Photo credit: J. Henry Fair
As part of this year’s Golandsky Institute’s Summer Symposium and International Piano Festival at Princeton, violinist/violist Miranda Cuckson appeared on stage with pianist Yegor shevtsov at the lecture of eminent composer, princeton’s own Steven Mackey, and the evening’s concert performance.
Although the method is in its origins is designed to cater to pianists, the Symposium has recently succeeded in its efforts to expand the use of the principles of the Taubman Approach,to other instruments. Thanks to the active engagement of faculty member, British violinist Sophie Till, in cooperation with the Institute’s co-founder and artistic director Edna Golandsky, the approach has been innovatively implemented for violinists.
While the festival focuses predominantly on traditional classical performance and repertoire, Edna Golandsky presents a strong Jazz section, featuring this year’s performers from the Berklee Global Jazz Institute, under the artistic direction of Danilo Perez, as well as some new music from contemporary composers; Golandsky, an open-minded musician, stands behind the inclusiveness of her programming choices. The main emphasis is on excellence in performance, no matter the musical genre. Miranda Cuckson’s participation combines all of these qualities, in a particularly remarkable way. Her ability to perform the traditional repertoire on violin is quite convincing, and with great splendor, Cuckson manages to connect to the audience effortlessly with her virtuosic presentation of the Sonata for Violin and Piano written by Steven Mackey in 1996. Read the rest of this entry »
“I am not a cheerleader,” Auerbach says in our meeting, the day after The Blind premiered on July 9th as part of Lincoln Center Festival. (until July 14th)“I am not trying to please anybody, which, by the way should not be the goal of any artistic endeavor. Yet, art should give you something you have not yet experienced in the same way and you want to be changed by that experience.” Despite Auerbach’s artistic intentions, critical voices have emerged which attack the political correctness of the core metaphor of The Blind, giving rise to a debate about a symbol largely removed from the context of the work. I ask her, “Why the blindfold? Why the potentially sensational effect?” She explains: “I am not about shocking; The Blind is not a gimmick, but aims to fulfill to Maeterlinck’s (the playwright) call for a symbolist breaking of barriers, and attempts to provide a deep psychological understanding. It also pertains to a religious, meditative state of being, which entails a certain unearthing experience of disorientation, facilitated by the absence of the visual element. The Blind brings the audience away from the material state, exploring mental communication with the music’s ritualistic elements, and hopefully lets the audience come away with an individual learning experience that will stay with them, potentially changing who they are.” Directed by John La Bouchardière, the New York production of the work, which Auerbach for lack of a more precise description refers to as “a cappella opera,” has omitted the traditional stage setting used in the 2011 Berlin Konzerthaus and Moscow Stanislavsky Theatre productions of her score and libretto.
This new, innovative production takes The Blind a step further, eliminating the darkened stage of former productions in favor of the extremely isolating effect of blindfolding the audience; this theatrical method addresses our extreme reliance on visual effects, and aims to challenge the audience’s capacity for hearing, listening, smelling, and feeling temperature, thus evoking a heightened sensory and emotional experience. “Part of Maeterlinck’s conception is a distinct religious connotation, and includes elements of randomness, which, in this production led also to the separate placing of women and men,” says Auerbach, and adding that the experience of the piece also differs slightly for each participant, depending where they are seated. “Every staging demands different elements; in this particular one, timing and positioning was essential to the flow and the individual impression of each audience member.” The physical experience of The Blind’s staging is truly unique, and remarkably executed. Read the rest of this entry »
To fulfill her mission: “Making contemporary music more approachable for everyone,” Turkish Pianist/Composer Seda Röder, has tapped into internationally seismic changes of accessible entrepreneurship in the arts.
Röder brings her boundless energy and entrepreneurial instincts to all of her endeavors in her native Istanbul, Europe, and the US, giving lectures, recitals, and performance collaborations while building an interactive platform for contemporary musicians from Turkey. Her website: “Listening to Istanbul” shares its title of her 2010 CD, which pioneers piano compositions of Röder and six other contemporary composers from Istanbul, commissioned and performed by Röder herself.
