Pianist Henry Kramer ’13AD ’19DMA receives Avery Fisher Career Grant

Henry Kramer

Pianist and Yale School of Music alumnus Henry Kramer ’13AD ’19DMA, the L. Rexford Whiddon Distinguished Chair in Piano at the Joyce and Henry Schwob School of Music at Columbus State University, has been awarded a prestigious Avery Fisher Career Grant. The $25,000 award is designed “to give outstanding instrumentalists significant recognition on which to continue to build their careers,” according to Lincoln Center for the Performing Arts, which administers the Avery Fisher Artist Program. Other 2019 grant recipients include the JACK Quartet, pianists Christina and Michelle Naughton, and violinist Angelo Xiang Yu.

Past Avery Fisher Career Grant recipients include pianist Hung-Kuan Chen, violinist Ani Kavafian, and clarinetist David Shifrin—all members of the Yale School of Music faculty. Several School of Music alumni have also received an Avery Fisher Career Grant, including cellist Carter Brey ’79, pianist Helen Huang ’09MM, bassoonist Peter Kolkay ’02MMA ’05DMA, and clarinetist Richard Stoltzman ’67MM.

Kramer, who studies at YSM with Boris Berman, won second prize at the 2016 Queen Elisabeth Competition and has earned prizes at the Honens International Piano Competition, Montreal International Music Competition, Shanghai International Piano Competition, and National Chopin Piano Competition. He was the recipient of the Harvard Musical Association’s 2018 Arthur W. Foote Award.

Kramer has appeared with the National Orchestra of Belgium, Bilkent Symphony Orchestra, Shanghai Philharmonic Orchestra, and Calgary Philharmonic Orchestra, among others, and has worked with such conductors as Marin Alsop, Stéphane Denève, and Hans Graf. Prior to attending the Yale School of Music, Kramer earned bachelor and master of music degrees from The Juilliard School.

The 2019 Avery Fisher Career Grants will be presented on Friday, March 15, at 6 p.m., at WQXR’s Greene Space. The event, featuring performances by grant recipients, will be streamed live on the WQXR website.

Published March 15, 2019
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YSM Student News | March 2019

Sophiko Simsive. Photo by Marco Broggreve

Composers Ryan Lindveit ’19MM, Paul Mortilla ’20MM, Tanner Porter ’19MM, and Miles Walter ’20MM were awarded Charles Ives Scholarships from the American Academy of Arts and Letters.

As the winner of the Music Academy of the West’s 2018 Solo Piano Competition, Sophiko Simsive ’18MM ’19MMA will embark on a recital tour that includes appearances in London, Chicago, and Los Angeles.

Pianist Gabriele Strata ’19MM was the winner of the 35th Concorso Pianistico Nazionale Premio Venezia (Venice Prize) and was awarded the Plaque of the President of the Italian Republic and the Medal of the Italian Senate.

Published March 12, 2019
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Professor Paul Berry on scholarship, performance, and Brahms

Paul Berry

Paul Berry

On Sunday, tenor Paul Berry, Associate Professor (adjunct) of Music History at the School of Music and the author of Brahms Among Friends: Listening, Performance, and the Rhetoric of Allusion (Oxford University Press), and Boris Berman, the Sylvia and Leonard Marx Professor in the Practice of Piano, will present “Of Love, Death, and Reconciliation: Songs and Intermezzi of Johannes Brahms.” Prof. Berry has shared a few thoughts about scholarship and performance, conceiving and preparing with Prof. Berman for Sunday’s recital, and “the value of live music-making.” 

Like many music scholars, I had been performing for years before discovering the academic disciplines devoted to the study of music. When I selected 19th century Austro-German song as an academic specialty in the early 2000s, I thought I was doing so because the subject allowed me to pursue a long-standing interest in German-language literature, but in retrospect a deeper reason was surely that my youthful instruments were voice and piano. As my scholarly interests have grown to include instrumental chamber music, the concerns of practicing musicians have remained central to my work: how the music feels in the hand or the voice, how the composer engages those feelings toward expressive ends, and how the act of musical performance can open up interpretive arenas for players and listeners alike. Brahms’ songs and piano pieces offer the historian particularly rich opportunities to investigate these questions, in part because he and his contemporaries left behind a vast array of documentary evidence that speaks to their own engagement with performance. To fully appreciate that evidence, I find I have to keep one foot in the world of the practicing musician, singing and playing the music I study rather than simply listening to it. This is one reason I love teaching at the School of Music: I learn as much from my students and their music-making as they do from me.

