24 JUNE -
11 JULY 1992
e
SYDNEY INTERNATIONAL Piano Competition
of Australia Sydney
NORTHWEST
AIRLINES
Contents Message from the Govemor Message from the Premier
3
Message from the Lord Mayor.
5
The Cladan Cultural Exchange Institute of Australia .
Acknowledgments. Intemational Advisory Panel
10
Jurors of National and International Audition Panels/Audition Facilities Sydney Intermational
Piano Competition of Australia
.
13
Music Patron/Artistic Director
5
Jurors/Observers
16
Prizes and Engagements.
23
Eileen Joyce
24
Peter Donohoe
26
Opening Night Program Notes.
27
Advances in the Creation of a Superior Piano
28 31
Competition Diary .
32
Competitors Previous Juries and Prize winners
46
Sydney Symphony Orchestra/Edouard Chivzhel
48
Australian Chamber Orchestra/Max McBride.
51
Chamber Musicians
-
Charmian
Gadd/Carmel Kaine/Georg Pedersen
53
What's New in Piano Music .
Old Pianos for New: Some Thoughts
52
on
"Authenticity" in Piano Performance
of Australia_ The Friends of the Sydney International Piano Competition Competition Rules.
People's Choice/Lucky Program Draw
57 58 63
67
Message from the Governor
As Patron of the Sydney International Piano Competition of
Australia, I am delighted to have this opportunity to welcome competitors, jurors, special guests and visitors to New South
Wales.
Our great city of Sydney is this year celebrating its Sesquicentenary. A busy and varied program of events will be held throughout the year to mark this historic milestone and the Fifth Sydney International Piano Competition is a major feature of the city's cultural calendar.
Good music has an international dimension that knows no boundaries. This is well demonstrated in this competition which features 40 of the world's finest young pianists, who have been selected from several hundred contestants by international audition.
Only
one
pianist
can
win, but all who compete
in
Sydney have
their already achieved excellence. I know that through concert and radio performances they will give great pleasure to
audiences throughout all stages of the competition.
for a I extend my best wishes to all pianists, jurors and organisers for helping successful competition, together with my appreciation its Sesquicentennial of life cultural during Sydney the to enrich
year
His
Excellency Rear Admiral Peter Sinclair, AO,
Governor
of
New South Wales.
The LAXpress.
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Message from the Premier
The Sydney International Piano Competition of Australia is exciting in both its scope and its excellence.
This year, the Fifth Competition is a fitting official celebration of
Sydney's Sesquicentenary. No fewer than 260 pianists from 44 countries applied to take part from which 40 were selected.
As always, the standards are excellent and the organisation superb, a tribute to its Founder, Claire Dan.
Australia's best and most promising pianists get their chance to compete side
by side with the world's best.
As Vice-Patron of the Sydney International Piano Competition and a lover of music, it is an honour to wish participants, organisers and audiences great success and many hours of pleasure.
The Honourable Nick Greiner, MP, Premier of New South Wales.
FPfovdly broughttoyo
b y IN.
MR.
TNT is proud to be a sponsor of the 1992
Sydney
International Piano Competition of Australia.
TNT
SiRCA OTOGRAPY0F19 COUTESP KOANTITAB
ALEIANDER
The Worldwide
Transportation GroupP
INTOF42
Message from the Lord Mayor
It is my
pleasure,
in this
Sesquicentenary year during which
Council celebrates 150 years of the City of Sydney, to welcome the overseas participants in the Fifth Sydney International Piano
Competition and to commend Sydneysiders.
the various activities
to
The Sydney International Piano Competition forms a significant
this part of the cultural life of our City and Council is delighted year to support the 1992 Competition by providing the first prize, providing financial assistance to the Competition, by staging the
official launch and by hosting a concert with the eventual prize
winner. It is
only through competitions of this sort
that
Sydney will
continue to be respected as a major cultural centre of the world.
Council commends the eforts of the organising committee in
bringing this Competition to fruition. 1, like a great many other Sydneysiders,
lookforward to enjoying
the talents of the world's best pianists, during the 1992
Competition.
Alderman Frank Sartor, Lord Mayor
TLTSYDNIY APRIVATE
ODERA SUDDERCIR
CIIB IOR
TOSE WIO
PLRIORNING TI ADDRICTATT
ARTS
SYDNEY OPERA
SUPPE
R C L U B
REMY MARTIN FINE CHAMPAGNE COGNAC
Cal
Acdan
lor membership Ionynge at the lotel
inlormation, please
hlerContinenlal Svdney on (02)230O0
The Cladan Cultural Exchange Institute of Patron:
The Hon Paul Keating. M.P. Prime Minister
Australia
of Australia
Australia
Exchange Institute of The Cladan Cultural achievements of the Institute's
was
founded by Claire Dan AM OBE
the establishment of the Sydney first in 1976. One on the musical map ot the put Australia helped Piano which Competition, International with the Fifth Competition being held years, is tour Competition held every1992. world. Thefrom 24th June to lIth July in Sydney from the beginning, and in recent Sydney audiences have flocked to the competitions trom throughout Australia and years this event has drawn increasingly large numbers the not only to This illustrates that aim of the Competition is and overseas as well. the arts. the enjoyment of music but spread to talents encourage and discover new tours tor the winner and organizes of the award tor the Competition, the Institute As the part best Australian pianist in Australasia and Europe. Institute will give a scholarship to a young In addition to the Competition this year the Australian pianist. in Europe. was a trained actress extensive theatrical background, and Miss Dan has anarts which was established to promote to her Institute led found the the Her love of other countries in all fields of the arts. Already cultural exchange between Australia and the Netherlands have come t Australia theatre companies trom Yugoslavia, Greece and excellence and innovation. was
their qualities ot productions which are chosen for of ElNSTEIN by as a Melbourne Theatre company production the These samegroups, as well of the United States organised and sponsored by to present
Ron Elisha, have
been taken
on
tour
Cladan Institute.
in various areas of has a b0ard ot eminent Australians who are specialists The Institute they are: Mrs Joy Annand, the arts and business. Chaired by Mr. Thomas May AO,
Claire Dan AM OBE, Mr. Neville Grace, Senator Bronwyn Bishop, Miss Judy Cassab, Miss Sam Miller, Mr. Robert Tobias, Mr. Kennedy, Mr. Mr. Rex Hobcroft,andDr.SirMichael Bruce Williams KBE. Graham Watman, the Cladan Awards, which In 1989 the Institute instigated
is an annual
presentation for
To contribution to Sydney theatre pertormances. Richard the recognition, encouragementto and Rachel Ward, Ruth Cracknell, Melita Jurisic,
awards have been given date, Wherrett and John Carmody.
established in this country to initiate is the first private organisation and sending our The Cladan Institute overseas art to Australia bringing cultural exchange by
and develop
talents overseas.
Institute Donations to the Cladan Cultural Exchange
of Australia are tax-deductible.
The 5th Sydney
International Piano Competition is
now
playing at
your home.
If you can't attend all concerts, listen to them on ABC-FM Stereo: live. ABCA1 Anniversary
RADIO
ABCFM Stereo
SYDNEY INTERNATIONAL Piano Competition
Acknowledgements
of
Australha
of support received from the wide range funds gratefully acknowledges thehave and/or provided services, donated who and indviduals l1sted below,adnce
The Competition organisations or
roluntered ther
1me
and protessional
Acknowledements The Compeuboa ratetully acknowledges the
wnde range d support received trom the
below, who ocanisatons and indnduais listed and promded bzve donated tunds or sermoes, or
Melbourne and Sydney Yamaha Music Australia Pty Ltd
Principal Spoasors
Sponsors
AC FM Stereo 24 Hours Maga1ne Syáney Sympbory Orchestra
Cladan Culural Exchange Insutute of Australia Council of the City of Sydney The Hotel Inter-Continental Sydney The Hyatt-Kingsgate Hotel Norchwest Airlines
NSW Govermment, through the otice af the Min1ster ior the Arts Sydney Conservator+um ot Music
Major Spomsors Ansett Austraha The Fuyo Group: Cnon Australia
International Finance Australial Ltd Fun Hitachi Australi2 Ltd Hitachi Construction Machinery Co Ltd Hitachi Metals Anstraia Pty Ltd
Marubeni Anstrali2 td
The Nichido Fire & Marine Insurance Co Ltd
Nichra Anstralia Pty Lzd
Nissan Diesel Motor Co Ltd Oki Electric industry Co Ltd Okura & Co jAustralia) Pty Ltd Showa Line Ltd Tobishima Oceania Pty Ltd Yamaha Music Ausralia Pty Led Yamachi Anstralia Lid The Yasuda Fre & Marine Insurance Co Ltd Yasuda Tust Australia Ltd Yokogzwa Australiz Pty Ltd Hephribah Menuhin Memonal Scholarship Fund The Hilton Hotel
D Michael Kennedy The Novotel The Ramada Renaissance
The Regent Honel The Rutz-Carton Hotel The Southern Pacihc Group o Horels TNT Limited
Council and members of the Friends of the SIPCA The Director and Staff of the Sydney Conservatorium of Music Department of Forengn Afairs, Canbera Department of Immigation, Sydney
Mamamatzu lapan Steinway & Sons, Harmburg with Brashs of
olunteered the1r tume and protessional adv1ce.
Ausralian Broadcast1ng Corporation
And for the kind assistance of
For the loan of Pianos and Technical Teams Kawai Australia Pty Ltd Sydney and
Arts Management Virginia Braden Sydney Opera House Trust and staf
J Albert & Son Pty Ltd
Allans Publishing Pry Ltd The Australizm Chamber Orchestra
PanHandling
Australasian Performing Rights Association
loy Annand
Australian College of English
Wesley Benn
L Bosendorier Klavierfabrik AG, Vienna
Castle Computers
Andrea Bretti -Goldman Ttavel Daphne Cross
Clunes of Berry Computer Pals Across the World
Mary Duma - Ukrainian Community
Nick Deutsch
Richard Hazell- Digital Techniques
EMI Music Australia Greengarden House, London
Anstralia
Anita Levy
Neville Grace
Max Loveday
Leo Guthman, Chicago, USA
Shirley MacGrory
Hunt& Hunt
Virginia Marwell John Mcleamn
Insearch Language Centre The Music Teachers' Assoc. of NSW Led
jodie Ring
Killawara Wines Logan's Pianos Mrs Piroska Major Musicians' Union of Anstrali2 Radio 2MBS-FM Dr Alex Reisner and Dr Pamela Pennycuik
Gervaise Saminaden Alastair Scott-Mitchell Dominique Smuk Slovene Association
Sydney Piee St Just
Donna Vlatkonch
Sam Miller and joan Langham Samil Australia Marketing Corp Edward Sternberg Theme and Variations Piano Services James D. Wolfensohn SIR BRUCE WILLIAMS KBE
Chairman of the Executive Committee for the 5th Sydney International Piano Competition of Austualia
Australian by birth and formal education, Sir Bruce Williams was a Professor of Economics and an adviser to the govermments of the United Kingdom from 1946 to 1967 and again from 1981l to 1986. He was Vice-Chancellor and Principal of the University of Sydney from 1967 to 1981, a member of the board of the Reserve Bank of Australia rom 1969 to 1981, and chaired the Australian Government Inquiry into Education and Training from 1976 to 1979 and the Review of the Discipline of Engineering 1987 to 1983. He was chairman of the Cladan Cultural Exchange Institute of Australia from 1976 to 1982 and of the Executive Committee for the 4th Competition THE SYDNEY CONSERVATORIUM OF MUSIC-UNTVERSITY OF SYDNEY
The Sydney Conservatorium of Music was founded in 1916 and is the leading music school in Australia. In 1977 the first Sydney Intermational Piano Compeition of Australia was the cooperation of the Cladan Cultural Erchange Instiute of Australia and the Sydney Conservatorium of Music.
presented through
The Sydney Conservatorium has continued its close association with the Sydney to the the present day and provides to the Competition International Piano Competition 21 íacilities and concerts of the Competition, practice venue for the first
periormance
general assistance.
The
Conservatonum has established
a
recognized tradition of
Graduates from the Conservatorium pertormance leaders in all helds of music in Australi2 and overseas. reflected
the Conservatorium vitality ofcourses, The undergraduate in the range of concerts, is
have
in
the
teaching and taken their place as
excellence in
proudly
wide range of
graduate and
master classes, seminars, workshops and internatuonal resident the public in the numbe of distinguished
in-service courses open to artists and visiting musicans who come each year Conservatonun has also esublisbed Recently made part of the Universiry of Sydrney, the State Conservatory of Music. s1Ster institution status with the Moscow
International Advisory Panel Jurgen Meyer-Josten
Marcello Abbado
Director of Milano
Conservatorio
"Guiseppe
Verdi"
Sulamita Aronovsky
& FRSA; Chairman Piano RNCM,National Power
Protessor of Artistic Controller of
the
World Piano Competition,
London.
Bryce Morison UK. Professor and critic, London,
Director of Lexus N.Z. Competition; Artistic
Music Administrator; Violin
Director, Wellington City Opera.
Hugo Steurer
Concert pianist and Protessor of
UK.
Piano, Londer ndom,
Maria Tipo Concert pianist.
Vaerewyck J.V.M.G.
Masaaki Niwa
Toho College of Music, Music critic; Professor,
Tokyo.
Peter Aveni International
International Concert pianist; Director of the of the ARD, Munich. Music Competition
Oliveira Glacy Antunes de Institute of Arts, Art-Educator Concert pianist;School, Universidade Federal Dean-Graduate
Honorary Administrator-Director, Queen Elisabeth International Music Competition Fanny Waterman OBE FRCM
Chairman, Leeds Intemational Pianoforte
Competition, UK.
de Goiás, Brazil.
Choo Hocy
Music Director, Singapore Symphony
Orchestra.
Kazuko Yasukawa Helena Oliveira President, Sociedade Brasileira de Realizacoes
Artistico-Culturais, Brazil; Vice-President
Pierre Colombo
of the World
Wratislavia Foundation, Poland.
Conductor, Honorary President Federation of International Music
Competitions, Geneva, Switzerland.
Myrian Dauelsberg
Paloma O'Shea Piano Chairman, Santander Intemational Competition, Spain.
Professor of Piano, School of Music Federal Director University of Rio de Janeiro, Brazil;
President of DELL'ARTE Music Agency.
Joseph W Polisi
President, The Juilliard School, New York, USA.
John Drummond CBE
Director, Promenade Concerts, BBC, London. Dean ElderT Concert Pianist and teacher; Senior Consulting
Paul C. Pollei Founder/Artistic Director, Gina Bachauer International Piano Foundation and Competition, Salt Lake City, USA.
Editor, Clavier magazine, USA.
Richard Rodzinski
Executive Director, Van Cliburn Foundation,
Gerald Glynan
Composer, concert pianist,
teacher
and writer,
Fort Worth, USA.
Paris, France.
Albert Grudzinski Director in charge of the Fryderyk Chopin
Jean-Paul Sevilla Concert pianist and Professor of Piano, University of Ottawa, Canada.
Society, Poland.
Peter Sulymus Nicole Henriot-Schweitzer
Professor of Piano, Hungary.
Concert pianist and teacher, Paris, France; Juror, International Piano Competitions. Leonard Hokanson Professor of Piano, Indiana University, Bloomington, USA.
Takahiro Sonoda Concert pianist and teacher, Tokyo, Japan; Member of Japan Academy of Arts.
Leslie Howard Concert pianist, London, UK.
Toyoaki Matsuura Concert pianist and Professor of Piano, Tokyo,
Japan. Lucrecia Kasilag
National Artist for Music, Republic of the
Philippines.
10
Chairman of the Board, Japan Federation of
Musicians; Chairman of the Management Committee, International Music Competition
of Japan.