Röder’s album cover quotes: “I am listening to Istanbul, intent, with my eyes closed.” This is how Orhan Veli, the great Turkish poet of the 20th century, began his most celebrated poem about Istanbul…Seda Röder listens to Istanbul once more, intently, with open ears and eyes for an emerging new era. What she hears in 2010 while the city bears the title of the ‘Cultural Capital of Europe,’ are captivating and exciting sounds of a new generation of Turkish composers. Filled with energy and innovative creative force, their music represents the vivid and quickly changing atmosphere that the melting pot of Turkey radiates into the world.”
As she shares with me, Röder considers her commitment to creating a democratic and enlightened society in Turkey, between Orient and Occident, being subtle rather than overtly political. Even though she writes a column for the Turkish Art and Music journal, “Neo Filarmonie,” engaging in themes related to national and international art politics, the content that she writes is mostly about new music programs, deficits of new music in festivals, and the support of contemporary composers today. While Röder’s website, which features biographies, CDs, an international concert schedule, and general information about composers active at the Bosporus, is supported from money arriving from Istanbul (ISGYO – Istanbul Real Estate Investment Trust), the Harvard Associate in her explores her expertise as lecturer, in her podcast series, Blackbox, on iTunes..
Röder’s original ambition was to engage within the whole world of music, whether she accomplished this by graduating from the Salzburg Mozarteum’s performance exams with distinction, intensively working with Brahms specialist Gerhad Oppitz at the Musik Hochschule in Munich, exploring the principles of performance practice of orchestral music, or working with period instruments.
Bridging cultures has become second nature for the proponent of a new music scene in Istanbul, where she often performs and engages in music-related events. Just this past March, Röder was involved with a performance undertaken by the Austrian Culture Forum at the Austrian Consulate General in Yenikö.
In 2007 she arrived in Harvard via Salzburg, and researched piano music from Alban Berg and Arnold Schoenberg, leaving as an Associate before finding herself again back in Salzburg. Culture and music history in Austria are clearly formative for Röder’s style, as is evident by the repertoire she chose to record for her debut album; her first album’s content descends from Mozart to Berg, three composers who were all active in Vienna. Last year, Röder performed often in the US on both the East and West coast, but this year’s performances are more concentrated in Salzburg, and Röder will be back in Istanbul to celebrate the Austrian Cultural Forum’s 50th anniversary in May.
When it comes to familiarizing audiences with the differing language of 20th-21st century composition, Röder is thoroughly inventive. By presenting atypical work by different composers, including herself, Lei Lang, Beat Furrer, Morton Feldman, Helmut Lachenmann, and John Cage, she surprises her audiences with the realization that behind the “typically” shocking and outrageously avant-garde styles of these artists, there can also lay tame, even classical elements. For example, John Cage, who is famed for his jarring experimental compositions, can also produce romantic outputs like his “In a landscape,” which recalls a strong heritage of Debussy’s images. Röder’s programmatic choices bring into focus the idea that these composers made personal decisions to take their music in the direction that they became known for, and that vivid realization can change an audience’s perspective drastically.
Röder is an all-round musician who believes in the power of bringing together different art forms such as video, dance, and music. Her musical work draws upon a sonic vocabulary that consists of sounds produced with the help of electronic, as well as acoustic devices including e-bows, mallets, and metal coins used on the keys, strings, and body of the piano. I heard her showcase performance at Munich’s “Classical: Next” in the summer of 2012, which left me with the impression that she is a fine pianist, no matter what repertoire she chooses to perform. Additionally, directly after performing, she could be found talking personably about her performance, and her entire upcoming concert schedule.
In her recent co-production with SEAD, “Same room, same time – John & Merce,” Röder pays tribute to the sonic imagery of Cage. The piece is entitled “False Memory,” and it refers to the psychological phenomenon déjà vu, recalling an event that seems to be part of a larger-than-life memory, but may have never necessarily occurred in reality.
Röder was called a “master of contemporary piano art” by classical master Alfred Brendel, who was especially impressed by her dialogues with silence. Röder’s “Beethoven Now!” program saw her creating electro-acoustic cadenzas for Beethoven’s piano concertos in improvisation, and was a transcendent example of her iconic exploration of old and new.