It was a wonderful privilege to prepare for this recital with Boris, who combines formidable knowledge of the repertoire with decades of experience playing Brahms’ music at a superb level. All told, we spent an average of more than an hour on each song we’ll perform, considering how Brahms’ compositional structures project his interpretation of each text and how the different musical choices we might make in realizing those structures could affect the listener’s understanding of that interpretation. Perhaps the most exciting part for me, however, was selecting the songs we would perform and placing them into a coherent order. The Four Serious Songs, Brahms’s last opus, are unusual in many ways, including their texts, which are not poems but passages concerning death from Luther’s translation of the Bible. These songs are usually performed continuously as a set, but, following Brahms’ own practice of creating flexible “bouquets” of songs, we decided to take them apart and use them as primary colors, emotional focal points around which other songs and short piano pieces could be grouped in provocative ways.

The piano pieces come from the collections of short works, Opp. 116-119, completed in the 1890s, that together comprise Brahms’ crowning achievement as a composer for the instrument. The songs span his entire output as a composer—from his first maturity in the early 1860s to the pinnacle of his public career in the 1870s and 1880s—and his life-long involvement with artfully arranged folksong. Some of them are quite dark, a few playful, many rich and autumnal, others light and fresh. Heard interspersed among the Four Serious Songs, the music on this program may facilitate for the audience some reflection about love, death, and the process of change—hence the title of the recital. But any such reflection will be individual, meaningful to each listener for herself alone. This, I think, is the value of live music-making in a time of pervasive distractions and pre-packaged playlists: to provide an unexpected space, an unpredictable collision of impulses, within which the self can find renewal and out of which conversation can begin again.

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Published February 27, 2019
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Pianist and composer Renee Rosnes to perform Ellington Jazz Series concert

Renee Rosnes

Jazz pianist and composer Renee Rosnes comes to Yale this week to perform an Ellington Jazz Series concert with her quartet, which includes vibraphonist Steve Nelson, bassist John Patitucci, and drummer Lenny White. The group will play music from Rosnes’ two most recent albums, Beloved of the Sky and Written in the Rocks. We spoke with Rosnes, whom DownBeat has described as “a virtuoso jazz composer,” about the music on those recordings, and more.

Q: Beloved of the Sky includes music that celebrates the Pacific Northwest (where you’re from) and laments the environmental destruction that has scarred the region. …

A: There is one piece from the recording that deals with this subject and that is “Scorned as Timber, Beloved of the Sky,” which is the name of a painting by Canadian artist Emily Carr (1871-1945). Having grown up in British Columbia and seeing her work frequently, Carr’s paintings evoke a strong emotional response in me. Her canvases of the Canadian coastal landscapes and deep woods are familiar territory. She was an environmentalist ahead of her time and created several paintings that deal with her concern for the environment, and specifically the clear-cutting of forests (Odds and Ends, Above the Gravel Pit, Loggers Culls, Stumps and Sky, A Forest Clearing).

Q: To what degree do you hope audiences come to this music with an understanding of its origins, and to what degree can that information exist as your compositional motivation, without necessarily being a programmatic element?

A: I have no expectations with regard to the listener coming to the music with any background knowledge. It is not necessary that one understands the inspiration in order to enjoy it. With that said, I’m happy to illuminate or motivate people to learn about the various subjects that have inspired my music.

Q: For Written in the Rocks, you explored evolution, the earth’s—and various species’— beginnings. Technology specialist Dino Rosati’s liner notes informed your writing for this album, specifically for “The Galapagos Suite.” Would you talk about finding inspirations for new projects and how you go about conceiving and developing music from there?

A: Picasso once said, “The artist is a receptacle for emotions that come from all over the place: from the sky, from the earth, from a scrap of paper, from a passing shape, from a spider’s web.” This is a true statement, although often the inspiration simply comes from within—with the music coming first: a short melodic phrase, a rhythmic motif or an unusual chord progression. The sounds themselves evoke a theme or a feeling that inspires a title.

