piano teaching change over the
years?
Eleanor Sokoloff: Experience. You know exactly what you
hear, you understand what it takes. I learned from my own
experience what it takes to become a pianist, and that there
has to be a balance between technical training and musical
training, so that the two advance together. I think you learn
more when you teach than when you practice by yourself.
BSENDORFER: Is it true that your students are required to
play, at almost every lesson, a piece of Bach?
Eleanor Sokoloff: That is absolutely true. They go through all
the Preludes and Fugues, both books and at every lesson. I
think Bach is the greatest teacher of all because its not one
hand doing the melody and the other playing the accompaniment. They have to learn how to handle many voices at one
time.
BSENDORFER: I understand many of your students have been
chosen to perform with the Philadelphia Orchestra?
Eleanor Sokoloff: Yes, at least 75 have. Ive lived so long. And
many of my students have doctorates and are teaching at
universities. Thats what I recommend to all women. Get the
highest degree you can get, at least you get a job.
BSENDORFER: What are the core values that you want to
transmit to your students?
Eleanor Sokoloff: I want to prepare them pianistically, thats
the first job. But at a same time I want them to have a roun
ded education. It is important for students to have a broad
spectrum of culture. I want them to read and I want them to
be able to write well.
BSENDORFER: You once said that expression is the most important thing and not something that can be manufactured.
Eleanor Sokoloff: You hear that during the audition. This is
what we mainly look for. We are now at a point where we
hear wonderfully technically prepared people, but that technique is only one way to express. And if they dont have anything, they dont get it.
BSENDORFER: Speaking about expression, how important is
the instrument itself in these regards? You have a Bsendorfer
at home, how did you find your piano?
Eleanor Sokoloff: I had a Steinway in my house. And then a
friend of mine called me and she said, We will send a limo
for you and Billy and you come and check out the new pianos that we received. She sent a stretch limo, I never had
been in one before. And then we went to see these wonderful Bsendorfers including the one with the extra keys and
the player system, which is just an extraordinary piano. And
when I saw these pianos, I thought: why dont I buy one myself. Well, my piano was so old, it was the piano I had when
I was a kid, and I said, I think Im getting rid of it. Im going
to buy a Bsendorfer. My husband was against it, but I did it
anyway. And then we got a wonderful dinner together in the
fanciest restaurant in Philadelphia. And this is my piano. I love
this piano. I think even to look at the workmanship is remarkable! I love this piano because it is responsive to tone color,
from the tiniest pianissimo to the greatest fortissimo. And
when I hear the kids perform in Curtis on the stage, I hear the
result of what they have done here on the Bsendorfer. Thats
about it. To be a pianist you must have that color expansion.
I love the sound of it. I love its responsiveness and I love the
beauty of the piano.
BSENDORFER: Do you think the young pianists of today will
be remembered in the future the same way as an Arthur Rubinstein or a Wilhelm Backhaus are?
Eleanor Sokoloff: I dont know if we are in a kind of golden
era. Ive a feeling that many of the young pianists will be remembered. But one development that I dont like is that it
became, for some, a show and commercial! And its bad for
the music. They jump and they kick their feet, I dont know
what that is? Its because of people who go to see concerts.
They say: Im going to see a concert. That see word is the
trap. They dont go to hear, they go to see. And if they dont
get their show, it doesnt mean much to them. People who
love music really dont like this, its very distracting.
BSENDORFER: Mrs. Sokoloff, thank you very much for the interview. One last question: Can you tell our readers something
about the Wednesday tea tradition at Curtis.
Eleanor Sokoloff: It is every Wednesday at 3 oclock. I pour it,
its wonderful. Its a big Samovar, full of hot water. And all the
kids gather. And there are occasions and everybody at the
school takes strong tea. And if a respected faculty member
is leaving the staff, special tea is given to him. I had tea for
me too, when I turned 100. And I told them, Im not leaving.
Everybody who receives a special tea is leaving. Not me. Im
still in.