Röder’s work Black and White, which will have its premiere at the Tirol Festival “Klangspuren” in September 2013, exemplifies her focus on the piano. As a composer, Röder searches for new definitions within piano repertoire both connected to Austria as a land of great piano tradition, and contextualized within the piano music of today’s composers. “The Austrian Sound of the Piano” is the sub-title of her Black and White Statements, an extravaganza in search of a new piano sound that focuses in on her world of the piano, and reminisces of twelve Austrian composers. These composers find themselves vis a vis an instrument of which language seems tragically to have said everything there is to say. The urgency and drama in Black and White is palpable, smothering the air with a threat; it is almost as if the piano must learn a new way to speak, or risk eternal silence. The program understands itself as an answer to previously unasked questions, a collective reduction of the piano’s essential qualities that aims to explore its essence anew.
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Brooklyn has become a meeting of the minds between music and entrepreneurship. One of the big new players is Paola Prestini, who was recently highlighted in The New Yorker. The young “composer-impresario,” whose current project is orchestrating Oceanic Verses for its European premiere at the Barbican with the BBC Symphony Orchestra this May, was recently named artistic director of Brooklyn’s forthcoming venue, Original Music Workshop.
The organization’s name is less original than its space, which consists of the old shell of a late 19th century brick sawdust factory, with what will be a completely redesigned 2200 square -foot interior; the unique Williamsburg space, still only in its conceptual state, is already being hailed as a creative stronghold where music will be produced, performed, and recorded.Catering to a vibrant artistic community, but also a large-scale potential audience, the space will double as social and creative hangout, connecting its clientele with grassroots musical innovation. While traditional venues seem to have lost much of the social connection that we associate with the arts, OMW targets a programmatic difference: It represents an approach aimed at unification of the arts, an idea established in the Gesamtkunstwerk of the early 20th century.
OMW aims to fill a void within the artistic community by establishing a resurrected tradition of social gathering in the music world. Decades ago, cross-pollination of the social and artistic aspects of performance was a driving force behind the establishment of the creative centers of Vienna, Paris, and New York City, and now this practice has found a growing, actively engaged community in Brooklyn. OMW is feeding the entrepreneurial gap between the arts and the social scene that has become apparent to many of us involved in the music world.
OMW’s combination of rehearsal space, a multi-media equipped concert-hall, and a welcoming reception space (including an independently run restaurant) will bring together performers and audiences in an atmosphere that promotes social interaction, yet conforms to the highest standards of sound quality and aesthetic. The space will encompass a vibrant scene that will enhance the experiences of new audiences as they are exposed to avant-garde music collaborations, and will allow audiences to experience classical music in a new context as well. OMW has already become an artistic community project, and perhaps even more significantly, it has become an entrepreneurial centerpiece that has brought together visionaries from all corners of the New York music community, including WQXR. Photo by Jill Steinberg: Alessio Bax and Lucille Chung at Greene Space Music performance and recording are irrevocably connected in the music market.
Recognizing that concept, OMW plans to provide a high tech, state of the art recording studio, as well as a high acoustic quality music hall with live streaming-capability. Among OMW’s partners is Grammy award winning recording engineer Adam Abeshouse, and international tax lawyer Kevin Dolan, the project’s initial investor, who says he has been toying with a vision of the “art-factory” for a long time. Dolan is an amateur composer and organist himself, and, clearly taken with the energy provided by the young musicians around him, he felt that the time was finally ripe to engage in this communal, non-for-profit undertaking, that will shape a fresh environment for a growing and articulate new music scene. “Music is so important, emotionally, and there is so much talent, right here! This generation is living the music. But there is no infrastructure there, which can accommodate them, let them pursue their dreams and essence,” Dolan says empathically, after the last OMW-initiated performance at the Green Space of WQXR. He is well aware of the enormous potential he is offering through this ambitious project. Read the rest of this entry »
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Strutting their stuff, before and during the duel Photos: Matthias Bothor
The 19th century virtuoso was familiar with the idea of proving one’s prowess at the keyboard with gusto, by competing against another virtuoso. Thalberg/ Liszt are perhaps the most famous example of having such a duel, facing each other down -keyboard to keyboard.