Zhou Guang- Ren Central Conservatory of Music, People's Republic of China
Beijing,
SYDNEY INTERNATIONAL Piano Competition
International Auditions
Australia
International Audition Panels of Australia conducted auditions The Sydney International Piano Competition The Competition Administration worldwide for the 1992 Fifth Competition. its sincere thanks and appreciation to and Executive Committee wishes express facilities hosted those auditions and provided practicethose to the organizations that all thank to sincerely SIPCA The also wishes for those auditioning. Director Associate Professor distinguished musicians who assisted the Artistic and
Jurors of National
auditions in each centre. Warren Thomson with the Vienna Bösendorfer Saal
Yamaha Ginza Yamaha Piano
Culture
Prof Alexander Jenner Hochschule Vienna -
Dr Walter Gürtelschmied Sony Classical, Hochschule Vienna
Düsseldorf
London
Kawai Piano
Hanover Prof Herbert Drechsler - Hochschule
Düsseldorf
Paris Paris Conservatoire Superior (Paul Dukas
Room
Fazioli Piano
Brussels
Conservatoire
Miss Elizabeth Powell -Sydney Conservatorium
Moscow Moscow Conservatoire - Rachmaninov Hall
Miss Hiroko Nakamura - Concert Pianist
Prof Kazuhiko Nakajima- Concert Pianist Seoul
Steinway Hall Steinway Piano
YEUM Foundation - Small Concert Hall
Steinway Piano
Mr Bryce Morrison - Royal Academy of Music
Prof Karl-Heinz Kammering- Hochschule
Prof Nicole Henriot-Schweitzer
Prof G. Fredorenko Gnessin School of Music
Miss Joan Chissell - Music Critic
Kawai Europe Krefeld
Steinway Piano
Tokyo
Intermational Competitions, Ministry of
Bösendorfer Piano
Music Critic Prof Hans Graf
Prof Lev Vlasenko - Moscow Conservatory Mr Oleg Skorodumov - Head, Dept of
Miss Norma Fisher Concert Pianist
Prof Soo-Jung Shin - Kyungwon University
Sydney
New York Yamaha Communications Centre Yamaha Piano
Steinway Piano
Mr Harold Schonberg- Former Head Music Critic, New York Times
Corporation
Mr Jerome Lowenthal - Juilliard School,
Conservatorium
Concert Pianist
Mr Phillip Shovk - Sydney Conservatorium
Sydney Conservatorium- Verbrugghen Hall Mr Tony Fo88 Australian Broadcasting Miss Elizabeth Powell - Sydney
Miss Rachel Valler - Concert Pianist
Los Angeles Kawai America Compton Kawai Piano
Associate Professor Nancy Bricard - University of Southern California, Los Angeles
Mr John Pery -University of Southerm California, Los Angeles
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successful
oul
27 ol
linalists
27
contestants.
contestants
young
Karlsruhe Strasbourg
»A. Cnsagrande"
Terni 1977-1H6 1988
10 out of 15 contrstants,
nt. Piano
1990 okyt
Competition"
Vercelli
»int. Piano
Vina del Mar
1965-4
Clara Haskil"
Vevey-Montreux
.G. B. Viotti" 1977 1978-1 1988 1989 1990
1989
1986
1978-8
Competition*
contestants
finalissts
all finalists and prizewinners
all finalists
all
all contestants
all prizewinners
26 out of 29 contestants,
3 out of 4 linalists
Cologne Tomassoni"
Leeds ompetition"
J . S. Bach"
1988
1976-
Leipzig
1990
963
87
n t . Piano
1989
nt.
1989
uropean
Luvembourg
is Just how with Steinway c a n be pianists
contestants
out of 4
finalists
contestants.
24 contestants
25
Lisbon i a n n a da Motta"
1987
1990
linalhste
conteiante and conteslants and linaliste
all contestant
nll all
all contestants 5
of
6
prirewinners
out of 6 finalists (incl. Ist prizewinner) outt otcontestants,
all contestants
all contestants
linalists
prizewinners
and
all finalists and all conteslante Pewinners
all contestants
all contestants
all contestants
all contestants
all finalists and tinalists
all
prizewinners 80 out of 11|and contestants. 4out of 7 finalists all contestants
all finalists and prizewinners
all contestants all contestants
demands. This puts
all contestants
all finalists and prizewinners
competitions in a nutshell.
10
2000 Hamburg
erman
S T E I N WAY Ondenbarg
&
Trl.
0 50/03
SON
the aim and purpose of international plano
lo offer support by making
1977. 1989
nR. Schumann"
Zwickau
1979-88 1991
Gesa Anda"
Zürich
V a n Beethoven" 1973-77
Vienna
1959-83
Washington, D.C. Int. J. S. Bach*
1975-85
Warsaw Chopin
1978-82
Competition
all finalists and prizewinners 73 out ot 78 contestants,
all finalists and prizewinnerTS 114 out of ll8 contestants, all finalists and prizewinners
all contestants
all contestants
all contestants
all contestants
all contestanis
1966-- 87 Premio Dino Ciani"
Milan
14 out of 27 semi-linalists,
all linalists and prizew inners
prizewinners) all finalists and prizewinners 79 out of 89 contestants.
all 13 finalists (incl.
all
prizewinners)
all 12 linalists (incl.
out of 12 26 out ol27
3
all prirew inners
all finalists
all contestanls
all contestants
all contestants
all
shown in this survey:
Athens a r i a Callas"
-87
00
Barcelona Marie anals 1986-8
Busoi
193-76
F
Bolrano 1978-80
1985
1982 1983 1984
1986
198 1988 1989 1990
19751990
2 out of 3 finalists
Montevideo
Competition"
1989 all finalists and prizewinners
all finalists and prizewinners 83 out of 36 contestants (incl. Ist prizewinner Prix du Publie") 44 out of 48 contestants, all finalists
all contestants
prizewinners all contestanis
all finalists and
1967-7
alt Lake ( ity ,Gina Bachauer
prizewinners
and prizewinners 42 out of 53 contestants, all linalists and
out of 20 quarter-finalists
all contestants in the 2nd round
1991
O'Shea"
Santander Palom
incl. Tst prizewinner)
all contestants all linalists
1976.4
1980-8 1987
incl Tst prizewinner)
o u t of 44 cuntestants, all prizewinners
all finalists and prizewinners 5 out of 6 linalisls
out of 6 linalists
all linalibls und prizewinners 5 out of 6 linalistss
28 out ol 33 contestants, out ol b finalists
ut ol 6 finalists 1990
n. Piano LOmpetilion"
el--Aviv
1988
ubintein 86 1989
1983
"
19
1984-86 1988
Royan/La Rochelle o. Messiaen"
Rotterdam A Schönberg" 1977-74
1973-75
ompetition"
nt. Piano
Rio de Janeiro
1989
1986
Paris 1965-83 Marguerite Long"
1979-1987
ARD
Munich
Chaikorsky" 1958-86 1990
Moseow
1988
1976--84
nt. Piano
Montreal
1966-85
Monterideo"
Brussels all finalists and prizewinners
,Ciudad de
1960-8
all contestants
prizewinners contestants, T0 out of 13
3 prizewinners
S8 out ol 87 contestants 16 out of 31 conteslants
30 out of 45 contestants, 2 out of 3 linalists
1977-8 1985
prizewinners Sydney
all finalists and 13 out of 15 contestants. 2 out of 3
34 out of 38 contestants
all finalists and prizewinners)
35 out of 37 contestants (incl.
(incl. Ist prizewinner)
Sout of 7 finalists 31 out of 39 contestlants
all contestants all contestants
45 out of 54 contenstants, all finalists 45 out of 63 contestants
29 out of 37 contestants, all prizewinners
4out of 6 finalists
25 out of 34 contestants,
all conleslants
all contestants
all finalists and prizewinners all 42 contestants
all contestants
R e i n e Elisabeth"
1991
Budapest
LisstBartók" 1956-81 1986 Caracas
.Teresa Carreno" 1976-1 1981
R. Casadesus
Cleveland 1975-1987
1989 College Park 1990
Filliam Kapell* Dublin GPA Int. Piano 1988
Competition" 1991 nt. Piano
Epinal 1973-89 1991
Competition Fort Worth/Texas
Van Cliburn" -73 1977 1981 1985 1989
Concours Int."
Geneva 1939-78 1980 1982 1984 1986 1988 1990
94 out of I14 contestants, 2 out ol 3 linalists
Sydney International Piano Competition of Australia Cultural Exchange Institute of Australia in co-operation with the Sydney
Piano Competition
SYDNEY 1INTERNATIONAL Australia
The Sydney Intemational Piano Competition of Australia is presented by The Cladan Music Competitions, Geneva.
Conservatorium of Music. It is a member of the World Federation of International Vice-Regal Patron
Rex Hobcroft AM
His Excellency Rear Admiral Peter Sinclair, AO, Govemor of New South Wales The Honourable Nick Greiner MP, Premier of New South Wales Sir Charles Mackerras The Right Honourable Lord Mayor of Sydney, Alderman Frank Sartor Claire Dan AM OBE Robert Tobias Claire Dan AM OBE Thomas May AO
Vice-Patron Music Patron Honorary President Life President and Founder Co-Founders
Directors Robert Tobias Sir Bruce Williams KBE, Chairman Senator Bronwyn Bishop
Dr Ronald Smart PSM
Executive Committee Claire Dan AM OBE Neville Gra
Sam Miller
Dr Michael Kennedy Anne Landa Thomas May AO
Graham Watman
Sheila Prior AM MBE Dr Ronald Smart Assoc Prof Warren Thomson OAM Robert Tobias
Elizabeth Powell
Assoc Prof Waren Thomson OAM
Virginia Maxwell Graham Watman Rowlands Chartered Accountants
Roberta Muir
Li Li Yoong
Carolyn Benn
Artistic Director
Coordinator
Deputy Artistic Director
Publicity Officer
Assist. Coordinator
Harveys Chartered Accountants
Secretariat:
Treasurer
Phillips Fox
Hon. Treasurer and Secretary Hon. Auditors
Hon. Accountants
Stephen Jubb
Pierre St Just
Deputy Stage Manager
Hon. Solicitors Stage Manager Jeff Pollard Wesley Benn
Front of House Manager
Piano Technician
The Sydney Intemational Piano Competition of Australia gratefully acknowledges the assistance given by students of the Sydney Conservatorium of Music and the Conservatorium High School, as back-stage leading hands and ushers
13
ARA VARTOUKIAN IS A TECHNICAL VIRTUOSO Since the days Ara was top graduate of the School of Piano Tuning and Technology, at the Sydney Conservatorium of Music, he has toured the world gaining international experience and the recognition of the major piano makers,
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SIR CHARLES MACKERRAS
Music Patron
made Sir Charles Mackerras studied in Sydney and Prague. He Born in the US of Australian parents, He was appointed First Conductor with the Hamburg State his debut in opera at Sadler's Wells. from 1970Musical Director of Sadlers Wells |later English National Opera) Opera 1966-69 and was has recorded a cycle of his operas 77. He is a specialist in the Czech repertory, notably Janacek, and numerous awards These Decca (London) recordings have won throughout the world.
with the Vienna Philharmonic.
of the Welsh National Opera since 1987. Some particular Sir Charles has been Musical Director and a recording of Janáek's Osud. achievements have been The Trojans, a series of Strauss operas, of Idomeneo, Iphigenie en Future plans with the Welsh National Opera include new productions Tauride, Tristan und Isolde, and recordings of The Mikado and Eugene Onegin.
Conductor of the BBC Symphony Orchestra and From 1976-79, Sir Charles was Principal Guest as Chief Conductor of the returned frequently to his native Australia between 1982 and 1985 to conduct the revival of Jenufa with Orchestra. He has recently been in Sydney Sydney Symphony the Australian Opera, and for concerts with the Australian Chamber Orchestra and the Sydney of the Royal
Liverpool
had a period as Principal Guest Conductor Orchestra. Mackerras also SymphonyPhilharmonic with which orchestra he has recorded many symphonic works.
work with the major opera houses and and Paris Sir Charles is a frequent
from his vast amount of operatic and symphonic Apart orchestras of Europe - in particular, Covent Garden, Vienna
1993. Later in 1992 he will also c
duct Die Meistersinger with the Los Angeles Opera.
visitor to the US, both as an operatic and symphonic conductor. He has had a long association with the San Francisco Opera and will take up the post ot Principal Guest Conductor with them from
In 1974, Sir Charles received a Companion of the British Empire and was knighted in 1979 for his Honorary Doctorates in music from Hull and Nottingham Universities.
services to music. In 1987 he was made a Fellow of the Royal College of Music, and has received
Australia
WARREN THOMSON- Artistic Director
SYDNEY INTERNATIONAL of
Piano Competition
Austtalia
Warren Thomson has been active in the SydneyIntemational Piano Competition of Australia since its inception and is the Artistic Director for 1992. He is the foundation Head of the School of Extension Studies of the Sydney Conservatorium of Music a position held since 1974. With the amalgamation of the Conservatorium with the University of Sydney, he was made the first Associate Professor.
In addition to his position at the Conserva rium, he is Chairman of the Music Examinations Advisory Board of New South Wales, an Executive member of the Australian Music Examinations
Studies for the Australian Music Examinations Board in 1972.
Board, Director of the City of Sydney Cultural Council and Chairman of its Music Committee. A graduate of Melbourme University, he became the first Music Director of Trinity Grammar School Melbourne and developed one ot Australia's leading music schools before becoming Director ot
students as well as giving many radio broadcasts in Australia and abroad, including a recording of
In 1975, he a of and seminars in and country areas of NSW in initiated program workshops Sydney association with the Australia Council and the NSW for the Arts the program now Ministry involves over 30 centres annually. He has made over 30 recordings of piano music for teachers and
juries including Sydney (1988),
the Piano music of Khachaturian in 1978, the of the year for Moscow radio. His death, composer's have received critical acclaim both nationally and especially the editions of Mozart Sonatas and the Well Tempered Clavier, Inventionsinternationally, and Sinfonias
publications, totalling almost 50,
Bach. He has served on a number of intermational
Services t0 music.
Moscow 1982 & 1990) and Gina Bachauer (1991). In 1987, he was awarded the OrderTchaikovsky of Australia Medal for
5
Jurors GREAT
BRITAIN
subsequentlv
ching piano in of Music, London, Royal College Departments of O Junior for the Extra-Mural m u s i c London Ii on 0 sinca and London and lecturing Times, e tor the 1968 has reviewed itues. Department, was a music critic she for 1948-1979 broadcaster. the From She is also a regular Schumann's Piano Musi Gramophone. Brahms, Chopin, on Schumann, ra Schuman. in Milan iD author of books She is the lnternatlonal rlano,Competitions Ci ini, imann, as a jury member at In 1991, she was Leeds, Sydney, and Dublin. awarded and has served the Rober (Liszt), (Schumann), Budapest birthplace. CHISSELL
JOAN Chissell
Joan
studied at the
Zwickau Schumann Prize
by the city
the composers of Zwickau,
of
Concert
Music for
ANTHONY FOGG AUSTRALIA As Head of career as pianist and arts administrator. a a busy and programming the co-ordination in he plays a key role Anthony Fogg maintains and in chamber music, Corporation, a recitalist as he is active Australian Broadcasting a performer,
the throughout the country. As orchestral activity and as a pertormer
twentieth century
music.
of promoter for him. Indeed, written especially is especially prominent many works by Australian composers, and many ot the younger Australian He has premiered numerous the EBU and the music of practically every major in Europe through Anthony Fogg has pertormed Australian music have been broadcast widely His recordings of generation. Symphony Public Radio. on America Queensland and Adelaide soloist with the Sydney, Melbourne, Celebration Festival, organised by the Sound concerto the as at appeared debut US made his He has Australia's longest-cstabl1shed Orchestras. In 1987, Anthony Fogg 1986 Seymour Group, since 1979 and in He is especially associated with The and
Louisville
Orchestra.
contemporary
music ensemble.
He has been
ensemble
pianist
most important Artistic Director. and became The Group's
instrumentalists.
singers and with many of Australia's finest since 1983 and Anthony Fogg has performed Campbell with the mezzo-soprano Elizabeth collaborated closely widely-acclaimed. have been
their
He has and
pertorrmances
and was Music Australian Music Centre) Sounds Australian (the Australian ot young a of is Member development the Board to committed Anthony Fogg Festival. He is deeply Awards Advisor to the 1992 Adelaide ABC's Young Pertormners' the involved in the judging of musicians and has been closely recordings of
Australian song
EDWARD GORDON USA
to
his career
as a
addition in management the Chicago distinguished by 33 years Mollie Margolies, at musical career is Dr Rudolph Ganz and his associate, in his first appearances wtn tne studied with He concert pianist. Prior to his eighth birthday he played Mozart's K.488 conductors with Eawau in
Edward Gordon's
whom other Musical College. a Frederick Stock conducting. Among Fritz Reiner. As popu Dr Rudolph Ganz, and Chicago Symphony Orchestra, Detauw, Desire Hans Lange, acClaimcu his unanimously made were pertormed concert, Gordon television and in orchestras througnourLe nationwide on radio and recitalist he pertormed toured extensively with symphony debut at Townhall in 1954 and New York United States. Executive Director and Edward Gordon served as of Ravinia's Board of Trustees, eine. a Music Directors e with member First working As the Ravinia Festival for 23 years. c u r r e n t Music Director, jamc Operating Otficer ot he then appointed the Kertesz, tne mmer Istvan the scope and aive nungarnan maestro,Under dtcr Edward Gordon's management, to that position in 1972. one ot the Worid s 5 and resulted in Ravinia's becoming
presentations festivals.
increased
dramatically
educational
e serves on competitions.
many
uung musicians.