Recently, I was commissioned by Aaron Schwebel, the artistic director of Echo Chamber Toronto, to compose a jazz chamber piece for string quartet, flute, and piano. It is part of a performance series that brings musicians and contemporary dancers together on stage in collaboration with each other, and the composition will be choreographed and performed later on this year. I have never worked with dancers before, and am really enjoying the challenge of composing with movement in mind.

Q: “Goodbye Mumbai” is autobiographical in nature. Would you share briefly how this tune came to be and how you approach playing it?

A: In 1994, I was very fortunate to have discovered by maternal biological family and consequently learned of my Punjabi heritage. In 1996, I released a recording entitled Ancestors (Blue Note Records), in which many of the pieces reflected that experience. Since that time, I’ve had the opportunity to visit India once, and my trip inspired this particular piece, which feels celebratory in nature. “Goodbye Mumbai” was composed with the hope that I’ll someday return.

Q: In recording Beloved of the Sky and Written in the Rocks, to what extent did you share the above-mentioned background information with the musicians with whom you recorded (and with whom you perform) the music?

A: I always share any stories or thoughts that might accompany my compositions with the band. Sometimes there is a direct musical outcome, such as at the beginning of “Galapagos.” You can hear a musical representation of ocean waves and bird calls during the introduction. Another example is in the piece “Scorned as Timber, Beloved of the Sky.” The “cry of the tree’s heart” that Emily Carr spoke of is sonically depicted by the “tall” dissonant chords with which the piece begins and ends. To whatever ends an individual musician embraces the narrative as a part of their improvisational statement is a free choice.

Q: We think a lot around here about the artist’s role in society and what that looks like from one individual to the next. What are your thoughts on the subject?

A: On the face of the old Canadian $20 bill there used to be a quote—in very fine print—by author Gabrielle Roy. It read, “Could we ever know each other in the slightest without the arts?” Art is necessary because it reflects society. It is an expression of who we are and where we’ve been and where we’re headed. It is an act of human liberation, inspired by the whole spectrum of human emotion. With regard to my work, I hope that people lose themselves in the listening and allow the sounds to take them to a place of spiritual fulfillment.

The Renee Rosnes Quartet will perform an Ellington Jazz Series concert on Friday, March 1, at 7:30 p.m., in Morse Recital Hall. The performance will showcase music from Rosnes’ two most recent albums, Beloved of the Sky and Written in the Rocks.

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Published February 25, 2019
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Pianist Llewellyn Sanchez-Werner ’20AD to perform Mozart concerto with Yale Philharmonia

Llewellyn Sanchez-Werner. Photo by Chris McGuire

On Friday, Feb. 22, artist-diploma candidate Llewellyn Sanchez-Werner will perform Mozart’s Piano Concerto No. 20 with Principal Conductor Peter Oundjian and the Yale Philharmonia. We spoke with Sanchez-Werner about the concerto, studying with Boris Berman (the Sylvia and Leonard Marx Professor in the Practice of Piano), performing with an orchestra of his peers, and more.

Q: How did you settle on Mozart’s Piano Concerto No. 20 for this performance, and why?

A: Even among Mozart’s many magnificent piano concerti, this one stands out. One of only two in a minor key, K. 466 is in D minor, the same key as Mozart’s Requiem, Bach’s The Art of Fugue, Beethoven’s Ninth Symphony, Brahms’ First Piano Concerto. When one hears that D-minor tonality, it’s natural to think of tremendous gravity of spirit. The piece has a second movement titled “Romanze,” a rare marking for Mozart, and the way the third movement ends, a surprise turn to D major that leads to a conclusion of unbridled joy, is nothing short of miraculous.

Q: Mozart wasn’t too much older than you are now when he composed and premiered this piece. Does that offer you any kind of perspective or insight into the music?

A: While the movie Amadeus is a little over the top, it is absolutely right in one way: We know that Mozart was as dynamic, free, and uninhibited a character as any. His music is synonymous with larger-than-life drama, mercurial wit, boundless love, tragedy, and youthful idealism, and it is a fallacy of epic proportions that his music is merely “pretty” or “beautiful,” as it is so often labelled, with understandable reverence. His music speaks to someone my age as it would to someone of any age. It is relatable to all.

Q: This concerto was composed and received its premiere 234 years ago. Today, there are umpteen recordings of the piece. Why is important for people to hear it performed live and what would you want the audience to know before hearing you play it?