German pianists Andreas Kern and Paul Cibis pick up their own Piano Battle, delivering both an amazing entertainment-factor to their audiences, in accordance with some powerful competitive talent demonstrating hair-splitting virtuosity.
Now they are ready to not play it safe here; Kern and Cibis will bring their novel concert-concept for the first time to the United States. Following an invitation from the Goethe-Haus, they will perform Piano Battle in Washington, at the Embassy of Austria, on January 18th.
While neither of the two accomplished, classically trained pianists are huge fans of the traditional competition arena, Kern’s search for the pursuit of different ways to present piano music on stage started long before Piano Battle. He had always looked for an intensified congregational effect between the audience and what was happening on stage. He enjoyed integrating verbal, explanatory sections into his early recitals, sensing that the audience felt more at ease when they learned something which connected them further with the performance and the performer, rather than through formal printed programs. “Even the way those programs are usually constructed requires some familiarity with the musical material – or at least with the names dropped within the biographies of the artists– which creates a rather condescending effect, “mentions Kern, when the three of us met in New York. Read the rest of this entry »
As the Director of the 92nd Street Y’s Tisch Center for the Arts, overseeing the 92Y’s concert series and Unterberg Poetry Center endowed by the Tisch Family, Hanna Arie-Gaifman indulges her deep love and knowledge of literature and music. “I came to the 92Y in 2000,“ shares Gaifman, sitting at her small desk, loaded with papers, messages, and catalogues, in her office on the 4th floor of the Y. The building she works in inhabits a Lexington Avenue city block between 92nd and 93rd street, and represents a staple of its surrounding community, as well as a buzzing cultural center. “It is an amazing combination of everything I love, in its presentation of excellence in literature and music. It has a long history and tradition of being true to itself, carrying on its own integrity with an honest search for changing responsibilities within its community and reaching out beyond its margins, to society at large.”
Having studied piano at the Rubin Academy in Jerusalem, Gaifman certainly could have considered a career in music performance herself, but did not, feeling that her skills could allow her to make a bigger difference in other areas of the music field. It is precisely her talent for bringing concepts and cultures together that has shone through the many different roles she held as music presenter, long before making her impact at the 92Y.
As dean of the Mozart Academy in Prague, director of artistic management and international relations of the Czech Philharmonic, and director of Prague’s annual Musica Judaica Festival from 1993 -2000, Gaifman showed her skill for international cooperation and management, as well as her keen talent for enriching cultural life in post-communist Czechoslovakia. Read the rest of this entry »
It takes real enthusiasm and a vision to bring about the change politicians speak about. In real life, it is only the most invigorated doers, like YCA’s Susan Wadsworth, who are able to implement new strategies and changes that have an enduring significance for the future.
It all started on the ground floor loft space of a restaurant on Waverly Place in New York’s Greenwich Village. The owner, a young Armenian architect, liked the idea of Susan curating concerts at his venue. So, on his off-days he cleared away the tables and added aYoung Concert Artists sign to his own sign board, and simply raised it up in front of Harout‘s, to promote the budding concert series.
“Steinway charged me 100 dollars for cartage each way and gave me a great gift… a beautiful concert grand piano that could stay at the venue during the whole season,” says Susan Wadsworth, an energetic powerhouse of small stature and hefty goals.
A trained classical pianist herself, she had studied with pianists-pedagogues Mieczyslaw Munz, Jean Casadeus and Nadia Boulanger, and was always surrounded by musician friends, some of whom she had met during her years at the Mannes College of Music, studying with Frank Sheridan.
But while she admired some of her friends’ amazing talent and felt deeply connected to music and its world, she rejected the pursuit of a career as concert pianist for herself. The decisive moment came, she explained, “When I was asked to perform Mozart’s Piano Concerto No. 23, A-major with the Mannes orchestra. I quickly realized that I really did not want to perform,” she confesses, with relief in her voice. Read the rest of this entry »
This month at the Poisson Rouge, pianist Bruce Brubaker and violist Nadia Sirota performed music by Philip Glass and Nico Muhly. Both musicians are extremely versatile, and talented within their instruments’ traditional classical genre. Additionally, both are strong proponents of some of the most intriguing music of today: the kind of music that is based on the classical concept of composition and music notation, but is less dependent on note-perfect execution for a positive outcome. Both musicians are great communicators. “The freedom that goes along with this music,” marvels Brubaker, “where the process is such an integral part of its formulation is also inspiring and encourages different acceptance of it. It has its pulse on the now — a moment in time that’s very powerful, in a kind of formulation of Zeitgeist.” He continues: “Part of what gives Nico a perhaps unprecedented wide musical reach, gives him a unique standing in the music world.” Possessing reach and versatility, Muhly’s arrangements for the Pop scene and movie soundtracks have brought his scores from Pop Icons like Bjork and Grizzly Bear, to the Metropolitan Opera, Alice Tully Hall, and beyond.