Artists, as Director of the Steans Institute for and developed for exceptionally Burtu arional piano program which he plannedcouncils and regularly adjudicates in arts boards and advisory
Edward Gordon has served
onented
tormance
Young
6
SYDNEY INTERNATIONAL Piano Competition of
Australia ALEXANDER JENNER AUSTRIA
Alexander Jenner was born in 1929 in Vienna and after 1945 studied with Paul Weingarten, Bruno Seidlhofer and Richard Hauser at the State Academy of Music in Vienna. He is an experienced performerin the competition world having won several first and second prizes of Intemational Piano Competitions during the 1950s.
Since then he has regularly performed in Europe,
North and South America and in the Far & Middle East. In recitals, and as a soloist with many orchestras and conductors, Alexander Jenner plays a wide repertoire ot piano music. He is a frequent performer of chamber music and makes live and studio recordings for radio and television in many countries. Since
1970 he has held the positionof Professor at his former school, now called the Vienna Hochschule. Heis in demand as an adjudicator of Intermational Competitions and holds master classes worldwide.
I MINGQIANG PR CHINA
i Mingqiang, Professor of Piano, is Vice-President of the Shanghai Conservatory of Music. Born in hanghai in 1936, he studied the piano from the age of ten with Alfred Wittenberg,who was the violinist of
e Artur Schnabel Trio in 1902. After the death of Wittenberg in 1952, he continued his study with Yu
ianming. In 1956, he joined the faculty of the Orchestral nstruments Department of the Shanghai
onservatory of Music as accompanist and tutor. He then pursued further studies with the Soviet pianist
atiana Petrovna Kravchenko in the Central Conservatory of Music. He is also a member of the Board of irectors of the China Federation of Literary and Arts Workers and of the Chinese Musicians Association.
le has won prizes at various International Competitions: 3rd Prize of the Third Intenational Smetana
iano Competition at the Prague Spring Festival in Czechoslovakia, 1957; First Prize of the First George
nescu Intermational Piano Competition in Bucharest, Romania, 1958, Fourth Prize of the Sixth Chopin
ompetition in Warsaw, Poland, 1960. Li Minggiang has had an extensive career as an international
oncert artist, and has recorded a large repertoire ot piano music.
le has judged many major international competitions including the George Enescu Intemational Piano
ompetition in Bucharest, Romania, the Sydney International Piano Competition ot Australia, the
antander International Piano Competition of Spain and the Van Clibun Intemational Piano Competition,
SA. He is a member of the International Advisory Board of the Gina Bachauer International Piano ompetition in Salt Lake City, Utah, USA and consultant to the Department of Keyboard Studies of the long Kong Academy for Performing Arts. He has lectured and given master classes at many universities in
long Kong and the United States of America.
HIROKO NAKAMURA JAPAN Hiroko Nakamura was born in Tokyo and is its best known concert pianist. She began her piano studies at the age of three, and, at fifteen, was the youngest winner ever of Japan's most prestigious music competition. The following year, Japan's famous orchestra, the NHK Symphony, invited her as a soloist on their first world tour. Since then she has given more than three thousand concerts all over the world, an average of over one hundred a year.
In Japan, Hiroko Nakamura has made over thirty recordings, all best sellers Her record of Chopin's Concerto No. One with the London Symphony Orchestra sold over one hundred thousand copies in a year.
Besides playing regularly on radio and television she is a well known non-fiction author, critic and
televisionpersonality Her latest book, "The Tchaikovsky Concours" has won the coveted Ohya Non Fiction Prize and has thus far sold over a quarter of a million copies. The book describes her experiences on
the juries of the 1982 and 1986 competitions in Moscow, depicting the background and changes taking place in the international world of classical music, competitions and politics.
In the past, she has been a judge at many other competitions the PalomaO'Shea in Spain,the Vianna da Mottain Portugal, the Gina Bachauer in America, the Busoni in Italy, the Leeds in Britain and the Chopin in Poland. When at home in Tokyo, Hiroko Nakamura lives with her famous novelist husband, a magnificent ocelot cat and a miniature dachshund.
17
JOHN O'CONOR IRELAND
in Vienna with Dieter Weho. ber and also O'Conor studied piano in his native Dublin, both the Beethoven International Piana Nil in winning First Prize in Success Kempff. an expanding internationompetition ielm 1975 led to and the Bösendorfer Competition in in 1973 plays extensively throughout the world having toured Japan six times and the USSR twice. Since and h W become a constant visitor to the US. has he 1983 in his New York debut of the world's greatest orchestras including the Vienn. He has played with many mphony of Tokyo, Orchestre National de France and the Philharmonic, NHK Orchestra Orchezech and Washington D.C. He now records evelnphony John
with
Vienna
making
Cleveland, Dallas, Montreal, Detroit Telarc label for whom he is recording the complete Beethoven sonatas, Mozart concer ertos Chamber Orchestra and Cleveland Quartet. His recording of the John Field Noctumes
with theAmerican Sco
in the US in 1990. best-selling classical recordings
John O'Conor is co-founder and artistic director ot the highly regarded GPA Dublin Inten
and has served on many juries, including the Leeds International Pianofortenational Piano Competition his services to music he has been decorated by the ltalian gOvernment and awarded an honorarvdn ctorate For Ireland. by the National University of
ELIZABETH POWELL AUSTRALIAA
Powell the major symphony appeared as soloist with In Australia since 1971, concert pianist Elizabeth broadcasts for the ABC. around the country and in television and radio concerts and at recitals orchestras, chamber work: in this field, she has worked with In recent years, her musical interests have extended into overseas artists for the ABC and established a piano Australian and with toured the Sydney String Quartet, is with the Sydney Wind Quintet in duo with fellow artist Ffrangcon Davies. Her most recent recording Americas and the has the Poulenc Sextet. Overseas, she played widely throughout Europe, Asia, the
has
Pacific. She will retun to the US this year tor recital, master class and concerto appearances.
Leonie Gombrich, formerly assistant to Born in France, Elizabeth Powell studied in Oxford with Professor his requent visits and Viennese teacher Leschetitsky i n London with Claudio Arrau during thegreat Prix in her final year at the with Lucette Descaves and Marguerite Long in Paris, where she took Premier at several a Paris Conservatoire. Holder of the Harriet Cohen Intermational Medal, and judged prizewinner she was also given the Lili Kraus Special Prize including Rio de Janeiro where international competitionsnow herself a judge serving as jury member and Deputy Artistic Director for the she is for
Interpretation, 5th Sydney International Piano Competition
Elizabeth Powell lives in Sydney where she heads the
Keyboard Division of the Conservatorium of Music in the University of Sydney.
ALBRECHT ROESELER GERMANY
Albrecht Roeseler studied music at Detmold, Germany and Indiana University MusicSchool. Bloomington, US, returning to Berlin where he gained his doctorate in musicology at Berlin University in 1957.
He was a violinist in the Berlin Symphony Orchestra from 1950 to 1956, combining this positionwith lecturing at the Petersen Music Conservatory, Berlin. He has been editor for several German publishing houses and since 1973 has been Senior Editor (Arts) for the Munich newspaper Suddeutsche Zeitung He has contributed to many intermational music publications, including the Beethoven Encyclopaedia,
New York,1955, the Mozart-Aspekte, Olten, Switzerland, 1956, Idiomatic Instruments inH.Schuetz Eine Kleine Lachmuzik (Music Works, Berlin, 1958; Musical Europe Guide, London/New York, 1972;
Anecdotes), Munich, 1972; and Great Violinists of our Century, Munich, 1987. Albrecht Roeseler is highly regarded for his translations into German, amongst which are Orson Welles and Haroid Citizen Kane; Yehudi Menuhin's Unfinished Journey; Anthony Sampson's The New Europeans;
Schonberg's The Great Composers
for
articles Suddeutscr As of a 1alist he has contributed hundreds of reviews, commentaries and leading Zeitung and broadcasts frequently for Radio Munich and Radio Berlin, and Cologne He was Sates. a
film for television on Richard Strauss and is a guest lecturer at several universities inthen e n uror at
1S also cultural atfairs correspondent for the International Herald-Tribune in Paris.
Several intemational music competitions, including
Sydney for the second time.
18
Evian
He has been u r turned and has
(France) and Trapani |Italy)
tcu
to
SYDNEY INTERNATIONAL Piano Competition of
Australia JOAQUIN SORIANO SPAIN Joaquín Soriano is widely considered one of the best pianists of his generation, highly acclaimed by the
critics. He studied music at the Valencia, Paris and Vienna Conservatories under i. Margenti, Vlado Perlemuter and Alfred Brendel. As well as winning awards in outstanding international competitions, throughout his brilliant career Joaquín Soriano has played in concert hallsin Europe, the United States, the Soviet Union and the Far East, where as well as giving numerous recitals, he has worked with renowned conductors and orchestras. His artistic work includes chamber music and the educational activity which he carries out in famous
educational establishments, such as the Manhattan School of Music in New York, and Tokyo University. He has acted as judge on the panel of some of the most renowned international piano competitions.
He has been Professor at the Madrid Royal Higher Conservatory of Music since 1972 and is also a member of the "Real Academia de Bellas Artes de San Fernando".
MAURICE TILL NEW ZEALAND
New Zealand borm pianist Maurice Till has developed the unusual combination of soloist and accompanist, gaining recognition tor outstanding pertormances throughout New Zealand. He has frequently appeared as concerto soloist with the New Zealand Symphony Orchestra and has also been soloist with the Sydney and South Australian Symphony Orchestras. He has given New Zealand first performances of concertos by recitals for the New Dohnanyi, Rawsthorne, Prokofiev and Berg. He has presented solo Khachaturian, Zealand High Commissions in London and Ottawa, for the Embassy in Washington, and appeared in chamber music recitals in the US and Canada. As an accompanist he has toured widely in New Zealand and for the ABC in Australia. Among the many
artists with whom Maurice Till has been associated in concert appearances are Elisabeth Schwarzkopf, Victoria de los Angeles, Kiri Te Kanawa, Gerard Souzay, John Shirley-Quirk, Max Rostal and Pierre Fournier. Chamber music recitals have included quintet pertormances with the Prague, Alard, Alberni, Czech, McMaster, Bulgaria and Deseret String Quartets. At the end of 1991, Maurice Till ended a long association with two New Zealand universities. As a member of staff, first at the University of Otago and later at the University of Canterbury (Dean of Music and Fine Arts 1985-1988) he was involved in an extensive program of public recitals and was responsible for the teaching of advanced piano students. Several of Maurice Til's former students have won intemational recognition, the most successful being Michael Houstoun who has been finalist in the Leeds,
Van Clibum and Tchaikovsky Competitions.
ARIE VARDI ISRAEL
Israel's finest concert Following his debut at the age of fifteen, Arie Vardi has been recognised as one of pianists. As 1st prizewinner of the Chopin Competition in Israel, he appeared with the Israel Philharmonic Orchestra conducted by Zubin Mehta, and upon winning the George Enescu Intermational Competition in
Bucharest, he pertormed throughout Europe.
Baumgartner and composition with Pierre Boulez and KarlheinzZ with Paulwidely Vardi studiedHepiano Stockhausen. has performed as soloist with major orchestras conducted by Gary Bertini, Sergiu Zubin Mehta, Paul Paray, Carlo Zecchi and others. He has toured Kurt Lukas Masur, Foss, Commissiona, South America, the Far East, Japan and Australia. East and West Europe, the United States, for the best performances in Israel. La'Am" Prize "Omanut the awarded was In 1985 he He performs regularly as soloist-conductor and recently has specialized in the impressionist repertoire, including the entire piano works of Debussy and Ravel. His RCA recordings have won international have been dedicated to includes contemporary Israeli works, many of which acclaim. His wide repertoire him. Tel-Aviv University, having in the of Vardi i esently Professor of Piano at the Rubin Academy Music, Hochschule In 1987, he commenced a sabbatical year teaching at the of the Director been Academy. pastMusik in Hanover. He frequently gives master classes and participates as adjudicator in international für International Committee of the Arthur Rubinstein piano competitions. He is Chairman of the Music Piano Master Competition. as well as viewers for his series "Master Class" In Israel, Arie Vardi is well known to television participating in other music programs.
19
Jurors
Observers
In 1948 he
the
studles,
Moncow State
postgraduate
entered
Prdesar lherHesw tn
under l a
arly. orn in
LEV VLASENKO RUSSIA began hin concert li Lev VInnenk concert planintMunle Schor hoel for gllted children, tud Well known internationally, Speclal Conservatolre and wan a ntudent 1928, he nttended the udent of in
Veraaladze
Georgla,
penetratn
ernational competitions,
eadth,
of followed by a period the Memorlal Competitin years, LInz! awarded Int Prize and Gold Medal at pest, and n Competitlon. E. GIlela ntated "One of the most In 1956 he was th prizewinner in the Tchaikovsky Soviet the by played 1958 wan Aecond Sonata planin was the BMinor LInzi wide breadth, sincerity, anl moments of the competition nincerity, and deepVlasenk In the pianIBt dinplayed of thin monument the interpretation into music." Conservatoire nince 1957 and ia preaentlu Mt and the staff of the MonCOW State becn prizewinnern of internattonal com He han been on pupila have of the Chair of Piano. Many of his and Suk. Pletnev, Petrov, Randalu, and has been. tours in Europe, America and Japan, made many concert member od Lev Vlascnko has competitions, Including Leed», Chopi, Svdn international piano some of the leading Bolzano and Athens. Lisbon, Montreal, Tokyo, adjudicator, he in in dema a concert planiat, prolcssor and activities an adlo and In addition to his compact disc») and the condlura the production ol recordings (22 aster television talks on music, in the US, Spain. Ial and master classcB 1or many yearh classcs. He has held teaching scminars and Austria. Greece, Isracl, Australia
POLAND
JACOB BISTRITZKY JAN Founder and director of both The Arthur Rubinstein International Piano Master Competition (19731 and
The Arthur Rubinstein International Music Society |1980), Jan Jacob Bistritzky has over 40 vears af media; promotion; organization and management ot international testivals and music competitions. He
professional activity in the field of Arts and Culture His work cencompasscs all aspects of the development ot music culture and the performing arts: mass has served as organizer of the Chopin International Piano Compctition, Warsaw, and the International Year |1960) under the auspices of UNESCO. Chopin His busy career has included the position of initiator and co-organizer of "Hommage à Rubinstein". a worldwide series of prestige concerts marking the T0th anniVer8ary of the artist's birth as well as the Yearly Tribute series, which have included Sviatoslav Richter |UNESCO-MIMAF, Paris 1988) and Andras Schiff (Tel Aviv, 1990). Future productions in 1992 include Micczyslaw Horszowski (Paris) and Maurizio Pollini (Paris), in cooperation with UNESCO-MIMAF to mark the 10th anniversary of Macstro Rubinstein's
He serves as Vice-President of the World Federation of International Music Competitions Geneva, an
death.
institution he co-founded in 1957, His directorships includethe Department ofInternational Cultural
Relations, Ministry of Culture and Arts, Warsaw; the Polish Cultural Institute, Budapest,theFryderyk Chopin Institute and Fryderyk Chopin Society, Warsaw, and the Isracl Festival: Tel Aviv, Jerusalem, Haila,
Caesarea |1975-1980).
MARC CASTELAIN BELGIUM Born in 1942, Marc Castelain studied the piano at the Royal Academy of Brussecls and went on to obtain a
Master of Arts in Musicology, from the Free University of Brussels. He has a long association with various arts bodies in the field of music journalism, writing for, among others, the publications "La Lettre du Musicien" and "PLANO". From 1965 to 1981, he served as a producer and journalist for the Belgian
television and, since 1981, as a producer and joumalist for the Belgian Radio 3 (RTBF). In 1975, Mr. Castelain received the annual prize of the press for a television report on the sociological aspects of church music. He has represented RTBF in the European Broadcast Union (EBU) and the President of the IMZ video-group from 1975 to 1984.
Internationales Muzik Zentrum(IMZ) He has served as Vice-President of the JMZ from 1981 to 1984 and In addition to a busy career as a journalist, he has, since 1982, been a lecturer at the Institute of Art History Semur-en-Auxois [France).
and ArchaeologinBrussels. This year, he has accepted the position as Manager of the Opera Festival of
SYDNEY INTERNATIONAL Piano Competition Austtalia BERNARD LEVIN CBE ENGLAND
Bernard Levin was born in London and educated at Christ's Hospital and London School of Economics. A journalist since 1951, he has written tor many newspapers and magazines in the United Kingdom and elsewhere. At present he writes a weckly column lor The Times as Chief Columnist and reviews books for The Observer. He is als0 a regular broadcaster on television and radio, for both of which he has written extensively
He has published 12 hooks The Pendulum Years, Taking Sides, Conducted Tour, Speaking Up" Enthusiasms, The Way We Live Now; Hannibal's Footsteps; In These Times", To The End Of The Rhine; All Things Considered"; A Walk Up Fifth Avenue and Now Read On". The works starred are collections of his newspaper writings.