A: I am deeply excited to have written my own cadenzas for this concerto, my first time doing so. A compelling reason to hear this performance live is that you will hear something new! Mozart often didn’t have time (or need) to write down his cadenzas, frequently improvising them in performance, and this D minor is indeed one of those concerti without a cadenza in his hand. This leaves a grand opening for pianists to choose what cadenzas they will play—the most common choice is to play Beethoven’s, but occasionally you will hear those of Brahms, Clara Schumann, or Hummel. But improvising or writing your own cadenza is such a daunting, wondrous, and personal statement, and as Robert Levin would argue, the most true to capturing the Mozartian spirit.

Q: Tell us about working with Prof. Boris Berman on the concerto and in general. How has he informed your approach to music-making?

A: Studying with Boris Berman has been a revelation. His enlivening musical concepts, and his thorough and enriching method of instilling them, has already had an indelible impact on my artistry. He wants pianists to be as informed about all walks of life as we are capable on the keyboard. I have memories of his whisking me away to the clavichord in his studio when I played him Bach, of his showing me videos of Spanish dancing and telling me saucy tales of young romance when I played him Debussy, of his discussing orchestration to emulate brass and wind instruments when playing Stravinsky. Since he has himself performed this concerto, we have shared great joy working on it together.

Q: What are your thoughts about performing alongside your peers (members of the Yale Philharmonia)?

A: This is something I am truly looking forward to. I’ve only been at Yale for a few months, but my wonderful colleagues have already made it feel like a second home. I’m also presently performing piano-trio repertoire with the concertmaster (Kate Arndt ’19MM), so playing with her for this concerto will be fun. Another Yale “peer” in the audience will be my mom—she lived in Trumbull College as part of the Class of ’77, one of the first, pioneering classes in which Yale accepted women. She has always enjoyed watching me perform, but I have a feeling she’ll enjoy this concert in particular.

Q: Beyond learning and practicing the notes, what goes into your preparation when studying a new score? (Is this concerto new to you?)

A: While I have performed several other Mozart concerti before, this is my first time with the D minor. Regarding my process of learning new concerti, I have made the switch to doing all of my practicing with the full score from the get-go (rather than only consulting it while practicing from a two-piano reduction, as I did when I was younger). This allows me to internalize the orchestration much earlier and better emulate the articulations and tone colors of other instruments.

Q: What, in your opinion, is the role of the artist in society?

A: Art is a cooperative affair, and musicians can and have contributed to a bold history of social engagement. I take pride in attempting to carry on such traditions of using music as a means of breaking down cultural and political barriers. As an example, in a cross-­cultural exchange for peace on U.N. World Day for Cultural Diversity, I played with the fearless Iraqi National Symphony in Baghdad. Raising funds for the Children’s Cancer Hospital, we performed music by American, Iraqi, and European composers for an international audience of diplomats, Iraqis of all ages, and U.S. soldiers. My hope is that the simple, yet meaningful process of our warmhearted collaboration and musical communication (since music is our common language) deepened the bond between two cultures. I have done similar work in Rwanda, France, Canada, and the United States and seek to do much more.

Q: What have you been reading lately?

A: After re-reading Team of Rivals: The Political Genius of Abraham Lincoln, written by the ever-illuminating Doris Kearns Goodwin, I have recently turned to her autobiographical memoir, Wait Till Next Year, which tells the story of her upbringing through the lens of her family’s devotion to the Brooklyn Dodgers. This is why I was delighted to find out after a recital I gave last week in Chicago, that the subsequent event in that arts series would be a talk by her. I wish I could’ve stayed and met her! Books by great historians are a fascination of mine.

Llewellyn Sanchez-Werner will join Principal Conductor Peter Oundjian and the Yale Philharmonia on Friday, Feb. 22, for a performance of Mozart’s Piano Concerto No. 20 in D minor, K. 466, on a program that also includes Kodály’s Dances of Galánta and Dvořák’s Symphony No. 6 in D major, Op. 60.

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Published February 19, 2019
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Pianist Roberto Prosseda, on making music in the 21st century

Roberto Prosseda

Pianist Roberto Prosseda will perform a program music by Mozart, Mendelssohn, and Schubert on a Feb. 13 Horowitz Piano Series recital. We recently spoke with Mr. Prosseda about modern modes of communication, musical expression, and the repertoire he’ll perform here at Yale.