Brubaker just recorded Drones with Nico in Iceland on the Bedroom-Community label: a 2010 commission by the Irving S. Gilmore International Keyboard Festival. The album includes Drones & piano, Drones & viola, and Drones & violin, performed by Brubaker, Sirota, and Pekka Kuusisto along with Nico Muhly and mixed by Valgeir Sigurðsson & Paul Evans, who is also the producer. In his liner notes to Drones, Muhly describes “developing harmonic ideas over a static structure,” indicating that, “the idea is something not unlike singing along with one’s vacuum cleaner.”
Sirota, a long time collaborator and close personal friend of Muhly’s, says: “Drones evolved around a series of pieces for Viola and electronics, me droning my phone number over and over which became the Etude No.2, the first of his drone pieces. Many drone pieces were packed together in pre-recorded sound that is deeply textured and shows, (this is according to Brubaker now) very clearly the great impact Valgeir had on Nico’s work. It exploded with texture and became really three-dimensional.”
Photo:copyright Stern Weber Studio / Bruce Brubaker and Nadia Sirota at lePoisson Rouge
Brubaker explains: “Nico made an original electronic backtrack, but what you hear on the recording is quite different. It sounded even more layered. But that’s the exciting process of working with a living composer like Nico – the recording is not anymore the definitive version, neither is the performance. Music becomes much more alive, in the moment. Perhaps best compared with the times of composers like Mozart, Bach, Monteverdi…who wrote a piece for orchestra, but different instruments performed it over time, so the piece became a different piece each time.” Read the rest of this entry »
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On Saturday, December 15th, 2012 at 7 pm, The Arthur Rubinstein International Music Foundation will present their Zankel Hall at Carnegie Hall recital, in honor of the greatest Golden Age pianists – Arthur Rubinstein.
Pianist Roman Rabinovich is one of the two pianists chosen to perform at the event, the other being Anna Fedorova. Each musician possesses special qualities within their craft, and together they will certainly present a memorial worthy of the great master pianist, Arthur Rubinstein.
The evening will also feature a short documentary film about Rubinstein’s historical concert in San Francisco in 1945, and an exhibition of portraits and photographs of Rubinstein, partially from his daughter Eva’s personal collection. The foundation’s music festival in Poland was started 2008 in Lodz, Rubinstein’s birthplace.
Rabinovich, who, as a winner of the 2008 Arthur Rubinstein International Piano Competition (not related to the aforementioned hosting organization)has performed widely in Israel, but also in Europe and the US to much critical acclaim, was given the opportunity to choose a program he is especially fond of. He enthusiastically shared with me that Prokofiev’s ‘Romeo and Juliet’ (three pieces), and the Ravel/Rabinovich ‘Daphnis and Chloe,’ as well as Stravinsky’s ‘Petrushka’ that will follow his programmed Haydn Sonata in A-flat major, Hob.XVI/46, have captured his mind’s eye for quite some time now. Read the rest of this entry »
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Photo: Glenn Dicterow’s life talk at the Atrium
It isn’t actually until the end of the 2013-2014 season that Glenn Dicterow, current concert master of the New York Philharmonic will answer his call from LA’s USC Thornton faculty, but New Yorkers are already paying tribute to one of the New York Philharmonic’s most iconic figures who, after a run of now 32 consecutive years, will be sorely missed.
It was impossible not to acknowledge Dicterow’s friendly, well-tempered and round face, and his omnipresent fatherly authority. Always ready for a little joke, a kind comment, he seems to have been perpetually present on the first chair between the conductor’s podium and the rest of the string sections, maintaining peace for the ensemble, and keeping the communication flowing.