Bernard Levin has won various awards for journalism. He has served as President of the English Association (1984/85) and is an Honorary Fellow of the London School of Economics. Mr. Levin was for many years a member of the judging panel of the annual London theatre awards - The Evening Standard
Drama Awards. In 1987 and again in 1989 he won the British Press Award as Columnist of the Year and in the summer of 1990 was honoured with a CBE.
WILLIAM LITTLER CANADA
Borm in Vancouver, where he studied piano, musical theory and history and graduated from the University of British Columbia, William Littler held the post of music and dance critic of The Vancouver Sun between 1963 and 1966. He was then invited to become music and dance critic of Canada's largest newspaper, The Toronto Star. In 1973, he participated in the first across-the-border exchange organized by the Music music critic of The Houston Post. Critics Association (of North America, becoming summer A past Vice-President of the Music Critics Association and a founding Vice-President of the Paris-based International Music Critics Association, he also directed the tirst Critics Institute in Canadian Music in
Toronto, Ottawa and Montreal in l1975. He chaired the North American Dance Critics Conference in New York in 1974 and was elected founding chairman of the Dance Critics Association (of North America) at that time. A frequent contributor to periodicals and other publications in music and dance, Mr. Littler has also written for and appeared regularly on radio and television. A lecturer at the Royal Conservatory of Music of Toronto, he has also taught courses at York University, McMaster University and the University of Waterloo. He is the first music critic to have won Canada's National Newspaper Award for critical WTIting.
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SYDNEY INTERNATIONAL Piano Competition
o
Prizes and Engagements
THE FUYO PEOPLE'S CHOICE PRIZE The prize, awarded by the audience vote tollowing the final concerto performance, is given by the Fuyo Group ot Companies, Japan's leading
Prizes
industrial group.
1st Prize$15,000
Presented by
Australia
the Council of the
of Sydney 2nd Prize $7000
City
THE DR. MICHAEL KENNEDY SPONSORSHIP - of the first appearance of the Sydney Symphony Orchestra (Stage V Concerto Performances at the Opera House.
Airlines The Northwest
SIPCA Arts
Award 3rd Prize $4000
The YAMAHA Prize Presented by Yamaha Music Australia 4th Prize $2500
Pty Ltd
The KAWAI Prize Presented by Kawai Australia
Pty Ltd
5th Prize $1500 Presented by Hunt & Hunt
THE HEPHZIBAH MENUHIN MEMORIAL SCHOLARSHIP The National Council of the Hephzibah Menuhin Memorial Scholarship Fund has made available the 1992 Scholarship as the prize for the best Australian
pianist.
The fund was set up in memory of Hephzibah Menuhin, with the aim of assisting the advancement of keyboard performance in Australia, by providing scholarships toward the cost of training, travel and living expenses, and to assist keyboard performers in establishing careers as concert artists. The Scholarship is administered by a Council comprising representatives of the University of Melbourne Faculty of Music and the Sydney Conservatorium of Music. THE REISNER-PENNYCUIK FUND
6th Prize $1000 Presented by Samil Australia
Reisner-Pennycuik Fund was set up by Dr Pamela Pennycuik and Dr The Alexander Reisner in 1987 for the promotion and encouragement of the
Marketing Corp
7th Prize S750 Presented by J. Albert and Son Pty Ltd
pianoforte, with particular emphasis on the study and pertormance Australia of the concertos of Mozart and 19th/20th century composers.
The Reisner-Pennycuik Concerto Prize is to be awarded for the second time at
8th Prize $750 9th Prize $750
the 5th Sydney International Piano Competition of Australia. It will be
10th Prize $500 Presented by Philip Porter
presented to the pianist judged by the international panel of jurors, together with the conductor and one member of the Sydney Symphony Orchestra and the -
Insearch
11th Prize $500 Presented by Colin McNaught
Australian Chamber Orchestra, to have given the best overall concerto
pertormances.
Language Centre
-
Australian College of English
Engagements
12th Prize $500
Tour of Australia, Singapore, Hong Kong, Tokyo and Seoul for the First Prizewinner
Presented by the Music Teachers
18 July 20 July 22 July 24 July 26 July
Penrith, Joan Sutherland Performing Arts Centre Recital Ballarat, Her Majesty's Theatre- Recital Melbourne, Melba Hal, School of Music, The University of Melbourne Recital
2 August 5 August 6 August 9 August 11 August 29 August
Townsville, Townsville Civic Centre - Recital
Association of New South Wales Ltd.
Special Prizes
The Hephzibah Menuhin Memorial Scholarship Prize for the Best Australian Pianist $6000
The Reisner-Pennycuik Concerto Prize $4500 The Fuyo People's Choice Prize $4000
The Edward Sternberg Chamber
Music Prize $2000 The Mozart Concerto Prize Australian Chamber Orchestra
An Australian tour for the winner with the ACO
The Neville Grace Prize for the Best Performance of a work by Liszt in anyy Stage of the Competition $2000
The Sam Miller & Joan Langham Mozart Prize - tor the Best
Pertormance of a work by Mozart in
The Leo Guthman Chicago, USA, Music Awards
For the Best Performance of a Stage
Contemporary -
Work $1000
For the Composer of the Best
Contemporary Work $1000
-
-
Canberta, Llewellyn Hall, Canberra School of Music - Recital Nowra, Nowra School of Arts - Recital
Mackay, Mackay Entertainment Centre - Recital
Rockhampton, Rockhampton Performing Arts Complex- Recital Gold Coast, Gold Coast Arts Centre - Recital Alice Springs, Araluen Arts Centre - Recital Sydney Town Hall - Recital
4 September
Noosa-Queensland Philharmonic Orchestra
5 September
Brisbane, Queensland Performing Arts Complex
-
Queensland Philharmonic
Orchestra
7 September 9 September
Perth, Perth Concert Hall - Recital "The Singapore Prize" Victoria Concert Hall, Singapore - Recital
11 September
Hong Kong, Hong Kong Academy of Performing Arts - Recital
12 September
Radio recording Hong Kong- Broadcast
September Tokyo September
Seoul, Korea - Samil Marketing Group
Return tour of lst Prizewinner 1994 International Engagements for the First Prizewinner Austria France Germany
any stage of the Competition $1000
-
within
Bösendorfer Concert Hall, Vienna International Music Festival, Toulouse Klavier-Festival Ruhr 1993
Saturday, July 3 at 8 pm)
Bochum, Germany Los Angeles Philharmonic Orchestra Krannert Center, Urbana, Ilinois Ravinia Festival, Chicago, Illinois Yamaha Centre, New York All engagements are offered in principle and are subject to final negotiation
USA
23
Eileen Joyce (1912-1991)
This article is written in memory of
an
incomparable pianist and artist, whose
association with the Sydney International Piano Competition will be sorely missed. Eileen Joyce was born in Tasmania in
1912,
the
daughter
labourer. She studied
of
at
an
a
itinerant neighbouring
convent where the nuns quickly perceived her talent. Later described by Percy Grainger as 'the most transcendentally gifted child' he had ever
(an opinion endorsed by Wilhelm heard Backhaus) she continued
her studies Leipzig, leaving Australia, family, friends and her beloved pet kangaroo, Twink, at a dauntingly early age for an alien environment. There, her in
iron will to succeed at all cost made her combine her brilliantly instinctive talent with unremitting hard work.
After her
arrival was slower
in
England, than some have recognition supposed, but when it came it was overwhelming the indelible. These were the years of and 1933-1942 recordings (her discs of the Paul de
Schlozer A flat
Etude,
Liszt's
Gnomenreigen and Fauré's F minor Impromptu, to name but three, are among the most stylish and thrilling of all
virtuoso piano recordings), a time of dazzling celebrity, of temperamental fire, of flashing fingerS and rare communicative ardour.
Eileen Joyce gave recital after recital, Concerto marathon after Concerto marathon (sometimes three in one concert). But her capacity
or even tour
audiences, her
and exploiters, and most of allpromoters herself, failed to realise that she was after all a human being and not a brilliant robot. A tragic disillusionment ensued and her private anguish became public when she announced, still in her forties, the endof her career. In her own words, 'I worked too hard and travelled too much. I felt
depleted spiritually and mentally. I was like
a
shell with
nothing inside any more. whipped along by ambition and project myself, and it was too
I had been the desire to
much.
I got to
hate my
own
name.. for
twenty-five years I lived totally for my
nusic, there was nothing else in my life'. Again, and even more despondently, I knew no more about life as a international celebrity than when I was a poverty. stricken child'. The decision to withdraw came to her
suddenly, and she gave her last recital in
Scotland, symbolically closing
lid on one of the most brilliant,the piano fraught and widely publicised of all musical careers. And having at last stopped the rOundabout and got otf, she found a novel
Her repertoire was immense and included
sense of peace and tranquility, dispersing her immense energy in a wide variety of
Over seventy works for piano and orchestra lamong them the Shostakovich
careers of
pursuits, and taking a keen interest in the up and coming young pianists.
the shadow of the tension returns to haunt me. You see, all my concerts were a matter of life and death for me". Given such circumstances it would be surprising if Eileen Joyce's recordings were less than remarkable.
contradicting her sad andSupremely bemused assertion, - 'once you stop playing, you are
forgotten' - they live on, a vital and living testimony not only to her personal and idiosyncratic charm, but to what George Steiner once called le dur desire de durer, the harsh contrivance of death, the hope to overreachspirit time against by the torce ot creation.
Earl Wild, Jorge Cécile Ousset,
Bolet, Glenn Gould, Davis who recently spoke her recordings the work of totally genius have all paid tribute to a original pianist
Stephen Hough and Ivan of
as
who,
in her heyday, was was sensational
a
as
subtle
as
she
More personally, I shall miss dear Eileen more than I can say, her sudden
despondency, her sudden infectious laughter - like rain and sunshine inextricably combined. The first recital I ever attended was given by her and I was proud to be not only her friend during her later years, but also to be the and instigator of EMI's two disc producer album The Art of Eileen Joyce'. It was also an inestimable privilege to speak at her funeral
at
The late Terence Judd was among her favourites, and she would exclaim in
Thank
you
chose Prokofiev's Third Concerto, then
wonder over his pertormance of the
rarely performed, for her London début in
Samuel Barber Sonata.
cherished and remembered. Bryce Morrison, 1992. Well-known music critic and author of
First and John Ireland Concertos). And it was typical of her enterprise that she
1930.
For forty years Miss Joyce played the
Ragged Eilee', the little girl who had run
piano occasionally and for her own pleasure, though she confessed that every night around five o'clock she reached low ebb, "because for twenty-five years that was when I would be getting ready for my
barefoot
became
through the
Australian
bush, recognised
household name, even by those for whom classical music a
was foreign territory. A woman of charismatic and arresting physical beauty,
concert.
And at that time every evening 24
Limpesfield Church in 1991.
Eileen for your inspiration and for all you gave us. You will always be
numerous articles on music,
especially
piano music, Bryce Morrison is a teacher at the Royal Academy of Music in London.
SYDNEY INTERNATIONAL Plano Competition
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Peter Donohoe Gala
Opening Benefit Recital
Peter Donohoe was born in Manchester, England. He studied at the Royal Manchester of Music and then in Paris with Yvonne Loriod, wife of composer Olivier Messiaen. Donohoe was a seasoned performer by his carly 20s, having made his public
College
debut at the age of 12 playing Beethoven's Third Piano Concerto. Having been a major prize-winner at the Liszt/Bartok Competition in Budapest and the Leeds International Piano Competition, Donohoe soared Tchaikovsky in international reputation when he jointly won top prize at the Moscow International Competition in
1982. Donohoe
now appears regularly with orchestras in the UK, continental Europe and the USA, Asia and the Soviet Union. In October of last year he made his third tour of the USSR, giving recitals in Moscow and Leningrad and performing with the Moscow State Philharmonic Orchestra. In North America he has recently with the appeared
Chicago,
Pittsburgh, Milwaukee and Toronto Symphony Orchestras, the Minnesota and Cleveland Orchestras, and the Los Angeles Philharmonic. His
recent
European
engagements have included concerts with the Leipzig Gevandhaus Orchestra, the Czeck Philharmonic and the Gurzenich Orchestra, Cologne In August 1990 he perfomed the
complete Prokofiev sonatas at the Edinburgh Festival to great critical acclaim. He has appeared as soloist during every season of the London Proms since 1979.
A prolific recording artist, Donohoe's EMI discs include Busoni's Piano Concerto, Tchaikovsky's Piano Concerto No.2, which won Gramophone magazine's Concerto Recording award in 1988, and a recital disc, featuring the Liszt Sonata, which won the prestigious Grand Prix du Disque.
Mr Donohoe has had a long association with the Sydney International Piano Competition of Australia, giving recitals for the Friends of the SIPCA when in Australia and performing as the Opening Recitalist for the 1992 Competition. The SIPCA wishes to express its appreciation for his invaluable and enthusiastic support.
26
SYDNEY INTERNATIONAL
Opening Night
Bartok (1881-1945) Sonata (1926) Sostenuto
Allegro moderato
e pesante
.
-
Allegro m o l t o
pianist
as
well a s this
brilliant concert of the first pertormance when he composer, gave Bartok,
a
was
completion, soon on Decem. sonata in Budapest at a concert youthful forty-hve, d e d i c a t e d to his 1926. It is he had ber 8, whom Ditta P'asztory, first piano second wife, his earlier. Like years reveals mamed three the Sonata same year, concerto ot the of the most exploratory and him in the throes the d i s s o n a n c e his of lite. Yet mere after
Piano Competition
Program Notes
its
never perod the m u s i c are jagged violence of experiment: Bartok was and, intellectual fierce, genuine, age plainly motivatedofby some in all its sharp folk-music Hungary old and it gave him vigour, angulanty, asperity and more embellishments, and new rhythms, new a horizontal and scales, important still, new direction of thought resulting, through in a uncompromising linear counterpoint, The piano natural harmonic treedom. wholly
of
Australia Franz Liszt (1811-1886)
Sonata in B Minor
Lento Allegro Energico Andante Sostenuto Allegro Energico After prolonged travelling throughout Europe
as a virtuoso pianist, Liszt at the age of thirty. six decided to settle down at Weimar with the Princess Carolyne Sayn-Wittgenstein, with whom he had recently formed a liaison. Up to this time, composition had taken second place in his life.
But a great spate of mature music
came trom his pen during the comparatively peaceful tollowing years, including his one and only piano sonata, in B minor, dating from 1852-3. Much has been written of Liszt's so claimed inability to compose without some kind of extra-musical stimulus to set his
creative faculties working. True, he found a great deal of inspiration throughout life in the
emotional experiences aftorded him by literature, painting, the natural landscape, love and religion.
Yet it is also very clear from the
piano sonata that on occasion his imagination
could catch fire with equal intensity when
itself he treats as an instrument of percussion
stimulated by just the stuft of music itselt. It was not the desire to tell a story in sound
rather than of melody, using bare, hammered intervals, like Octaves and clusters of dissonant
which prompted Liszt to write this work, but rather his absorbing interest in how to
seconds, sevenths and ninths (and incidentally American he had recently met the celebrated of tone cluster, Henry Cowell) to exponent nevertheless help him in this respect. He regarded the basic key of the work as E major.
encompass the contrasting moods expected n within the
With this insistent A#, the opening movement,
instead of successively introducing new ideas. Significantly, the sonata was dedicated to
Allegro moderato, shows strong leanings towards the Lydian mode.
The argument is
rudimentary motifs rather than woven fully-fledged, sharply contrasted first and out
of
the course of
a
complete sonata
argument by evolving one theme from another
Robert Schumann, whose
own
experiments
in
the direction of formal unity and compression (notably in his D minor Symphony of l841), were amongst the most torward-looking of the
shape of the slow movement, Sostenuto e
Liszt's
pesante, where extraordinary intensity of
interpolation of
emotion 1s compressed into static brooding.
development central discernible break in the continuity of the
as
combining
features of
rondo and
brusque, barbaric, folk-inspired theme of irregular metre which is strikingly varied or embellished at each return before the
strung stamping coda. loan Chissel
highly
Diabelli Op.120 is the last work Beethoven wrote for the pian0. The sets of variations form a very large group of works and span the years 1782-1823 a year longer than the
Sonatas(1 782-1822).