Q: You’ve found benefits in modern modes of communication and talked about the importance of direct, in-person experience. “Today we tend to live through too many filters: for many people it now comes more naturally to communicate their states of mind and everyday experiences through social networks, rather than by meeting a friend directly in person,” you’ve written. “Live music, both for those who play and those who listen, is an experience of far greater depth, able to open channels of communication that are profound and direct.” Would you talk about how we, as artists and audience members, should use the tools at our disposal and when we should put them down?

A: Tools such as the internet and smartphones are very useful also for musicians, of course. For example, we have the possibility to find rare scores online (also browsing the digital catalogues of several libraries), or to compare several recordings of the same piece using streaming services: they are invaluable resources that past generations could not use. But today there is a concrete risk that we become slaves to our smartphones and lose the ability to keep our concentration and to enjoy “real life”: a coffee with a friend is a much more rewarding experience than a Facebook chat with the same friend. In the same way, a live concert is not comparable with a CD, and a live piano lesson is something completely different from watching a master class on YouTube. To prevent the risk of being addicted to smartphones or social media, I suggest to my students some “digital detox” during practicing sessions, switching off the mobile phone and the computer, as we do when we attend a concert.

Q: Technology has been an area of interest to you. To that end, you conducted an experiment with a robot-pianist called Teo Tronico in which you each performed the same piece of music and studied the resulting performances. What did you learn about your own playing and interpretations in that exploration?

A: The project with the pianist robot, Teo Tronico, was conceived to explain the differences between a real “human” interpretation and a literal reading of the score. Comparing my own playing with the mechanical performances of the robot was a good way for me to become more aware of those differences, and to deepen the research towards the dramaturgic and poetical elements of music—something that a robot is not able to achieve, yet.

Q: You’ve written, “A cold and calculated performance in which the only aim is to avoid mistakes will prove much more ‘wrong’ than a spontaneous, profound and not faultless performance.” In what ways do you apply this lesson to your own practice and playing and how do you communicate this idea to students who might aspire to a kind of “performance perfection”?

A: The above mentioned robotic performances should never be a model for us, but nevertheless there are students who think that “perfection” consists in just playing the right notes, literally respecting what is written in the score. From my point of view, the priority in making music is the intensity, depth, and sincerity of our musical expression. “Reading the score” also means knowing all the historical conventions, the meaning of each gesture corresponding to the indications written in the score. A wrong note played with the “right expression” is much better than a right note played with a wrong expression. But, while the score indicates the right notes in an incontrovertible way, the “right expression” is something that also relates to our own sensitivity, culture, and even creativity. And the same sign on the score (a staccato dot, or a slur) can have different meanings according to the context. When we perform a composition, we are at the same time film directors, actors, and photographers. It is fundamental to be aware of states of mind, expressive attitudes, dramaturgy, and rhetoric. Often, during lessons, I like to talk about the “depth of field” between the theme and the accompaniment, about the “focus” of a given melodic contour, of the temporal and spatial distance of the themes. The piano is, in fact, also a time machine, as it can “set” a theme in the present, the past, or the future, also defining the context in which it appears (reality, dream, memory, hope, illusion).

Q: Many of your projects have included an interdisciplinary element. Have these been informed by your curiosities, a desire to offer audiences something unique, or both?

A: When Franz Liszt, about 180 years ago, invented the format of the “piano recital,” this was a great innovation, breaking the traditional schemes and improving the connections between artist and audience. But I am quite sure that if Liszt were performing today, he would not give a piano recital in the way we are used to. The piano recital still works perfectly for audiences who are used to listening to classical music (and I still give about 30 piano recitals per year for those audiences), but there are alternative ways to present classical music in live formats, which fit better for other kinds of audiences. As a performing artist, I feel a responsibility to deliver a social and cultural service also to “the rest of the world.” There are millions of people who use Facebook and YouTube but will never enter a classical music auditorium if first we don’t help them “taste” and discover the intensity of a live classical music concert. Using multimedia formats or video teasers online can be an effective way to reach a wider audience and to give them the tools to understand and enjoy classical music.

Q: What is it about Mendelssohn’s music that’s been of particular interest to you?