Dicterow will be the first artist to hold the newly dedicated Robert Mann Chair in Strings and Chamber Music, established by Alfred Mann to honor his brother’s achievements as founder and first violinist of the renowned Juilliard String Quartet.
Dicterow and his wife, violist Karen Dreyfus, with whom he and Cellist Inbal Segev perform as the Amerigo-Trio, will be joining the faculty at Thornton as well. The two will be a welcome addition to a host of exceptional artists including Midori Goto, who holds the Jascha Heifetz Chair in Violin at USC. Photo: Amerigo Trio
Heifetz was one of Dicterow’s influential teachers, who Dicterow was privileged to meet as a teenager growing up in Los Angeles. Dicterow’s father, Harold Dicterow, was principal player in the second violin section of the Los Angeles Philharmonic Orchestra for 52 years. At age 11, Glenn performed Tchaikovsky’s violin concerto under Zubin Mehta with the Los Angeles Philharmonic. Dicterow spent several years as an associate- and then concertmaster at the Los Angeles Philharmonic under Zubin Mehta, and later became concert master of the New York Philharmonic also under the direction of Zubin Mehta in 1980. The other great influence in his life was his teacher Ivan Galamian, whom he worked with at Juilliard in Galamian’s famous studio that included Yitzchak Perlman.
Dicterow made it a rule to always dedicate some of his time to external engagements apart from appearing as a soloist with the New York Philharmonic and other orchestras, and playing chamber music. He has also been able to maintain a teaching position at the Manhattan School of Music and the Juilliard School, and he has been able to recruit some of the New York Philharmonic’s orchestral musicians from his talented group of students.
On November 5th,Dicterow gave a charming talk at the public Atrium Space (61 West 62 Street). It became quite obvious that his qualifications for the position he had held for so long did not exclusively lie with his extraordinary gift for playing the violin, but also included his personal and vivid understanding of the role of a concert master.
- Glenn Dicterow and Ilona Oltuski
“When I received the proposal, it was at a moment in time when I could not refuse. After 34 great years, I will hopefully be leaving with my reputation fully intact,“ he beams gregariously. I suppose it was that sense of humor that brought him through the long chain of fluctuating directors, all with different characters and ego. From the flamboyant Bernstein, to Mehta “who was like a surgeon with his hands, so exact, you could not possibly misunderstand his downbeats…” to Masur, a “master of the old school,” who was perhaps personally controversially received, but changed the sound of the entire orchestra to a more German, darker sound, since he was not afraid to tone the brass players down.” Dicterow continued with times ‘served’ under the stern but “tremendously gifted Maazel” whom “you had to know how to take, but we got along great,” up to current, much younger Alan Gilbert. Dicterow has managed to get along with them all, creating professional relationships based on great mutual respect. His main objective is to be perceptive, and to be able to communicate between the conductor and the sections, almost as a second conductor.
“I have to play in a way the others see what I am doing.” In an orchestra, you can’t just rely on sound, or there will be delays. You have to exist in the moment – the movement of the sections must come simultaneously and that effort depends as much on the eyes as it does the ears, perhaps even more so. I had the pleasure to interview Dicterow in 2010, at which time he explained even more about the role of the concert master, including the need to arrange bowing marks in the musical scores of the entire orchestra according to certain decisions made in rehearsals and seating arrangements. Dicterow’s responsibilities also include sitting in on various committees responsible for admissions, artistic direction, and planning. The hardest part for him, though, was an element of performance, specifically when he was required to suddenly play challenging solo sections within large orchestral works like in the New York Philharmonic’s recent performance of Rimsky-Korsakov’s Scheherazade. These moments are the most personal: “Alan said lately sometimes to me, ‘oh Glenn, this is the last time you will be playing this and this is the last time you will be playing that, just relish the moment!’ …and I do, indeed.”
Dicterow will be performing as a soloist with Cellist Alisa Weilerstein, Brahms ‘ Double Concerto for Violin and Cello with the New York Philharmonic under the baton of Director Emeritus Kurt Masur November 8th – 10th and 13th.