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Miscellaneous
ll works, including the required pieces, had to be performed from memory. The only exceptions were for contemporary works chosen by the performer. Bsendorfer has a
long tradition promoting young talents and made the latest
concert grand available to the young pianists. We sincerely
congratulate the winners of all three categories.
|6
The competition was capped off with a gala concert performed by all prizewinners.
position, piano and counterpoint at the University of Music
and Performing Arts in Vienna. As a pianist, he performed
in Europe, Japan, China, Hong Kong and elsewhere. He had
a lively exchange of ideas with Bla Bartk as well as with
Ern Dohnanyi the two of them were his most important
contemporaries. Jen Takcs considered educating young
pianists as one of his most significant duties. He wrote many
of his compositions for young pianists and in so doing underscored his lifes work. For more information, visit
www.kug.ac.at
ince 2011, this competition has been supported by Parmigiani Fleurier (Swiss Watches) as its main sponsor. The
competition is held at the Montreux Palace each year on the
legendary Bsendorfer model 290 Imperial, the favorite piano
of Oscar Peterson as well as of Monty Alexander (president of
the competition).
he finale of this years competition was particularly suspenseful. Thanks to the excellent performances by all finalists, the selection and points distribution was especially
difficult for the jury. Thus, not the usual three, but fully nine
finalists competed: Gill Scott Chapman (USA), Matyas Gayer
(Hungary), Jeremy Hababou (France), Alexey Ivannikov (Rus-
inner, Tom Hewson, said that he greatly admires British pianist John Taylor and included Johns composition Ambleside Days as the first piece in his programme. His
Photo: NIJPC
Competition
I n s i g h t s
Marialena Fernandes, Professor at the Vienna University of Music, presented the 25th concert in
her successful cycle Uno.Due.Tre. For the occasion, she offered us a glimpse behind the scenes
and insight into her highly personal musical views.
|8
Marialena Fernandes
and joy and do so especially in todays world, which cannot
have enough experienced commonality and peace.
A Fascinating Mixture
arialena Fernandes was born in Bombay. Mumbai or
Bombay? The name of the capital city comes from the
Portuguese Bom Bahia good bay. The Portuguese colonialists converted the Indian families to Christianity. This included Marialenas family, who gave her a Portuguese name.
Indian mixed with Portuguese and later Austrian was added
a fascinating mixture. Maybe thats where her passion for
opposites and crossing borders comes from. Vienna is her
home of choice. As a dedicated pedagogue and Ph.D., Marialena Fernandes teaches chamber music at the University of
Vienna.
P r e m i e r e
A special highlight took place in the Grand Hall of the Vienna Konzerthaus on November 2,
2014: the Austrian premiere of limited approximations for six grand pianos in 12th-tone tuning and orchestra. It was presented by the SWR Symphony Orchestra Baden-Baden and Freiburg conducted by Franois-Xavier Roth.
he composer himself explains the special effect as follows: The twelfth-tone interval is so small that it is no
longer heard as an interval, but rather as the shading of a single note. A single tone played by a Romantic orchestra has a
wider frequency. The aural effect of a scale in twelfth-tone intervals is thus similar to a glissando. The effect of a cluster of
twelfth-tones depends on the register: higher up, it is sharp,
abrasive, biting, lower down it is soft, melting, rich. Of course
it is also possible to build raw, dissonant chords with twelfthtone intervals much more differentiated (also in the degree
of acuteness) than with the traditional 12 tones per octave.
But it is also possible to build much more consonant chords
then in the traditional twelve-note scale: a close approximation of the twelve-tone scale can be produced in the overtone scale, accurate up to a twelfth of a tone, as composer
Georg Friedrich Haas explains in the WIEN MODERN catalogue. Limited approximations do not tell a story. As with all
of his compositions, here too there is no formal development
or traditional formal design. Contrasting elements alternate
moments of fusion and moments of friction. Pseudoglissandi by the pianos lead unexpectedly into an overtone
gain and again, the nearly spectral piano chords are taken up by the orchestra. In earlier works, I had to limit
myself to a small number of basic tones for reasons of feasibility. In vain works with the twelve fundamental tones
of the traditional tempered scale. Natures mortes uses only
six different overtone chords, four of them based on fundamental tones of the traditional tempered system. In limited
approximations, thanks to the pianos, the whole world of
sound is open to me, Georg Friedrich Haas explained.
I n t e r v i e w
In Interview: Tori Amos. With her poignant songs she deals with the major issues of our time.
Performing since the age of 13, Tori has evolved into one of the most respected and inspiring
live performers of today.The stage has always been one of the fundamentals of her career.In
an interview with Brian Kemble she speaks about her world-tour and new album, about being
unrepentant and resonating with the now.
BSENDORFER: You are currently touring your new album
Unrepentant Geraldines a world tour with over 70 shows
that crossed Europe, South Africa, North America and Australia. Who motivated you to do this extraordinarily tour?