A: I’ve always felt a close affinity with Mendelssohn’s lyricism. His music expresses a very wide range of moods, always keeping a perfect balance between complexity and freedom. I very much like Mendelssohn’s ability to write complex musical textures, never losing his unique linearity and rhythmical energy that are trademarks of his style. Then, I have always felt a special attraction for the “musical discoveries”: the piano repertoire still presents many unknown masterworks, and Mendelssohn’s piano output is, incredibly, lesser known than the one of Schubert, Schumann, or Chopin. For this reason, about 20 years ago I started researching Mendelssohn’s rare and unpublished pieces and got more and more enthusiastic about his music. After my first two CDs dedicated to Mendelssohn’s unpublished piano works were released, I started performing and recording the rest of his piano production, as even some published works are still quite unknown to the public and are seldom recorded. In the meantime, more unpublished manuscripts came to light, and in 2009 Breitkopf & Härtel published the new Mendelssohn Thematic Catalogue (MWV) by Ralf Wehner, which is now the reference for any Mendelssohn scholar. In recent years I’ve gradually completed recordings of Mendelssohn’s piano works, now released by Decca in a 10-CD box set. Soon after the release, I learned about a new discovery: a “Kleine Fuge,” MWV U 96, which was found among the papers of Mrs. Henriette Voigt (dated September 18, 1833). Of course, I recorded it as well, and it was digitally released worldwide on February 1.

Q: The program you’ll perform here at Yale features repertoire that was written over a 50-year period, roughly. What did this period yield in terms of innovations in the piano repertoire and the instrument itself? What do you hear of the period and the region in this particular repertoire? 

A: Those 50 years have probably been the most intense ones in the history of piano. Between 1785 and 1835, in fact, composers such as Haydn, Mozart, Clementi, Beethoven, Schubert, Mendelssohn, Schumann, Chopin, and Liszt gave their contributions to the evolution of the piano and its repertoire. The instrument had a very fast and radical evolution: the keyboard range expanded from five octaves to seven octaves and more; the action also underwent drastic developments, as did the sound production, thanks to the increased tension of the strings and the different materials used for the hammers and the other parts of the instrument. The piano language evolved in a parallel way, as composers themselves pushed piano makers to experiment with new models, and at the same time the possibilities offered by the newly built pianos inspired the composers to innovate their own ways to write for piano. For my recital, I chose the three composers to whom I’ve dedicated most of my studies: Mozart, Mendelssohn, and Schubert. The recital will open with two of the most revolutionary piano works written by Mozart: the Fantasia K. 475 and the Sonata K. 457 in C minor, published together as a diptych in 1785. Here, Mozart is very radical in using chromatic harmonies and experimenting with deep contrasts, which make this music incredibly dramatic and modern. After the Mozart I will continue with two of Mendelssohn’s masterworks: the Fantasia Op. 28 and the Rondo Capriccioso, along with some of my favorite Lieder ohne Worte. The concert will end with Schubert’s Four Impromptus Op. 90, written in the last year of his life (1828). The No. 1 in C minor has several elements in common with Mozart’s Fantasia K. 475. It will be interesting to compare the way Schubert uses similar harmonic and rhythmical patterns to reach completely new poetic results.

Roberto Prosseda will perform music by Mozart, Mendelssohn, and Schubert on Wednesday, February 13, in Morse Recital Hall. 

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ROBERTO PROSSEDA

Published February 4, 2019
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YSM Alumni News | January 2019

Reena Esmail. Photo by Rachel Garcia

Conductor Jordan Brown AD led his first concert as Music Director of the New Sussex Symphony in November.

This Love Between Us: Prayers for Unity by composer Reena Esmail ’11MM ’14MMA ’18DMA, a work originally commissioned by the Yale Institute of Sacred Music, was given its West Coast premiere by the Los Angeles Master Chorale in November at Walt Disney Concert Hall. In January, Esmail was named a 2019 United States Artists Fellow and was the Grand Prize winner of the S&R Foundation’s Washington Award. Trombonist Brittany Lasch ’12MM was among the Foundation’s Washington Award winners.

Joseph Fala ’17MM, who is in his second year as an Organ Scholar at Duke Chapel, performed a recital in December at Duke University.