The Diabelli Variations have been described as Beethoven's 'Art of Fugue', for just as Bach showed in his last work the inexhaustible possibilities of fugue form, Beethoven showed in these variations the enormous possibilities
of variation form. The work was written in response to an invitation from Diabelli who was publishing a volume which was to contain works by a
number of composers fincluding Schubert), each contributing a set of variations on an
original theme by Diabelli. Beethoven did not wish to be involved in such a project but offered to write the complete set. This ofter was accepted by Diabelli. The theme provided by Diabelli is a Waltz.
Beethoven provided
variations that Ernest
Walker describes in the following words: "The merely melodic connection is secondaryor
indeed frequently non-existent: harmony and
exposition, development and recapitulation;
described
Beethoven wrote twenty-two sets of variations for piano and the variations on a theme of
structure
classical torm is again apparent in the ternary
varations. The movement is dominated by a
theme of Diabelli Op.120
and equally, how to impart unity to the
century. The overall plan of the work is that of
The form of the Allegro molto finale has been
on a
framework of one self-contained movement,
second subjects, yet the ground-plan is plainly with a brief but that of classical highly charged development section. Bartok's respect for the underlying unity of
sonata-form,
Variations
Beethoven (1770-1827)
traditional sonata-form, complete particular a
with
innovation
is the slow movement into the section without any
allows himself argument. For his material he that only tour themes. First there is mysterious, descending scale of the Lento introduction. The change of tempo to Allegro energico in the eighth bar brings the dramaticB minor tirst subject proper; its tirst halt is hurled out in stormy octaves, and its second half takes the form of an ominous kn0cking of
notes in the bass. The key changes to the relative major of D for the second subject
repeated
proper, an exultant, full-hearted (and fullchorded kind of hymn of praise marked grandioso in the score.
The only other new
theme in the work is the retlective opening 1deaof the andante sostenuto 'slow movement in F"Major. It is from this material and nothing
else whatsoever that Liszt constructs the
whole of his magnificent argument, which 8lows with passion and poetry as well as of which musical
cunning
the purely showing his mind was capable.
(In this last respect, note in particular what happens to the main
Iirst subject as its two sections are combined into
Toute, or as its second section bloSsoms en a beautiful melody, or as both sections are the start of welded into a taut fugue subject at
the recapitulation.) What is more, the sonata's
rich and varied keyboard texture otfers superb for the player to reveal every Opportunities facet of a virtuoso technique. Not tor notning had Liszt been one of the most lionized executants ot his time
Joan Chissell 27
are
the
chiet essential points,
and
though they may be altered to almost any extent, yet there is always, so to speak, the
same intellectual thread running through the whole; and in place of the old rigid and merely decorative ideal, we have an ideal of unity in
diversity, of the same subject presented
in
continualy shifting and new lights".
At the time of writing this set of variations Beethoven was turning more to quartet there are suggestions of this in the
Writing, and
piano writing.
The Diabelli variations "seem to explore the
entire range of pianistic writing, expressing moods that range trom the meditative and
pensive to the whimsical,
the capricious"
as
from
stated by
the majestic to David Ewen in
"The Encyclopedia of Musical Masterpieces."
Warten Thomson
Advances in the Creation of a Superior Piano Visually, the piano has changed very little in this century but there have bcen notable developments in construction. In Japan, since the mid 1940's, manufactur ers have successtully combined new tech nology with traditional hand-crafting techniques and increased production in line with the increascd demand. This has
allowed a greater number of people the opportunity to invest in a piano ...once thought of as an item attainable only by the wealthy. The ultimate goal of a serious piano man-
ufactureris 'authentic sound' to build an instrument which would optimize artistic
intentions. This philosophy underlies
every advance in design and manufactur ing that is adopted in the production process
Cvolutionary
not
revolutionary!
Over the years, piano making has gone through a dramatic metamorphosis in pursuit of this objective.
The rigid quality control begins with the
Wood is a living material which expands contracts as temperature and humidi. ty changes. The raw timber is carefully milled at cach manufacturer's facilities with special attention to the grain, and is stacked to dry naturally for months and ears. Then it is placed in a scientifically controlled kiln to be further dried and conditioned. At cach stage of production and
and
scientific
fields
such
physics, mechanical engineering, electronics, timber and acoustics. Assembled grand piano cases are now kept in a computerized rack as
storage system for seasoning betore enter-
ing further stages of assembly. The temperature and humidity within the factory
the seasoning process is repeated.
buildings are strictly controlled to further increase the accuracy of production. A newly designed piano is placed in an
In the old days, piano craftsmen cereated
Anechoic Chamber la Special room with
designs based upon trial and error and the
skills they had developed through a lifetime of experience. The introduction of the computer enabled them to define, in numeric as well as graphic terms, mea
no echo) and is analysed by computer to determine the ideal length, location of strings, the inter-relation with the sound. board and many other critical details. Then the piano is moved into a test audi-
surements which remain true to the original drawing. The timber is now processed by the craftsmen with a precision that was
torium, which simulates different size halls, and it is played and evaluated by
impossible in the past. A complicated curve and glue joint will be flawless.. No
rate the human element vital to the creation of a superior instrument. This R & D centre provides master craftsmen with the base of data required to build the
compromise is accepted in the manufac-
turing process.
many distinguished pianists to incorpo-
selection of the tinest woods from throughout the world and it continues at each stage leading to the completion of a piano. Alsakan Sitka Spruce, whose supe
T'he development of an aluminium action
tinest pianos
rail (firstly by Kawai) increased the accura cy and stability of the piano action . holding small components securely in
crafted full concert grands which are selected by major venues, artists and
rior acoustical properties are renowned,
place even in high humidity. Today, most
and other
chosen of each of
piano manutacturers have incorporated the aluminium rail into their action
quality
design. Tremendous energy has been
exceptional
woods are
for the individual requirements
the thousands of parts of which
piano is composed.
a
invested to make subtle alterations which
improve responsiveness and keytouch. The sensitivity to transfer the exact force
piano competitions internationally.
Experienced craftsmen, precision equipment, superior materials, and advanced
techniques. all of these have contributed to an increase in the consistency and strength of each individual component, which results in high standards of quality and performance. To quote Shigeru Kawai, Chairman of Kawai Musical Inst. Mfg. Co. Ltd.,
demanded by the artist... from the lightest nuance.. is a distinctive characteristic tound only in the finest piano actions. For humanitarian reasons synthetic ebony nd ivvory have been introduced and
advanced technology and the eyes, ears, hands and hearts of the craftspersons a
have been attributed with characteristics in terms of feel, touch, absorption of per-
ministrations the piano, a miraculous liv-
spiration, etc., very close to natural ebony
ing instrument, is given a soul."
and ivory. Modern chemistry has contributed to the improvement of the piano finish... materials such as polyester a hard lacquer) protect the case and allow many years of beauty with a minimum of maintenance . the availability of improved adhesives has resulted in a much stronger instrument... advances in the methods of cast. ing the iron frame ... the list goes on and on.
The dedication to better understand the dynamics of a truly perfect piano has prompted a substantial investment into
research and development. The factories KAWAI'S ANECHOIC CHAMBER at the Ryuyo Grand Piano Factory. This chamber
and to create the hand-
employ professionals in many technical
has been specially constructed to eliminate all noise and echo from other sources so that the tone can be analyzed scientifi
cally. The Platform on which this grand
piano rests is sitting on a wire grid which is suspended midway between the base and ceiling of the chamber.
28
"Through the combined efforts of piano is created. Through these delicate
by Yoshi Kondo Managing Director of Kawai Australia Pty Ltd
ike a green tree producing orygen for
music arousesemoti0n 1n the soul...
life
and a pianocommunicates artistic intention... ofjoy and sorro, laughter and tears.
From a tiny seed planted many years ago the Kawai tree continues to gro
through rain or shine, storm or calm,
breakng new grouna, reachng for perfection.
Quality pianos created in a fertile environment with strong roors in tradition bear the fruit of international fame Jor guality and value.. a liferime
.
ofmusicnlplensure
Kawai Pinnos
uurturing thegreat artists oftoday nnd the budding performers of tomorron:
KAWAI
Ccogiized globally Othcial Piano e of the y International lPiano CompetitionArthur Rubinstein Odl Svdney international International l'iano P'iano CompetitionChopin l'hano Master CompetitionConcours Competiti lnternational Piano Competito International de P'iano E. Busoniun as an
CRAIG END RESTAURANT
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SYDNEY 1NTERNATIONAL
Competition Diary
Piano Competition
Australia
ATA BENEFIT OPENING RECTAL 24 June 7.30 pm Sydney Town Hall anrable The Lord Mayor, Alderman Frank Sartor will The Ri Recital by Peter
officially open the Competition.
Donohoe.
STAGE1 &IISydney Conservatorium Thursday 25 June and
Saturday 27 June
9.30 am Shirley Hsiao-Ni Pan
Competitors to each play two 20-minute recitals 2.00 p
Canada
Bela Simon
Korea
SoojinPark
Markus Pawlik Andreu Riera
Vitaly Samoshko Benjamin Saver
Italy
Wei-Yi Yang
Spain
Stephan Zind Hiroshi Arimori
Slovenija
Japan
Italy France
Leonid Kuzmin
Ya-Fei Chuang
Mark Clinton Hanna Cyba
Richard Dowling Carson Dron
Xuesu Liuu
Australia
Alan Gampel
USA
Duncan Gifford
Australia
Canada
Anna Malikova Maricio Martinez
Poland
USA Poland USA
PR China
Kent McWilliams
PR China
Austria
Taiwan
USA USA
Elyane Laussade Jason Li
Matthias Kirschnereit Germany Poland Wojciech Kocyan
STAGE II
Netherlands
7.15 pm Ruei-Bin Chen
2.00 pm
Israel
EwaKupiec
Taiwan
Olivier Cazal
IvoJanssen Netherlands Rustem Khairutdinov Russia Young-Ah Kim Korea
Xiang-Dong Kong
Russia
Michele Bolla
USA
9.30 am Daniel Gortler
Russia
Lev Vinocour
Ukraine
Helen Sim
Hungary
Elisaveta Smirnova
Germany
Cristiana Pegoraro
Friday 26 June and Sunday 28 June
All
Canada Russia Cuba
Irina Morozova
USA
Sydney Conservatorium 20 Competitors to each play a 40-minute recital
QUARTER-FINALS Monday 29 June
9.30 am
2.00 pm
Tuesday 30 June
9.30 am
2.00 pm
STAGE IV SEMI-FINALS Wednesday 1 July Thursday 2 July Friday 3 July
7.15 pm
Sydney Conservatorium 12 Competitors to each play a 50-minute recital and one violin/piano or cello/piano sonata
12.00 noon
6.00pm
12.00 noon
6.00pm
12.00 noon
6.00 pm
Chamber musicians: Violin- Charmian Gadd, Carmel Kaine. Cello- Georg Pedersen
STAGE V FINALS Tuesday 7 July
Sydney Opera House Concert Hall 6 Competitors to each play two concertos with orchestra 8.00 pm
Australian Chamber Orchestra", conducted by Max McBride three pianists/three Mozart concertos "Broadcasts of the ACO
Association. sponsored by the Australian Performing Rights
Wednesday 8 July
8.00 pm
Australian Chamber Orchestra, as above.
Friday 10 July
8.00 pm
Sydney Symphony Orchestra"
conducted
by Edouard Chivzhel
three pianists/three 19th. or 20th-century concertos
Corporation Presented in association with the Australian Broadcasting
Saturday 11 July
2.30 pm
Sydney Symphony Orchestra, as above.
FINALISTS' AWARDS AND RECITALS Saturday 11 July
Sydney Opera House Concert Hall Presentation of Awards 7.30 pm 8.00 pm
Recitals by the six finalists ON ABC-FM STEREO
forbidden throughout TTlON IS BROADCAST LIVE THROUGHOUT AUSTRALIA are strictly and the taking of photographs in the Unauthorised recordings Conservatorium. pronibited No NO One may enter or leave the Verbrugghen Hall except in the pauses between CompetitorS p nances.
31
the
compeuto
Competitors SHIRLEY HSIAO-NI PAN CANADA
SooJIN PARK KOREA
MARKUS PAWLIK GERMANY
2.3.67 Taipei, Taiwan
27.2.67 Seoul, Korea
27.4.66 Bremen, Germany
Canadian pianist, Shirley Hsiao-Ni Pan, has appeared in concerts throughout the United States, Canada, and her native Pan received her early training inTaiwan. Taiwan, Miss later studying with Ronald Turini at the University
Soojin Park began her piano study at the age of
Markus Pawlik, whose piano studies begana at
of Western Ontario where she received her
Bachelor's degree in 1989. She holds a Master's from Yale University where she studied
degree
with Boris Berman and Peter Frankl. In the spring of 1992, Shirley Pan will be the first pianist to ever receive Yale's prestigious Artist
Diploma. Miss Pan made her orchestral
debut playing the
Beethoven first Piano Concerto with the Youth Symphony Orchestra of Taipei in 1981 and in 1987, she performed the Chopin E Minor
Concerto with the University of Western Otario Symphony Orchestra, as the winner of the Uwo Concerto Competition.
three and a half.
She won five major
competitions before moving to the United States and made her professional debut at the
Fellowship at Yale University, and is currently
Concerto with the Korean National Orchestra. In 1982 she enrolled at the Curtis Institute of Music under Gary Graffman. That same year she won 2nd prize at the Young Musicians
Foundation Competition, and, in 1985, she won the first prize at the Philadelphia
Dienst (DAAD) scholarship. He has also made
year
played Greig's
Orchestra Competition. As a result of this she made her debut with the Philadelphia Orchestra and was invited to play at WQXR radio station in New York. She made numerous appearances with the Korean National Orchestra in 1985 & 1986.
1989, she graduated from the Curtis Institute with a Bachelor of Music. She then
enrolled at The New England Conservatory of Music under Russell Sherman and is currenthy
a teaching assistant in the piano department.
pursuing another degree there
AWARDS 1990 & 1991 Chalmers Fund Arts Training Grants of the Ontario Arts Council
AWARDS 990 Finalist Southem Missouri International iano Competition USA
1988 & 1989 First Prize of the London Music Scholarship Foundation Competition
La Campanella Nocturne Op.62 No.l in B-flat major Sonata No.1 Op.22 lst. Movement STAGE II
Liszt
RECITAL
Prelude No.12 Book 1 Feux d'artufice' Debussy Der Müller und Der Bach Schubert/Liszt
Paganini Etude No.2 Concert Paraphrase of Rigoletto STAGE I RECITAL Prelude No.8 Book I 'Ondine' Nocturne Op.62 No.l
Sonata Hob.XVI/25 in E-flat Major
Haydn
RECITAL
Etude de Sonornte No.2
Morel Ravel
STAGE II QUARTER-FINALS
Appassionata
24 Preludes Op.28
Ravel
Liszt
STAGE V FINALS TWO CONCERTOS Concerto KV453 in G Major
Concerto No.1 Op.23 in B° Minor
Verdi/Liszt
Debussy Chopin
Chopin
Balak1rev
Sonata KV330 in C Major Form tor Piano Images Book I Paganini Etude No.6
Mozart Stetan Wolpe
Debussy Liszt
STAGE IV SEMI-FINALS RECITAL
Beethoven Chopin
CHAMBER MUSIC
Cello Sonata
Rachman1nov
STAGE II QUARTER-FINALS
RECITAL
Oiseaux Tristes (trom Miroirs) Une Barque sur l'ocean (from Miroirs) Hungarian Rhapsody No.8 $TAGE IV SEMI-FINALS RECITAL Sonata Op.57 in F Minor
Liszt
Etudes Tableaux Op.33 No.6
Etude Op.25 No.10 Islamey
Debussy
lmpromptu Op.90 No.3
Sonata Op.57 in F Minor Appassionata Sonata quasi Fantasia 'Après une lecture du Dante CHAMBER MUSIC Cello Sonata Op.69 in A Major STAGE V
Mozart
Tchaikovsky
has appeared as a soloist throughout Europe.