Tori Amos: It was my daughter Tash. Because I was turning
50, she felt that I needed to prove to myself that I can go
out there and do a one woman show with the power that it
needs to have. She said: Look, you are not Grandma Marys
age, you are not in your 80s. And so it became a goal that
I needed to have: being able to do a two hours, one woman
show with only me and my Bsendorfer on stage. If we are
honest with each other, it takes a lot of power and energy
to do this. I did not want people walking away feeling you
know that was good but when she was 30 she was killing it.
My goal was, having people walk away and say: she is killing
it as much or more than she was when she was 30.
BSENDORFER: What is it like touring after nearly a break two
years break? Is it like riding a bicycle once you have done it
you just pick it up and go?
Tori Amos: For this tour I had to train, to prepare myself physically to do 63 shows Australia not included. It is a different
demand physically, to be out there on your own. I had to work
on my breath, to not get tired not lose breath.
BSENDORFER: Why did you name your new album Unrepentant Geraldines?
Tori Amos: It all started with an etching. I was in Ireland, visiting the old Georgian house there, which is in the photographs of the CD booklet Night of Hunters. My husband
Mark and I have had that since 1995 in the family. There is a
painter, Vincent, who often visits and who collects etchings.
There was an etching of Geraldine on the wall in a pose that
was very much like those old repentant Magdalene paintings.
However, she was actually connected to an Irish story from
the 19th century. I started looking at this repentant Geraldine
and I realized: no, Geraldine is not repentant, because she has
been up to no good with some sailor captain and that is why
she had to run away from Ireland and hide with friends. Then
I started thinking, as a women turning 50, I need to be unrepentant, not apologizing about my beliefs.
BSENDORFER: In the making of you say every song of the
album has to resonate with the now. Is there one that resonates the most or represents best the now?
Tori Amos: Well, I guess America does. The song America is
a synonym for every place. It is about do we choose to bury
our head and sleep through the now because there are so
many things in the world that are difficult to handle, that
| 10
are happening right now. Maybe every time feels that way
when you are in that time. Like the terrorist threats in London
where all the kids, like Tash, are warned about it in the schools.
Now she is very aware of what is happening in the world. Or
Marks mother telling us being aware of the raids and about
the potential things that could have happened during World
War II. Having been in New York City during 9/11 I understand
that feeling. We were shocked when it happened and it seems
there is a constant potential threat. That seems to be now in
many places in the world. America is about being awake in
order to deal with what is happening in the world and making decisions and being part of it. Or just thinking this is too
overwhelming, I cannot deal with it. So the song is a reflector
of how people are feeling at this time.
BSENDORFER: When you work on your songs, what comes
first the words or the music?
Tori Amos: Its different every time. There is no formula. That
is because a lot of times I hear something from the Muses.
They are not always singing to me sometimes they whisper
words. And it does not all come at once, usually. It normally
comes in fragments and it can take a song months, even years to come. Like the song Oysters, that one took years.
BSENDORFER: Do you compose at your Bsendorfer?
Tori Amos: I always take it to the Bsendorfer, but I could also
be on a plane. So I write music in books. I have a weird kind of
notation system. Only I know what it means, anyone else reading it would not know. Tash always says:Never just take one of
Mums books and give it away. There might be a song in there.
BSENDORFER: Is there a time you are at the most creative?
Tori Amos: Well, this time does not exist that is the trouble
with it all. You cannot predict it. I cannot flip a switch and say:
I need to be productive now so lets be productive. The Muses
really do not respond to that. Sometimes, when we are out to
dinner, somewhere in the world, at a nice and magical place,
like looking at Sydney harbour, suddenly it is just there. Then
I need paper serviettes to write on. Sometimes I feel bad for
the restaurant and I say to Mark: Please give them an extra
tip because I took so many serviettes.
BSENDORFER: How do you decide when a song is finished?
Tori Amos: I do not decide this, the songs wont let themselves
get let go until they are ready. It is strange how things happen, just weird, I cannot explain it. Sometimes it is as if I could
feel them dig their heels and say: No we are not going to get
recorded yet. We are not ready. Writing can be a very lonely
thing. I take myself off and do a kind of pilgrimage because I
Tori Amos playing the new Silent Piano at the Bsendorfer shop in Vienna
have to allow myself to play things out mentally and emotionally and go to places that I do not want, as a mother, to put
Tash through. As she gets older, she understands it more and
more, but that is a side to myself that I do not show anybody.
So I need that space to allow the music to take over my whole
being. Usually I go into the studio in Cornwall with a collection
of finished songs that I have written over the last couple of
years travelling the world. Recording in the studio in Cornwall
is a totally different process than the writing of the songs.
BSENDORFER: Can you tell us about your relationship with
Bsendorfer? You describe it as special and you call the piano
she.