Pianist Vyacheslav Gryaznov ’18AD performed two cycles by Rachmaninov at Sudler Hall in November as part of a concert series titled Reflections of the Russian Exodus, presented by the European Studies Council.

Sarita Kwok. Photo by Kate Lemmon

Gordon College named violinist Sarita Kwok ’05MMA ’06AD ’09DMA the Adams Endowed Chair in Music. A celebratory performance was given by faculty and students of the college’s Department of Music in November.

Oboist Anna Mattix ’98MM and composer Caroline Mallonee ’00MM are featured on the Buffalo Philharmonic Orchestra’s newest recording. Mattix is the soloist on Vox Humana, a work commissioned for her, and Mallonee composed Whistler Waves on a commission for the BPO’s associate principal cellist.

Proving Up, an opera by composer Missy Mazzoli ’06MM, was listed as one of the year’s “Best Performances” in The New York Times’ “The Best Classical Music of 2018.”

Conductor Julian Pellicano ’07MM ’09MM led the Vancouver Symphony Orchestra in a performance of John Williams’s score for Home Alone as part of the VSO at the Movies series in December.

Baritone David Pershall ’10MM ’11AD sang the role of Silvio in Pagliacci at the San Francisco Opera in September.

Violinist Igor Pikayzen ’11MM ’12AD was featured in “Sounds for a Starry Night,” a concert held in December at the Westport Woman’s Club. Proceeds from the performance contributed to scholarships for Staples High School seniors.

Dantes Rameau

Bassoonist Dantes Rameau ’07MM, founder of the Atlanta Music Project, which provides free music education in neighborhoods where school music programs are limited, was named one of the Top 30 Professionals of 2018 by Musical America.

In association with the Royal Canadian College of Organists, Sarah Svendsen ’15MM performed a recital and led a youth-oriented workshop on the pipe organ in November.

Tubist Antonio D. Underwood ’87MM was a featured keynote speaker at Hagerstown Community College’s annual Martin Luther King Jr. Diversity Celebration in Januray.

Published January 24, 2019
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Pianist Peter Serkin to perform Bach’s “Goldberg” Variations

Peter Serkin. Photo by Regina Touhey Serkin

Visiting Professor of Piano Peter Serkin is set to perform Bach’s enduring “Goldberg” Variations, BWV 988, on Wednesday, January 16, as part of the Horowitz Piano Series. The program also includes Mozart’s Adagio in B minor, K. 540, and the Sonata in B-flat major, K. 570. We spoke with Prof. Serkin about his relationship with the monumental “Goldberg” Variations and his views on performing the work on a modern instrument.

Q: You’ve performed the “Goldberg” Variations since the beginning of your career. How has your approach to the work changed over the years?

A: The Aria with 30 variations by Bach is such a great work that one keeps discovering more in it; working on it and considering it can easily be a life’s project. I first started playing it when I was about 13. When I had a lesson with my teacher, Mieczyslaw Horszowski, he listened to the whole piece and when it was done sat there for at least two or three minutes in silence. Then he said about Bach, “What a great heart this man has!” Then a few years later it was on my graduation program at Curtis. Since then I have kept coming back to it.

I have five recordings now of this work. One, from Freiburg, Germany, is of a live performance. Right before the concert there, the presenter, who is a friend, came back to say that he would like me to take no repeats so that we can go out to eat and drink sooner afterward. So, after playing the Webern Variations, I defiantly, and mischievously, played the Bach with all its repeats. This was the very first time I had performed it like that. I was actually surprised at how compelling and convincing that was.

I had initially followed [Donald Francis] Tovey’s advice to not take the repeats, which he said would be “as unmusical as it would be unscholarly.” But later I started experimenting, never taking one repeat in a variation and not the other, but taking both repeats in some variations and none in others. I have often made those decisions on the spot during a performance.

My most recent recording of it has just been released on Vivace Records, also a live performance, which I gave in St. Paul last year. It is a two-CD set, and on the other CD is the Partita in E minor and the wonderful Suite for Lute-Cembalo in C minor. All live performances.

I never was a believer in waiting to be old to play certain works—what if one doesn’t make it to be that old? So I started early, and I am glad of it.

Q: The work was composed for a two-manual harpsichord. What are your thoughts about performing the “Goldberg” Variations on a modern piano?