AWARDS
1991 3rd Prize The Robert Casadesus International Piano Competition, Cleveland, USA PROCRAM STAGEI RECITAL Sonata in C Major K13J, L282 Feux Follets (Transcendental Erude No.5) Paganun1 Vanations Op.35 Book I STAGE II RECrTAL Prelude No.7 Book I 'Ce qu'a vu le
Scherzo No 4 Op.54 in E Major Bach
Bartok
Sonata (1927) 1st Movement
numerous radio and television recordings, and
Etudes Tablezux Op.39 No I
G Minor
Chopin Ginastera
the Deutscher Akademischer Austausch
vent d'oueot
PROGRAM STAGEI RECITAL
Prelude and Fugue No.l6 Book I in
PROGRAM STAGEI RECITAL
nover as well as with Prot Naum Grubert in
the Koninkliik Conservatorium in The Hague. He has been the winner of many prizes in national and international competitions, including the Ist prize in the Young Musician of the Year Television Competition of the European Broadcasting Union and a recipient ot
age ot eleven,playing Mendeissohn's Concerto in G Minor. One later she
In
The recipient of numerous awards and prizes, Shirley Pan was awarded the Irving S. Gilmore
the age of five, is a student of Prof. Karl-Heinz Kämmerling at the Musikhochschule Han-
Schubert Beethoven Liszt
Beethoven
FINALS
TWO CONCERTOS Concerto KV595 in B Major
Concerto No.l Op.23 in B° Minor
32
Mozart
Tchaikovsky
STAGE I1I
Scarlatt1 Liszt
Brahms
Debussy Rachmaninov Chopin
QUARTER-FINALS
RECITAL Sonats KV332 in F Major Ehs 1961 Sonata No2 Op.36 in Be Minor STAGE IV
Mozart
Holliger Rachmaninov
SEMI-FINALS
RECITAL t d 0 . 2 Op.2
in
G Minor
Sonata No.6 Op.82 in A Major CHAMBER MUSIC Cello Sonata Op 99 in F Major
Schumann Prokofiev Brahms
STAGE V FINALS TWO CONCERTOS
Concerto KV467 in C Majpr Concerto No.2 Op.83 in B° Major
Mozart Brahms
SYDNEY INTERNATIONAL Piano Competition
of
Australia ANDREU RIERA CRISTIANA PEGORARO
VITALI SAMOSCHKo UKRAINE
SPAIN
TALY
25.8.65 Manacor, Mallorca
17.7.73 Charkov, Ukraine
From 1980-1984, Andreu Riera pursued his nusical studies in Mallorca and won the First rize at the Conservatory Piano Competition. In 1985 he began his musical studies in Madrid. In 1987, he attended a Chamber Music Course with M. Rostropovich in Madrid and in 1988 studied in Vienna at the Hochschule für Musik
Special Music School and is currently a student of Leonid Margarius at the Charkov Institute of the Arts. In 1988, at the age of 15, he was the winner of the Ukraine Republic Competition. He has since performed as a soloist and with orchestras in the USSR, BRD
With Hans Grat
and Italy.
11.5.69 Terni, Italy Cnstuana at inz an-
in 1n ns, 1an
the of
ch
de ind
when she
her degree in piano obtaining the only Sixteen, d i s t i n c t i o n and a n
Pegoraro passed was
marks with maximum honourable menti1on. Since at with
studied
Hans Keygraf in Salzburg and
Mozarteum der Künste in Berlin.
at
1986 she has
the
Hochschule
the Hochschule
c o n c e r t s in Italy and She has given many abroad (Austria, Germany, Soviet Union,
Czechoslovakia, Mexico, Colombia, Peru), and has recorded for both Italian and intermational television. She had masterclasses with V. Perlemuter, G. Agosti and ). Demus. AWARDS
1989 Prize 'Best in 1989 for Classical Music', Prague 1989 1st Prize D. Scarlatti di Napoli, Italy 1989 1st Prize Citta de Marsala, Italy I988 1st Prize Citta de Senigallia
tt szt ms
ssy pin
PROGRAM STAGEI RECITAL Prelude and Fugue Book I No.12 in FMinor BMW857 Etude Op.10 No.8 Oiseaux Tnstes ifrom Miroirs) Alborado del Grazioso (trom Miroirs STAGE II RECITAL
Ballade No.3 Op 38
irt
in
AD Major
Ballads Op. 118 Nos. 2 and 5
STAGE II QUARTER-FINALS KECITAL Sonata Hob XVI/28 in Eb Major Kounds
n
Sonata No.2 Op 22 in G Minor STAGE IV SEMI-FINALS RECITAL Variations KV398 F in Mayor Sonata Op 110 in AD CHAMBER MUSIC Major Cello Sonata
STAGE V FINALS
Chopin Ravel Ravel
Debussy Chopin
Brahms
Haydn Berio Schumann
Mozart
Beethoven
C Concerto No 1 Op 15 nM1nor D Minor
New York Spanish Institute, the Lincoln Centre, the Kuopio Symphony Orchestra in
Finland, the Bath International Festival, England and in Milano and Venezia, Italy. AWARDS
1991 1st and Special Prize (Spanish Music) Fundación Guerreró' International
Competition, Madrid, Spain
1991
3rd Prize
International
Piano
in
Mozart
Brahms
AWARDS Prize The 41st Intermational Viotti Competition, Vercelli, Italy. 1991
Special
PROGRAM STAGE I RECITAL Prelude and Fugue in D Minor Book Etude No.10 in F Minor (Transcendental Ballade No.4 Op 52 in F Minor STAGE II RECITAL Prelude No 6 Book I "Des pas sur la neige' Sonatas in G Major and F Minor Sonata No.7 Op 83 in B° Major
Competition, Jaén, Spain
STAGE III QUARTER-FINALS
1991 Barenreiter Prize Mozart International Piano Competition, Salzburg Austria
RECITAL
PROGRAM STAGEI RECITAL Etude Op.25 No.6 Sonata in D Major Fantasia Bactica
Chopin Soler Falla
STAGE II RECITAL Rondo Op.51 No.l in C Major Allegro de Concierto Prelude No.7 Book I "Ce qu'a vu le vent
Becthoven Granados
Debussy
d'ouest STAGE III QUARTER-FINALS
RECITAL Sonata KV576 in D Major Sonatina del Guadalquivir Chanson et Danse No.6 Polonaise Fantasy Op.6 STAGE IV SEMI-FINALS
Mozart Garcia Abril
Mompou
Chopin
RECITAL
Debussy
WO CONCERTOS
Concerto KV491
He has given a number of international performances including appearances at the
Bach
Prelude No.7 Book I "Ce qu'a vu le vent
douest
He then continued his
musical studies in London with Edith Vogel
Vitali Samoschko was educated at the Charkov
Sonata Op.13 in C Minor 'Pathétique' Sonata No3 Op.5 in F Minor CHAMBER MUSIC Viohn Sonata in A Major STAGE V FINALS
Beethoven
Brahms Franck
TWO CONCERTOS Concerto KV467 in C Major Concerto No.2 Op 21 n F M1nor
3
Mozart
Chopin
Prelude and Fugue Op.87 in D Minor Sonata KV332 in F Major Mephisto Waltz No.l Two Etudes Op.2 No.land Op.8 No.12
Bach 15Zt
Chopin Debussy
Scarlatti
Prokofiev
Shostakovich Mozart Liszt Scriabin
STAGE IV SEMI-FINALS
RECITAL Sonata Op.109 in E Major Scherzo No.1 Op. 15 in B Minor Suite Bergamasque CHAMBER MUSIC Violin Sonata in A Major STAGE V FINALS TWO CONCERTOS Concerto KV414 in A Major
Rhapsody on a Theme of Paganini
Beethove
Chopin Debussy Franck
Mozart
Rachmaninov
BENJAMIN SAVER
HELEN SIM
SLOVENIJA
USA
BÉLA SIMON HUNGARY
244.61 Tuzla, Yugoslavia
17.9.67 Seoul, Korea
3.12.67 Balassagyarmat, Hungary
Yugoslav pianist Benjamin Saver received his BA in 1983 from the Academy of Music in Ljubljana, Yugoslavia where he studied for 4 years with Dubravka Tomsic, a distinguished student of Arthur Rubinstein. In 1987 he
Helen Sim, pianist, began her studies at the age of six under Juliette Eisenmann in New York.
and from the age of eight, studied at the Ferenc
She then was enrolled in the Hof-Barthelson
competitions in Yugoslavia and in Italy and has
Music School in Scarsdale, New YoTk, to study with Mary Helton. There she frequently pertormed in public concerts and solo recitals. Helen made her debut at the age of ten performing the Mozart "Coronation" Concerto in Carnegie Recital Hall as a result of winning a Korean Music Competition in New York.
recorded for all major radio and television
At the age of thirteen, Helen entered the Pre
stations in both countries. Since 1976, he has extensively pertormed in solo recitals in
College Division of the Juilliard School to study with Naumburg winner Jane Carlson.
received his MA from Belgrade Academy of Music. He is currently a student of John Perry at the University of Southern California, USA. He has won many first prizes in national piano
orchestras in Yugoslavia.
She has been the first prize winner of numerous competitions, including the Juilliard ConcertoCompetition and has performed with
He is the founder and Music Director of the
many orchestras.
Yugoslavia, Italy, Spain and Austria and has performed as soloist with all the major
International Summer Pian0
Festival in
Helen has earned both her Bachelor and her
Master of Music Degrees at Juilliard where she
Zemomo Slovenija, Yugoslavia.
studied with the world-renowned Russian PROGRAM STAGEI RECITAL Paganini Etude No.2 Andante Favori Etude Op.25 No.10 STAGE I
concert pianist Oxana Yablonskaya. Liszt
Beethoven
Chopin
RECITAL
Prelude No.1 Book 1Danseuses de Delphes' Adagio KV540
Rigoletto Paraphrase STAGE II RECITA
Mozart
Three Macedonian Dances Variations on a theme of Corelli
Mozart
Srebotnjak Rachmaninov
SEMI-FINALS
RECITAL Sonata Op.110 in Ab Major
1990 1st Prize Senigallia Intemational Piano
Competition, Italy
Bach Chopin
Rachmaninov Rachmaninov
Mussorgsky
CHAMBER MUSIC Violin Sonata in A Major
Franck
Fantasie Op.49 La Campanella STAGE II QUARTER-FINALS
Mozart
Brahms
Chamber Music Competition in Caltaisetta (Italy) in 1990. Public performances include
solo and chamber music recitals in Hungary and Austria, and many broadcasts for Radio
Budapest.
He has recently been awarded a scholarship from the German Government to studywith
Karl-Heinz Kämmerling at the Hochschule für Musik und Theater in Hanover. Dohnányi Competition, Budapest, Hungary
TAGE II RECITAL Prelude No.5 Book II 'Bruyères' Impromptu No.2 Op.90 in E° Major
Pictures at an Exhibition
Concerto KV453 in G Major Concerto No.1 Op.15 in D Minor
Young Pianists Competition, 1983, and second prize in his piano trio, at the International
PROGRAM STAGEI RECITAL Toccata in D Minor Etude Op.l0 No.l Prelude Op.23 No.4 Prelude Op.23 No.2 Prelude No.8 Book 1 'La fille aux cheveux de lin'
TWO CONCERTOS
Béla has won several awards, including third prize in the Senigallia (Italy) International
PROGRAM STAGEI RECITAL
STAGE II RECITAL
FINALS
György Kurtág and Ferenc Rados.
1990 Prizewinner World Music Masters, Paris, France 1990 5th Prize UNISA Intemational Piano Competition, Pretoria, S. Africa
Beethoven
STAGE V
Liszt Academy, Budapest. When he entered the Senior Department, aged sixteen, he also received tuition in chamber music, from
AWARDS 1991 Ist Prize Ferenc Liszt Academy
AWARDS
Verdi Liszt
QUARTER-FINALS
Sonata KV333 in BD Major
STAGE IV
Debussy
Béla Simon began studying the piano in 1971
RECITAL Sonata KV576 in D Major Three Intermezzi Op.117 Sonata (1952] STAGE IV SEMI-FINALS RECITAL Sonata Op.53 in C Major "Waldstein' Ballade No.4 Op.52 in F Minor Sonata Fantasy Op.19 CHAMBER MUSIC Violin Sonata Op.108 in D Minor STAGE V FINALS TWO CONCERTOS Concerto K491 in C Minor Concerto No.l Op.ll in E Minor
34
Debussy Chopin Liszt/Paganini
Etude 'Waldesrauschen' rantasie in C Major
Ballade No.1 Op.23 in G Minor
Mephisto Waltz No.l STAGE II QUARTER-FNALS RECITAL Sonata KV31 l in D Major 5 Piano Pieces Op.3
Allegro Barbaro Suite Op.l4 L'isle joyeuse STAGE IV
Liszt aydn
Chopin
Debussy
Schubert Liszt
Mozart
Kurtag
Bartok Bartok Debussy
SEMI-FINALS
RECITAL Mozart Brahms Ginastera
Sonata Op.27 No.2 in CH Minor "Moonlight' Sonata in B Minor CHAMBER MUSIC
Cello Sonata
Beethoven
Chopin
Scriabin
Brahms
Mozart
Chopin
STAGE V
Beethoven Liszt Debussy
FINALS
TWO CONCERTOS Concerto KV467 in C Major Concerto No.5 Op.73 'Emperor
Mozart Beethoven
SYDNEY INTERNATIONAL Piano Competition of
Australia WEI-YI YANG TAIWAN
LEV VINOcoUR ELISAVETA
RUSSIA
SMIRNOVVA
RUSSIA
3.8.70 St Petersburg, Russia
18.3.71 Taiwan
Lev Vinocour's first music lessons were given
A young pianist from Taiwan, Wei-Yi Yangis
68.72 Mascow, Russia musical
her Smirnova pursued of Music in School Gnessin at the studies Conservatoire in TchaikOvsky Musik Moscow the and the Hochschule tür Elisaveta
Moscow
Mozarteum
in
Kantor,
Salzburg. She
Ada
l raub,
Lev
studied under Naumon
and
entered the
Petersburg Conservatory. While still a student,
he made a number of radio and television
recordings as well as giving many pertormances around the Soviet Union.
Anna Karl-Heinz K mmerling.
in
concerts Sbe has pertormed in orchestral has recitals in Great Britain,
and had broadShe has made Germany and Austria. radio and television in casts and recordings toT recordeda compact disc. USSR and bas AWARDS National 1991 1st Prize of the Scholarship London Power World Piano Competition, 1991 3rd Prze Intemational Piano the USSR
Compeition Cita di Marsala', Italy
He has also had
concert tours in Finland, Italy, France, Germany and Poland. In 1988, Lev won the second prize in the All-Union Youth Piano Competition in Tbilisi. He is currently enrolled in the Piano Department of the Moscow Conservatory, studying with Professor Lev Vlasenko.
currently a scholarship student of Arkady
Aronov at the Manhattan School of Music. In 1989 while he was still a student at
Manhattan's preparatory division, he received the Hay dn Smith award as well as the Hennessy Scholarship of Performing Arts.
Then in 1990, as a freshman he won the
Manhattan Concerto Competition, and
consequently performed as the soloist with the Manhattan Symphony Orchestra. In 1991, he won the top prize of the Fivetown Arts Foundation Piano Competition and also received the Cash Prize from the San Jose
International Piano Competition tor his
AWARDS 1991 4th Prize 13th International Piano
performance of the Rachmaninov Second the prestigious Yamaha Young Artists Performance Series, and is also scheduled to Concerto. Mr. Yang is invited to participate at
Competition, Epinal, France
1991 4th Prize 43rd International "Busoni" Competition, Bolzano, Italy
PROCRAM STAGEI
to him by his mother, and at the age of 7, he special music school of St
perform in 1992 in New York City.
RECITAL
Two Klmerstücke D946 Eude Op. 10 No.l
Emde Gnomenreigen STAGE I RECITAL Prelnde No.1 Book I Broulliards'
Schezo No20p31 in BD Minor Dre Sonatena STAGE I QUARTER-FINALS RECTTAL
Sonata KV330 in C Major Besso Ostinato Scnaa No2 Op.36 in BD Minor
STAGE IV SEMI-FINALSS RECTTAL Sonata D958 in C Minor
De Müller und det Bach' and Erikónig
Hunganan Rhapsody No.12
CHAMBER MUSIC Op.108
V2olun Sonata
STAGE V FINALS
in
D Minor
Schubert Chopin Liszt
PROGRAM
STAGE I Scarlatti Roussel Liszt
Sonata in F Minor
Sonatina Op.16 Debussy Chopin Scarlatti
Etude No.10 in F Minor
(Transcendental) STAGE II RECITAL Prelude No.12 BookII 'Feux d'artifiçe'
Prelude and Fugue No.8 Book I in Eb Mozart
Schedrin Rachmaninov Schubert Schubert/ Liszt Liszt
Minor Three Pieces from 'Cinderella' STAGE II RECITAL
Sonata KV280 in F Major Fantasia Quasi Sonata 'Après une
Mozart
Bach Prokofiev
Mozart
SEMI-FINALS
RECITAL
Beethoven Prokofiev
CHAMBER MUSIC Cello Sonata Op.99 in F Major STAGE V FINALS TWO CONCERTOS
Concerto KV595 in BD Major Concerto No.1 Op.23 in Bb Minor
35
RECITAL
Etudes Tableaux Op.39 No.l in C Minor Rachmaninov Etude Op.42 Nos. 4 and 5 Ballad No.4 Op.52 in F Minor STAGE I RECITAL Prelude No.12 Book I Minstrels' Chasse-neige (Transcendental Etude No.12 Spinning Chorus STAGE II QUARTER-FINALS
Scriabin
Chopin Debussy Liszt
Wagner/Liszt
RECITAL
Shostakovich
Liszt
lecture du Dante
Sonata Op.101 in A Major Suite from 'Romeo and Juliet'
Saint-Saens
Debussy
QUARTER-FINALS
Prelude and Fugue Op.87 No.15 in D Major
STAGE IV Brahms
TWO CONCERTOS
Concerto KV595 in B° Concerto No.2 Op 22 inMajor G Minor
PROGRAM STAGE I RECITAL
Brahms
Sonata Op.81A 'Les Adieux'
Prelude and Fugue Sonata No.2 Op.36 in BD Minor STAGE IV
Beethoven
Schnitke Rachmaninov
SEMI-FINALS
RECITAL
Sonata KV570 in BD Major Ondine' from Gaspard de la Nuit Variations on a theme of Schumann
Op.9
Sonata No.7 Op.83 in BD Major CHAMBER MUSIC Cello Sonata Op.69 in A Major
Mozart
Ravel Brahms Prokofiev Beethoven
STAGE V FINALS TWO CONCERTOS.