Tori Amos: The Bsendorfers I play are definitely female, they
have a female spirit, but that does not mean that they cannot think of stories that are about men. In calling her she I
avoid a tiring or outgrowing of a name. This way, she can be
who ever she wants to be on any given day. I appreciate more
and more that she can take the personality of the songs on.
For me, she is a friend that has without question never let
me down, never. I might have let her down, but she has never
disappointed me. She is a friend to scheme and dream with.
BSENDORFER: You recently visited the Bsendorfer shop in
Vienna and tried out the new Silent piano. What do you think
about it?
Tori Amos: A few things crossed my mind at the time. You can
have a secret, a music secret you can share with the silent
piano. Sometimes music is not ready yet to be shared. The silent piano allows you to create your piece of music like a master chef preparing a meal. You can add all the spices and balance them out. And then, only when you are ready, you serve
it. Songs are not meant to be affected by everybody walking
through, and everybody has a comment everybody believe
me. I noticed that my whole life. People in big cities like New
York work different hours, have different schedules, so you do
not know when the best time is to play. It is also great for families when you do not have a lot of space. Kids can practise,
people can play music, whilst others are working. I have an
empty space in my apartment in New York that I am holding
for a Bsendorfer Silent Piano: it is the perfect solution for
urban and family living.
BSENDORFER: Do you always tour with your Bsendorfer piano and how does it travel?
Tori Amos: Actually I tour with two, I have to because of logistics. For example Australia: we have a show in Adelaide and
in Perth, which is across the country. So we go from Adelaide
to Perth back to Sydney where we do three shows and then
we go to Brisbane. Sometimes you cannot get the piano from
one place to the other in time for the next show. That is why
we always travel with two Bsendorfers. The goal is that they
go by boat but sometimes they have to go by plane.
BSENDORFER: In your musical Light Princess there was a
Bsendorfer in the pit even though you were not performing.
Why did you want one for your musical?
Tori Amos: Because a Bsendorfer was used in the recording
as well. We had a Bsendorfer in the pit for every show. Its
one of the ones that I tour with and that has all the energy.
Actually she is the one where a lot of music for Light Princess was written on with my partner Samuel Adamson. The
next step is the album which we are excited about. It will be
out on Universal Records next year. And of course the dream
is to take the Light Princess to America.
BSENDORFER: On your web page you say when you stop putting yourself on the line and you do not touch your own heart,
how do you expect to touch other people. Is this your philosophy in life and music?
Tori Amos: Well, thats a good question. I think that listening
is very important: listening to the world, to the things that
happen. I listen to people, their reactions and feelings and I listen to nature. My philosophy is that to be a good musician is
that I have to be a good listener. It is not about the making of
the music, it is about what happens before I make the music.
It is all about listening and resonating with the now.
BSENDORFER: Thank you so much for being such a wonderful
ambassador for Bsendorfer.
To learn more about Tori Amos visit: www.toriamos.com
11 |
An article from Prof. Johannes Kropfitsch, Head of Keyboard Studies and Vice-Dean at the
Konservatorium Wien.
| 12
ow a view back to the history of making music in Vienna, especially in the nineteenth century, can be helpful
indeed: Ignaz Bsendorfer, who had founded the factory in
1828, became famous for having built a piano that resisted
the physical powers of the then young virtuoso Franz Liszt
in his first legendary Viennese concert in 1838, when he had
defeated three grand pianos that had given in with broken
Johannes Kropfitsch
Photo: Luca dAgostino Phocus Agency
13 |
steemed Italian pianist Carlo Grante presented a threeconcert series on a Bsendorfer concert grand piano model 280 entitled Masters of High Romanticism at Lincoln
Centers Alice Tully Hall in New York City during the 2014/2015
concert season. Each program was devoted to a single Romantic-era composer: Frdric Chopin, Robert Schumann
and Johannes Brahms. The composers featured in Masters
of High Romanticism are piano giants, Carlo Grante said,
embodying the core of romantic music at its most expressive. Each concert was devoted to works by a single composer,
to highlight the unique contribution of each to the evolution of form: the narrative, dancing, dreaming sound-world
of Chopin, who virtually invented the Ballade as a musical
genre and emancipated the Scherzo from its origins in dance;
Schumanns creative expansion of sonata-form into a journey of heroic proportions; and the inventiveness of Brahmss
variation style, revitalizing an old form with the quintessence
of his instrumental genius. While each program provides a
full musical experience, he continued, the three-concert
series intends to present a kind of guided tour through the
mind of the Romantic musical creative artist, whose goal
| 14
I n t e r n at i o n a l
he new Bsendorfer was made possible through a generous gift from Donald and Sally Anderson. It has proven
to be a bonus for the Anderson Museum of Contemporary
Art and the cultural vitality of the Roswell area, Don Anderson said. Sally Anderson added that coordinating the piano
purchase through Neal Hickson at PianoWerkes was a wonderful experience they were very accommodating and extremely professional.