A: Much has been made of the difficulties of negotiating the crossing of hands in this music that was designed for a two-manual keyboard. And those difficulties are formidable—sometimes it seems almost impossible to play! Once I encountered a Wurlitzer piano that was constructed with two manuals, a bit circular in design. It was fun, as it is on the organ or on the harpsichord, to play such music without the fingers and hands getting so entangled in each other. I personally do not rearrange any of it to make it easier on a one-manual (piano, or sometimes I play it at home on the clavichord) keyboard; I play everything as written, to keep the voices separate and clear, all the while visualizing internally that I am playing on two keyboards—each hand, like in much four-hand music, making room for another, just enough to make it possible for each to play without hindrance.

Q: Do you revisit previous recordings or ideas you had earlier in your career, or do you approach this piece differently with each new performance?

A: I play this work, and other works by Bach, too, differently each time I play. It is said that Bach himself played the same piece differently each time. These composers were magnificent improvisers, after all. Apparently Chopin played his works radically differently, each time, too. Of course this cannot be based on arbitrary caprice, but with familiarity and insight into the music that then frees one to make spontaneous choices. In no way do I try to solidify a way of playing this work. I try to approach it with great openness, knowing something about what options are possible and then going with one or another, or with something not yet discovered—I often am surprised myself—and hopefully with some of the spirit of freshness, adventurousness, and spontaneity in which it was composed. Playing each variation and the theme quite differently each time concerns tempi, character and expression, phrasing, articulation, and dynamics, and in allowing for variety of each, especially in phrasing and articulation. It is an adventure to live with this work. And, profound as it is, somehow this composition is in the spirit of fun at the same time.

DETAILS & TICKETS

PETER SERKIN

Published January 7, 2019
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YSM appoints Boris Slutsky Visiting Professor of Piano

School of Music Dean Robert Blocker recently shared with the YSM community news that pianist Boris Slutsky will join the faculty for the 2019-2020 academic year. Below is Dean Blocker’s welcome announcement. 

As we plan for the coming 2019-2020 academic year, I am pleased to announce that Boris Slutsky will join us as the Visiting Professor in the Practice of Piano, a position currently held by Professor Peter Serkin. Professor Slutsky has served on the faculty of the Peabody Conservatory at the Johns Hopkins University since 1993.

Professor Slutsky brings to our School extraordinary experience as a teacher and performing artist. He is frequently sought-after adjudicator for international competitions, and for master classes at leading institutions throughout the world. His students regularly win prizes at national and international competitions.

At YSM, he will teach applied piano and coach chamber music. Please join me in welcoming Professor Slutsky to our School. Next fall we will have an occasion to greet him personally.

Warmest regards,

Robert Blocker
The Henry and Lucy Moses Dean of Music
Yale University

Published December 22, 2018
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Boris Berman named Marx Professor in the Practice of Piano

School of Music Dean Robert Blocker recently shared with the YSM community news that faculty pianist Boris Berman has been appointed the Sylvia and Leonard Marx Professor in the Practice of Piano. Below is Dean Blocker’s enthusiastic announcement. 

It is with great pleasure that I announce the appointment of Boris Berman as the Sylvia and Leonard Marx Professor in the Practice of Piano, effective immediately.

An internationally renowned concert pianist and teacher, our esteemed colleague has established a piano program at Yale that is among the finest in our discipline. Among his students and alumni are prize winners of international competitions, university teachers, recording artists, soloists, and chamber music performers from across the globe.

Yale audiences know Professor Berman as a frequent and versatile artist who has inspired and touched them with his musical insights in recitals, orchestral appearances, and chamber music concerts. His lectures about music reveal an artist who understands the inextricable link between scholarship and performance, a value that is also evident in his books and critical editions.

Sylvia and Leonard Marx, along with their daughter, Nancy Better, are cherished patrons of the School of Music and Yale. Sylvia, a notable pianist, was honored by her family on a recent birthday with the gift of a new Hamburg Steinway concert grand for the Morse Recital Hall stage. This pianistic interest adds yet another dimension to the appointment of Professor Berman to this endowed professorship. We are thankful to the Marx family for their immense generosity and to Professor Berman for his many valuable contributions to the Yale School of Music.

Warmest regards,
Robert Blocker
The Henry and Lucy Moses Dean of Music
Yale University

Published December 21, 2018
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