Mozart
Tchaikovsky
Concerto KV595 in Bb Major Concerto No.2 in A Major
Mozar
Liszt
STEPHAN ZIND
HIROSHI ARIMORI
NETHERLANDS
JAPAN
25.10.66 Okayama, Japan
19.1.69 Venice, Italy
Hiroshi Arimori graduated from Tokyo
Michele Bolla studied at 'A. Steffani' Conser-
25.10.64 Weert, The Netherlands After
primary piano studies, Stephan Zind
came to the Frankfurt Conservatorium under
Prof Niederste-Schee at the age of 12 years. After a successful debut with the works of Bach, Beethoven and Chopin in the "Sparkasse 1822" arranged by the Musicians' Association of Frankfurt in 1980, he enrolled under Prof L.
Hokanson (USA)in and his assistant Hiroko the Frankfurt State Music Maruko (Japan)
High School. In 1982, he participated in a successful tour with the German-French Youth Symphony Orchestra where he played Beethoven's first
Piano Concerto. He has had master classes
with Elisso Wirsaladse (Tchaikovsky Conser-
vatorium, Moscow) in 1984-1985. This meeting and friendship has influenced him
MICHELE B0LLA ITALY
National University of Fine Arts and Music and is currently pursuing a post-graduate degree there. As a student, he studied under Hitoshi Kobayashi, Yozo Mizumoto and Toshiko Nogami. As a competitor, he won first prize in the Sanyo Students Competition
in 1979, 1980, 1981, 1983 and l1984 and also gained third prize in the Young Pianist Competition in Japan in 1979. In 1991, he the Polish National Radio
performed with Symphony Orchestra.
AWARDS 1990 Best Performer Prize, 12th International Chopin Piano Competition, Warsaw, Poland.
greatly. Also in 1985, he had master classes
PROGRAM STAGE I RECITAL
with Karl-Heinz Kämmerling and gave a recital
Etude Op.25 No.12
Chopin
in Wigmore Hall, London. He has had regular concert, television and radio performances in Italy, England, Germany and the USA.
Noctume No.2 Op.33 Thème Varié
Poulenc
PROGRAM STAGE I RECITAL Sonata in D Major
Scarlatti
Etudes Tableaux No.5 Op.39 in ED Minor
Mephisto Waltz No.l STAGE II RECITAL Etude Op.8 No.2 in F Minor Prelude No.12 Book 1 'Minstrels
Ballade Op.52 No.4 in F Minor
Sonata Hob XVI/52 in ED Major
Rotkehlchen'
Scriabin
Debussy Chopin
Haydn Messiaen
Sonata No.6 Op.82 in A Major STAGE IV RECITAL
Prokofiev
SEMI-FINALS
Sonata Op.8IA in ED Major 'Les Adieux'
Sonatas in F Minor and D Minor Sonata in B Minor
CHAMBER MUSIC Cello Sonata Op.69 in A Major STAGE V
STAGE II RECITAL Prelude No.7 Book 1 "Ce qu'a vu le vent d'Ouest' Etude Op.42 No.5 Fantasie Op.49
Scriabin
Chopin
STAGE III QUARTER-FINALS Sonata KV 333 in BD Major La terre est bleue comme une Orange... Mephisto Waltz No.l
STAGE IV SEMI-FINALs RECITAL Sonata Op.27 No.l in ED Major Variations on a theme of Corelli Allegro de Concert Op.18
CHAMBER MUSIC Violin Sonata in A Major STAGE V FINALS TWO CONCERTOS Concerto KV491 in C Minor Concerto No.l Op.1l in E Minor
Beethoven Scarlatti Liszt Beethoven
FINALS
TWO CONCERTOS Concerto KV491 in C Minor Concerto No.l Op.23 in B° Minor
Debussy
Mozart
Tchaikovsky
36
M Francesco Bencivenga. He has given concerts
as soloist and in chamber music ensembles in several important cities in Italy and Romania,
and has also taken part in radio and television programs.
Michele Bolla established himself by winning the first prize in a number of national competitions (i.e. "F. Schubert' in Moncalieri, "P. Cafaro" in Galatina.
AWARDS 1991 Ist Prize 'ARAM' (Selection for pianists for concerts abroad) Rome, Italy. PROGRAM STAGEI RECITAL
Etude Op.25 No.12 Adagio KV540 Scarbo from 'Gaspard de la Nuit'
STAGE II RECITAL Prelude No.2 Book I 'Voiles Scherzo No.l Op.20 in B Minor
Preludes Op.32 Nos.10- 12
Chopin Mozart Ravel
Debussy
Chopin
Rachmaninov
STAGE II QUARTER-FINALS
RECITAL
RECITAL Rachmaninov Liszt
STAGE II QUARTER-FINALS RECITAD Petites Esquisses d' Oiseaux ' Das
Fauré
vatory in Castelfranco Veneto where he graduated with honours under the guidance of
Mozart
Ikebe Liszt
Sonata KV330 in C Major Four Capriccios Op.51 and Four
Preludes Op.16 Four Klavierstücke Op.119
STAGE IV SEMI-FINALS
Mozart Mosca
Brahms
RECITAL Beethoven Rachmaninov Scriabin
Franck Mozart
Chopin
Sonata Op.53 in C Major "Waldstein' Sonata No.2 Op.35 in B° Minor
CHAMBER MUSIC Cello Sonata Op.99 in F Major STAGE V FINALS TWO CONCERTOS Concerto KV453 in G Major Concerto No.l Op.23 in B° Minor
Beethoven Chopin Brahms
Mozart
Tchaikovsky
SYDNEY INTERNATIONAL Piano Competition
Australia RUEI-BIN CHEN
YA-FEI CHUANG
AUSTRIA
TAIWAN
OLIVIER CAZAL
FRANCE
20.1.62 Toulouse, France
the
Cazal began leaming Olivier the National life and entered
piano
early in
Conservatory
of
guidance of Toulouse under of 12, in a of t h e age the region At Medal, Gold Flauw. the Evelyne earmed unanimous
decision,
the
he
top honours.
National
Conservatoire under Pierre He Musique in Supérieur first prize i n piano, the in 1981 won Sancan and also receiving
entered the
Paris
de
decision, again by unanimous in chamber music.
He has since and the first prize competitions international entered many Belgium, in France, concerts has pertormedGreece, Japan, South Africa,
Italy, Spain, England, Canada
and USA.
AWARDS
1990 Ist Prize
UNISA Competition, Pretoria,
20.9.70 Taiwan
his piano studies at the Ruei-Bin Chen started at has He been studying Vienna's
Ya-Fei Chuang had her first piano lessons Her first public she was five years old. when recital was given at the age ot 9 and at the age
a age of five. since 1981, earning Music Conservatory first-class honours. Further
with
diploma
Special Jury Prize W. Park, Maryland, Kapell Competition, College USA
the Hanover, Germany;
to
studies took him Austria; and Hochschule für Musik, Vienna with Jorg Demus, Fou T'song master courses Arie
Gyorgy
Sandor, Tatjana
Nikolaewa
and
Vardi.
as soloist with he performed At the age of 10Orchestra of Taipei. He has a the Symphony and soloist long history of solo Haus, concerts
Konzert
at pertormances with orchestras Chopin Festival, Musikverein, International and the
in the Salzburg Festival in Austria of Italy, Greece, Spain, capitals musical In the Far
and Switzerland. Belgium, Germany and in Europe East including China and Japan he has given many and North America concerts and
. Africa 1990 Boucher Prize and
classes.
master
International
Music of Prize of the Festival
the
RECITAL
SonataNo.2 op.36 in BD Minor (1931) Reveric des Scènes d'Enfant
STAGE II RECITAL Prelude No.12 Book I 'Minstrels Toccata Op.11 Rondo KV51l in A Minor Etude Op.12 No.4
Chopin
Rachmaninov Schumann
Debussy
Prokofiev
Mozart Prokofiev
Sonata Hob XVI/23 in F Minor Theme Vane (1951 Sonata No.7 Op.83 in BD Major
Haydn Poulenc Prokofiev
STAGE IV SEMI-FINALs
RECITAL
Sonata D960 in BD Major
Mouvement
CHAMBER MUSIC
Cello Sonata Op.69 in A Major STAGE V FINALS TWO CONCERTOS Loncerto KV491 in C Minor Concerto No.3 Op.26 in C Major
Schubert Sancan
Beethoven
Mozart
A year
prize of the Competition
abschluß'prüfung as a student of Prof Robert Levin with honours and is currently studying with Prof Gililov in Cologne. She has with
classes participated in many master John Perry and such as Gyorgy Sebok,
teachers
Leon Fleisher.
AWARDS
1989 2nd Prize International Piano
Cologne, Germany
Competition "Tomassoni',
Prelude
USA Piano Competition, Intemational Piano Prize First 1990 Competition, Rome International Bellini Piano 1988 First Prize
Competition, Italy Vienna 1986 First Prize Competition, Austria
International
No.10
Etude pour les arpeges composes de la Nuit
Scarbo trom
'Gaspard
STAGE II
RECITAL
La terrasse des Prelude No.7 Book II audiences du clair de lune' No.3 Book I in C" Prelude and Fugue
Major
Minor
RECITAL Sonata KV310 in A Minor
Chrysanten Three Movements
STAGE IV
Petrushka
trom
Sonata i B Minor CHAMBER MUSIC
Op.30
'Le
Tombeau
in
D Minor
Ravel
RECITAL
Schumann terrasse
des
Debussy
Prokofiev
Toccata Op.11 $TAGE III
Chopin Debussy Ravel
QUARTER-FINALS
Three Short Fantasies Sonata KV333 in B° Major
Bach
Chopin
Sonata
Op.78 D894
in G Major in B Minor
Sonata No.3 Op.58 CHAMBER MUSIC
Cello Sonata Op.I17 STAGE V FINALS
Beethoven
Mozar
Rachinaninov
Concerto
KV453 in
Chopin Fauré
G
Concerto in G Major
Schubert
in G Minor
Mozart
TWO CONCERTOS
Mozart Durlet Stravinsky
Liszt
SEMI-FINALS
RECITAL
Debussy
Wyner Mozart
Funérailles STAGE IV
FINALS
Concerto No.3
(trom
Toccata
audiences du clair de lune'
Piano
Franck
Concerto KV467 un C Major
Bach
Chopin
Three Romances Op.28 La Prelude No.7 Book II
Violin Sonata in A Major TWO CONCERTOs
F"
de Couperin') STAGE II
Liszt
'Appassionata
Scriabin in
Etude Op.25 No.10
Forlane and
SEMI-FINALS
RECITAL Sonata Op.57 in F Minor
STAGE V
14 Book II
RECITAL
PROGRAM STAGEI RECITAL
Etude Op.10
No.
and Fugue
Minor
Competition, Italy International 1987 First Prize Stressa
B° Scherzo No.2 Op.31 in STAGE IlI QUARTER-FINALS
Prokofiev
Prize.
PROGRAMM
STAGE II QUARTER-FINALS
NECITAL
later she won the tirst for Young Musicians she moved to of Taiwan. At the age of 13, at the Musikhochschule to study Germany Hatz and Freiburg with Professors Sabater, she passed the Hochschul1991 In Hazay. Music
$TAGEI RECITAL Minor Etude Op.42 No.5 in C"
Salzburg Music
International
Etude Op.10 No.1
of 10 she won the Chung-Hua Television
AWARDS 1991 Promotions
1991 Prize winner The Gina Bachauer
PROGRAM STAGEI
27.12.67 Taiwan
Major
Ravel
HANNA CYBA
RICHARD DoWLING
POLAND
USA
MARK CLINTON
USA
10.12.63 Maryland, USA
14.7.64 Tarnowskie Gory, Poland
Mark Kennerly Clinton began his piano studies
Hanna Cyba began learning plano at age six and studied under Halina Krzysztofik in the
at age four and entered the Peabody Conservatory on scholarship at the age of eight. There he studied for eight years with Julian
Martin, before continuing his studies with the Fleisher. Dr world-renowned pianist Leon Clinton received both his Bachelor of Music and Master of Music degrees from Peabody. In
May 1989, he received the Doctor of Musical Arts degree from the Shepherd School of Music Rice University, where he studied under the at direction of Master-Teacher John Perry. He has also studied with Carlo Zecchi and Tatiana Nikolayeva at the Mozarteum in Salzburg,
Basic Music School in Tarnowskie Gory trom
1970 to 1977. From 1977 to 1983, she studied with Marta Czerewko in the K. Szymanowski Secondary Music School in Katowice. She the began her higher musical studies with renowned Jan Ekier at the F. Chopin Academy of Music in Warsaw, Poland in 1983, receiving her Master's Degree in 1988,and high honours on her final diploma recital. She performed often in Poland, in recitals and with orchestras, Czestochowa Philharmonic Orchestra, 1982, Silesian Philharmonic Orchestra, 19831.
Was app0inted to the position of artist-in-
PROGRAM
STAGEI RECITAL
Maryland.
pertorming
He continues to pursue an active career throughout the United
States.
Etude Op. 10 No.4 in C" Minor Sonata K24 in A Major Transcrnptions from "The Fly1ng
STAGE II
1991 Robert Turk Award - Joanna Hodges Piano Competition, Calif. USA 1987 Baldwin Prize; Maurice Hinson Prize, Arts
Council Prize - W. Kapell International Piano
STAGE II QUARTER-FINALS
Competition, College Park, Maryland,
RECITAL
USA.
Sonata in D Major
Dance Vive
PROGRAM
STAGEI RECITAL Etudes Tableaux Op.39 No.3 Sonatas L238 and L428 Ballade No.4 Op.52 in F Minor STAGE II
Variations Op.35 °Eroica
Rachmani1nov Scarlatti
Chopin
RECITAL
Prelude No.8 Book II Ondine' Rondo KV511 in A Minor Klavierstück Op. 11 No.l
Debussy Mozart
Schoenberg
STAGE IV
STAGE V
STAGE III QUARTER-FINALS
TWO CONCERTOS
Concerto KV467 in C Major Concerto No.4 Op.58 in G Major
Partita No.l in B° Major Sonata KV457 in C Minor Song and Dance |1987| STAGE IN
RECITAL and tive posthumous etudes CHAMBER MUSIC Cello Sonata Op.69 in A Major STAGE V FINALS TWO CONCERTOS Concerto KV467 in C Major Concerto No.4 Op.58 in G Major
Debussy Chopin
1985 National Winner MTNA Collegiate Wurlitzer Competition
kotiev
Haydn
Kisielewski Beethoven Beethoven
Schumann Debussy
Mozart
Beethoven
PROGRAM STAGEI RECITAL Sonetto 104 del Petrarca Waldesrauschen Etude Variations Seérieuses Op.54 STAGE II RECITAL Rondo K485 in D Major Prelude No.2 Book I"Vo1les
Scherzo Op.54 No.4 in E major Toccata Op.15
Beethoven
Mozart Beethoven
Mozart
Debussy
RECITAL Sonata K332 in F Major Four Songs Without Words Op.19 No.l in E Major Op. 67 No.2 in F# Minor Op.67 No.5 in B Minor Op.6
Schumann
Mendelssohn
Ravel
La Valse
Rorem
Beethoven
Liszt Liszt
STAGE II QUARTER-FINALS
Mozart
SEMI-FINALS
Sonata Op. 109 in E Major Symphonic Etudes Op.l3
AWARDS
FINALS
RECITAL
ach
LiSzt Wagner
1991 1st Prize Fourth San Antonio International Keyboard Competition, Texas, USA
SEMI-FINALS
RECITAL Sonata Op.2 No.3 in C Major Fantasy Op.17 in C Major CHAMBER MUSIC Cello Sonata
are
Chopin bcarlatt1
RECITAL
Prelude No.5 Book II 'Bruyères Ballade No.2 Op.38 in F Major Toccata Op.11
with orchestra.
instruappears in numerous collaborative New York City, in recitals and vocal mental where he currently resides.