I n t e r n at i o n a l
I was so incredibly happy this is like a musical knighthood for me! To play on a Bsendorfer
and now also as an official Bsendorfer Artist to get to be an ambassador of this fantastic
manufacturer inspires me immensely the perfect sound for my way of playing.
arialy Pacheco, born in Havana, Cuba, grew up in a musical environment: singing and piano, Bach and Bartok
both of her parents are classically trained musicians her
mother is a choir director and her father is an opera singer. At
her own request, she received piano instruction at the Conservatorio Alejandro Garca Caturla in Havana at the age of
seven. At 15, she attended the Escuela Nacional de Artes in
Havana. Studying music in Cuba is geared entirely towards
classical music; Latin jazz and salsa only existed between
classes and during semester breaks. The turning point came
in the form of a CD The Kln Concert by Keith Jarrett, which
opened up a whole new world to Marialy. Yet she first completed the Conservatorio with honors and commenced a
three-year study of composition with Tulio Peramo Cabrera
at the Instituto Superior de Arte in Havana.
: Marialy Pacheco
Marialy Pacheco
ways unique and unmistakable. (Rhani Krija Percussionist,
STING, October 2014)
s a jazz pianist, Marialy Pacheco has made guest appearances in Tokyo, Milan, St. Moritz, Poland, the Czech
Republic and Australia, where she also performed J. S. Bachs
Concerto No. 7 in D minor as a classical pianist with the
Queensland Symphony Orchestra conducted by Gustavo Gimeno. She was the only jazz pianist to share the stage with
international classical music stars, including Paul BaduraSkoda, Valentina Lisitsa and Maria Mazo, in a gala concert at
the Vienna Musikverein for Bsendorfers 185 anniversary.
hen you meet Marialy, you feel a balance, deep spirituality, joy, clarity, a strong identity, as well as fragile moments, simple and unquestioning all this is reflected
in Marialys playing a tree whose roots are deeply anchored
in the Cuban tradition yet the branches have found their
place throughout the world. Regardless of whether she
plays Bach, contemporary jazz or Latin American music she
is able to fuse all styles into her own sound the result is al| 16
I have a special relation with Bsendorfer pianos. I am passionate about the brand and consider the Imperial as an extension of my musical thoughts. Its a great honour for me to be
now a part of this family of artists. The official nomination as Bsendorfer artist in Vienna was
one of the best days in my life.
mbrosio Valero was born in Granada coming from a family of musicians. At the age of four he began playing the
piano. He was introduced to his music studies and also to the
special qualities of Bsendorfer grand pianos by his father.
At the University of Music in Granada he studied with Jos
Luis Hidalgo. He has been given advice by many Maestros
including Joaqun Achucarro, Daniel Barenboim, Vladimir
Ovchinnikov, Jean Phillippe Collard, Ramn Coll, Christopher
Elton, Bruno Canino, Pascal Rog, Jorge Luis Prats, Manuel
Carra, Antonio Iglesias, Xenia Knorre, Daniel Blumenthal,
Krystyna Makowska, among others.
Ambrosio Valero
Rotaract Rotary International Piano Competition and the
International Piano Competition Frechilla-Zuloaga. He also
received a medal as a special prize for the best interpretation
of the music of the Spanish composer Mompou and a special
prize for the best Spanish pianists at the Maria Canals International Piano Competition in Barcelona.
I n t e r n at i o n a l
his June, The Music Hall of Harbins Old Synagogue ordered a Bsendorfer grand piano model 225. The first
classic concert with this grand piano was held on July 1st. The
historical Synagogue was established in 1907 and is now one
of the heritages of China. In the early 20th century there lived
around 3.000 Jewish persons in Harbin-city. Their business
had flourished and they contributed to the development of
this city.
n the late 20th century a new Synagogue was built. The old
Synagogue remained and was used for cultural events or
for wedding celebrations for the citizens. In 2013 Harbin-city
renovated it and opened the music hall for Harbins citizens.
The Hall holds top class concerts by top pianists and orchestras 4 times a week (around 200 concerts per year) and make
the Viennese sound and charm accessible to the musical
public here in China.
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COLLECTORS ITEM
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