Dutchman" Spinning Wheel and Ballade
AWARDS
and
solo recitals concerts in Upcoming concerto pertormances
Symphony, the Oklahoma City Philharmonic, Abilene Symphony, and the Laredo the Philharmonic. Additionally, Mr Dowling8
residence at Salisbury State University, where he was involved in a variety of musical
He recently completed a recital series in France and appears regularly across the United States
York at Lincoln Center, the San Antonio
1988 Bronze Medal International Phano Recording Competition, Texas, USA
CurTently, he is pianist-in-residence programs. at the Aspen Institute in Queenstown,
Richard Dowling studied at Yale University and was honoured with the Lockwood Award for performing the best recital and the Simonds Award for outstanding solo and ensemble playing. He holds a Doctor of Musical Arts degree in piano pertornmance rom The Univer sity ot Texas, and has also studied at Le Conservatoire de Musique in Nice, France. Mr Dowling formerly held the Walles Endowed Chair as artist-in-residence at Lamar University.
scheduled with the Jupiter Symphony in New
AWARDS
Austria.
During the 1989-1990 academic year, Clinton
6.9.62 Texas, USA
No.4 1n
major
STAGE IV SEMI-FINALS RECITA Sonata K517 in D Minor Fugue K417 in D Minor Sonata Op.54 in F Major Nocturne Op.16 in B° Major Sonata No.3 Op.58 in B Minor CHAMBER MUSIC Violin Sonata Op. 108 in D Minor
STAGE V
Mozart
Mendelssohn
Chopin
Muczynski
Scarlatti Scarlatti
Beethoven
Paderewski Chopi
Brahms
FINALS
TWO CONCERTOS
Concerto K. V595 in B° Major Concerto in G Major
Mozart Ravel
sYDNEY
NATIONAL
Piano Competition
AUSTRALIA
the David and awards including pazes the Sydney; Memorial Scholarship, Landa
er
auditions for the Is prze Competition and 3rd prize in Bachauer Gina B i c e n t e n n i a l Piano CompeAustralian the Australian
in
he
Alexander Kelly 1986 be began studies with In the Royal Academy ot Music, London. made his London debut February 1989, Carson Mozart's St john Smith's Square playing CoacertoK.488
with
the
Westminster
Chamber Orchestra. He has also appeared with he Queensland Symphony, West Australian Philharmoniic STphony and Queensland has pertormed chamber music and Orcbestras, nd recitals in Holland, Belgium and New
DUNCAN GIFPORD AUSTRALIA
3.5.64 New York, USA
Australia
67Brisbane, Qld, at the age piano studies then C e Dron began his with and with Fneda Reuther t seren to 1988. He has won 1985 Fanela Page rom Pl
Australia
ALAN GAMPEL USA
CARSON DRON
26.11.72 Sydney, Australia
Alan the
Gampel began his professional career at age ot eight playing before ten thousand
people at the Hollywood bowl. While still in high school, he was awarded the Presidential Scholar in the Arts medal by Ronald Reagan.He has studied with a group ot eminent
including Victor Aller, disciple musicians of Josef
Lhevinne, and Maria Curcio, protégée of Arthur Schnabel. At age nineteen, Alan
graduated from Stanford University where he earned degrees in History and Musicology with Honors.
In 1989 he was selected to join the Affiliate distinguished roster ot emerging young artists as a participant in the
Artists'
prestigious Xerox
Pianists Program. And in the fall, Mr Gampel performed in Moscow and Leningrad as the first pianist to the Soviet Union under the new United States/Soviet Cultural Exchange
Zealand
Program.
1990 2nd Prize Christian Carpenter Award,
then, Alan Gampel has launched an international concert career. He has made Since
AWARDS Royal Academy of Music
many appearances with American orchestras
190 Stermdale Bennett Prize, Best Performance
and has also given recitals throughout Europe,
di Romantic Work, Royal Academy of Music.
196% Churchill Fellowship for overseas study. FROCRAM STAGEI RECITAL snaas K132 azrd K107 Cncer Etude No 2 La
STAGE I RECITAL
AWARDS
Scarlatti
Legzerezza
reiue No il Book I Les tierces alternées
wtute Op 33 No 2
Hunagr an khazwrdy No 12
STAGE II QUARTER-FINALS LGTAL nea He XVI/48 un C Mayo
Pez Dramatic
Chopin Liszt
Debussy Fauré
Liszt
Haydn Banks
Liszt
n123 dei Pettatca vnaa No 5O 53
Liszt
TAGATV SEMLINALS iTAL vnas DTtA
in
A Minun
Scriabin
LINZt
Lia, 'vnata
TAMAV 1NALS
Debussy
TWO CONCENTOS
RATuV7 in CMay 15
in
D Mino
1989 lst Prize New York Chopin Piano Competition, USA . 1991 Special Mozart Bicentenary Prize Dublin International Piano Competition, Ireland. PROGRAM STAGEI RECITAL Etude Op.25 No.11 in A Minor
La Campanclla
Etudes Tableaux Op.33 No.6 STAGE II RECITAL Prelude No 5 Book I 'Les collines
d'Anacap
Sonata in C Major
Islamey $TAGE III QUARTER-FINALS Schubert
CHAMBER MUSIC
nAN Ne Op
in cities such as Paris, Geneva, Hanover and Milan. He has also performed live for radio and television broadcasts in France, England and the USA.
RECITAL Sconata KV570 in B Major Two Polyphonic Pieces LaCidaren Variations Op.2 STAGEIV SEMI-FINALS
Chopin Liszt
Rachmaninov
Brahm
Sunata (p MIA in D Mayor 'Les Adieux
Debussy
Scarlatti
Balakirev
Duncan gained first place in the Section of the Broadcasting Corporation's Young Australian Pertormers
Keyboard
Competition and was named Joint ABC Young
Performer of the Year. He also won the City of Sydney Piano Scholarship. In 1990 he won two major Australian compeitions, the David Paul Landa Memorial Scholarship for Pianists and the Hephzibah Menuhin Memorial Scholarship for Pianists. As a result of these prizes he had performances
with the Sydney Symphony Orchestra, Melbourne Symphony Orchestra and the
Australian Youth Orchestra playing concertos
by Mozart, Rachmaninov, Liszt and
Shostakovich, and issued his first CD. AWARDS
1989 1st Prize Concerto and Recital Sections, Young Artists Division, World Piano
Competition, Cincinnati, USA PROGRAM STAGEI RECITAL Etudes Tableaux Op.39 Nos. I and 6 Sonatas Kl and K159 Dumka STAGE II RECITAL Prelude No.4 Book I 'Les sons et le parfums tournent dans l'air du soir Prelude and Fugue No.3 Book I in C Major Paganini Variations Op.35 Book 2
Mozart
Schedrin
Chopin
Seven Fleeting Glimpses Piece No.5 trom Romeo and Juliet
Chopin
Barcarolle Op 60
Chopin
CHAMBL# MUSIC Beethoven
Muzart
Rachmaninuv
Scarlatti Tchaikovsky Debussy Rach Brahms
Mozart
Hau
Prokotiev
Sonata Fantasy après une lecture de Liszt
Dante SEMI-FINALSs
RECITAL Sonata Op I10 in AD Major Sonata No.6 Op 82 in A Major
Beethoven Prokotiev
CHAMBER MUSIC
Debussy
Cello Sonata Becthoven
Rachmaninov
STAGE III QUARTER-FINALS RECITAL
STAGE IV
Four Mazurkas Op 17
Cells Sonata Op 69 in A Major $TAGE V FINALS TWO CONCERTOS Comcerto KV414 inA Major Mhapndy on a Theme of Paganini
Conser
vatoire. In 1989,
Sonata KV310 in A Minor
RECITAL Mozart
Duncan Gifford, 19 years of age, studied at the Sydney Conservatorium of Music Margaret Hair, and since August 1991, with with Prof Lev Vlasenko at the Moscow
STAGE V
FINALS
TWO CONCERTOS Concerto kV459 in F Majr Concerto No I in ® Major
Mozart Linat
After
DANIEL GORTLER ISRAEL
IVO JANSSEN NETHERLANDS
RUSTEM KHAIRUTDINov
12.4.65 Tel-Aviv, Israel
13.7.63 Venlo, The Netherlands
23.6.68 Kazan, Russia
studying with Israeli piano
teacher
RUSSIA
Ivo Janssen studied with Jan Wijn at the
Naomi Hacohen, Daniel Gortler graduated trom the Rubin Academy of Music at the Tel Avi University and the Hannover Musik hochschule, studying with Prof Arie Vardi.
Sweelinck Conservatory in Amsterdam, where he graduated with distinction in 1987. In 1986
He has
Was a semi-tinalist in the Queen Elisabeth
played
with all
the leading Israeli with the Berlin Radio
orchestras and appeared Orchestra, the Bavarian Radio Orchestra, the
NDR Orchestra, the Swiss Romande Orchestra, and many others in Europe.
he had already won the celebrated Tromp Piano Competition and not long after that he
Competition. In his own music series in the Concertgebouw in Amsterdam, dedicated to works by Brahms and Hindemith.
90/"91, he had
chamber
ltaly and other European countries. Gortler
Among many others he played with Heinrich Schitf, Nobuko Imai and Han de Vries. For
recently played
Globe he made
He has given recitals and concerts in Germany, in
the Rubinstein Festival in
Tel Aviv under Zubin Mehta, and in the Mozart Festival with the Houston Symphony Orchestra under the baton ot Christoph
Eschenbach. Along with his budding concert career, Daniel Gortler has won many prizes, including the
1984-85 Clermont Award of the America-lsrael
Cultural Foundation, the third prize of the Geneva International Competition, the second prize in the Munich International Comp-
number recordings including Brahms, Prokotiev, Chopin, and of
a
Hindemith's Ludus
Tonalis, which
Scherzo No.4 Op.54 in E Major Two Interludes and One Fugue (trom Ludus Tonalis) STAGE III
audiences du clair de lune'
Two Preludes Op 23 No.4 and No.5 Lieder Bearbeitungen STAGE III QUARTER-FINALS RECITAL Sonata KV31l in D Major
Mazurka Mazurka Op.24 in BD Minor Sonata No.2 Op.19 in G" Minor STACE IV SEMI-FINALS RECITA Sonata Op. 109 in E Major Fantasy Op. 17 CHAMBER MUSIC Cello Sonata Op.69 in A Major
Chopin Schubert
Debussy Chopin Hindemith
QUARTER-FINALS
RECITAL Sonata KV282 in ED Major
Mozart Dohmen
Prokofiev
Berg
STAGE IV SEMI-FINALS RECITAL Sonata Op.28 in D Major
Beethoven
Liszt/Schubert
Etudes Op.25 Nos. 1-12
CHAMBER MUSIC Violin Sonata Op.108 in D Minor
Chopin Brahms
STAGE V FINALS Mozart Razinski
TWO CONCERTOS Concerto KV414 in A Major Concerto No. 3 Op.26 in C Major
Chopin Scriabin
Beethoven Schumann Beethoven
STAGE V FINALS TWO CONCERTOS Concerto KV467 in C Major
Mozart
Concerto No.2 Op.83 in BD Major
Brahms 40
Debussy
RECITAL Sonata KV333 in BD Major
Mozart Prokofiev
STAGE IV
Ravel
Kreisler/Rachmaninov Mozart
Prelude and Fugue Op.87 in E Minor
Prelude, Toccata and fugue Sonata No.2 Op.14
Debussy Rachmaninov
Ondine' from Gaspard de la Nuit Prelude No.7 Book I 'Ce qu'a vu le
Sonata No.7 Op.83 in B° Major
Liszt
RECITAL
Liszt
STAGEII RECITAL
STAGE II QUARTER-FINALS
Brahms
Scarlatti
Chopin
1987 Semi-finalist, Queen Elisabeth International Piano Competition, Belgium
Moment Musical No.6 STAGE II RECITAL Prelude No.5 Book II "Bruyères'
Prelude No.7 Book II 'La terrasse des
Etude Op.25 No.10 Hungarian Rhapsody No.12
vent d'ouest
STAGEI RECITAL Etude Op.25 No.10 Paganini Variations Op.35 Book II
STAGE II
RECITAL
Two Sonatas, D Minor and D Major
Liebeslied
AWARDS 1991 2nd Prize (no lst awarded) Bremen International Piano Competition, Germany 1989 The Gina Bachauer Prize 1987 1st Prize Vina del Mar International
Schubert
PROGRAM
STAGEI
Competition, Belgium
PROGRAM
PROGRAM STAGE I RECITAL Impromptu Op.142 No.2 in A Major Chasse-neige (Transcendental Erude No.l2 Sonata No.
Conservatory |class of Protessor L N Naumov).
AWARDS 1986 First Prize, Benelux Tromp Piano
etition.
Competition, Chile
was
regarded by far the best recording of this work by the Hindemith Institute.
Rustem Khairutdinov began his music studies a very early age and in 1975 he from Central Musical School in Kazan.graduated During his studies there (class of M Arbuzova) he gave concerts in other cities won the and prize : the best pertormer of Bach concerts in a State Competition. He pertormed with the Orchestra of Kazan State Philharmonia. He is currently studying at the Moscow State at
Shostakovich Prokotiev
SEMI-FINALS
RECITAL Sonata Op.7 in ED major La Campanella Sonata No.2 Op.36 in BD Minor
Beethoven Paganini/Liszt/Busoni Rachmaninov
CHAMBER MUSIC Cello Sonata STAGE V FINALS TWO CONCERTOS Concerto KV491 in C Minor Concerto No.3 Op.30 in D Minor
Debussy Mozart
Rachmaninov
SYDNEY INTERNATIONAL Piano Competition of
Australio MATTHIAS KIRSCHNEREIT
YOUNG-AH KIM
WOjCIECH KOCYAN
GERMANY
POLAND
KOREA
15.1.62 Dorsten, Westphalia, Germany
18.10.69 Seoul, Korea
was
Kim
borm
in
Seoul,
South
Korea at the
lessons Young-Ah and commenced piano she in 1969 the next ten years
tive age ot
Dunng
years.
At tifteen, she trequent music school, into Seoul's leading was accepted where she received Sch0ol Art High SUN-WHA in 1988.
prize-winner.
was a
her formal
education,
graduating
at
the
undergraduate Curently, Young-Ah an ot Music, Griffith Queensland Conservatorium with Max Olding. University, studying piano as 1s
She has had
numerous
recitalist, chamber soloist with
concert
musician
orchestras in
appearances
and
concerto
National
received his first piano lessons there in Windhoek. From 1978 to 1989 he studied under Prof Renate Kretschmar-Fischer at the
Northwest German Music Academy in Detmold He has been a participant in many master classes. He has been a prizewinner of the Intemational
Piano Competitions in Pretoria (1986), Bonn 1987) and Zürich (1991). Concert tours take him to various countries of Europe, East Asia and Africa. Festivals such as the Berlin
Festival, the Schleswig-Holstein Festival of
Australia.
Ausic and the Midem Classique Cannes invite him to take part in guest pertormances. He has made a number of compact disc recordings containing works by Mendelssohn, Schumann
AWARDS 1991 Semi-Finalist
Matthias Kirschnereit grew up in Namibia and
Power World
Phano Competition, London.
and Brahms. PROGRAM STAGE I RECITAL
Bach
Das Armrumer Tagebuch Op.30
Jarnach
Erude Op.25 No.ll
Chopin
STAGE I RECITAL Vanations Op.34 in F Major Prelude No.5 Book I 'Les collines
d Anacapr
Etudes Tableauw Op.39 No. STAGE II QUARTER-FINALS
Beethoven Debussy Rachmaninov
RECITAL Sonata No.2 Op.26 in F Minor Inana trom Iberia Sonata No.l
Sonata No.2 Op.36 in BD Minor
Clementi Albeniz Humble Rachmaninov
STAGE IV SEMI-FINALS
RECITAL Sonata D958 in C Minorr Sonata Op.26 in ED Minor
CHAMBER MUSIC V1olin Sonata in A Major STAGE V FINALS
Schubert Barber Franck
TWO CONCERTOS Concerto KV595 Concerto No.3
in
BD Major
Op.26
in
C Major
Mozart Prokofiev
Competition Zürich, Switzerland 986 3rd Prize UNISA International Piano Competition Pretoria, S. Africa. PROGRAM STAGE I RECITAL
Etude Op.10 No.12 Two Preludes Op.32 No.5 in G Major and Op.23 No.2 in BMajor Scherzo Op.4 in E° Minor
Chopin
Rachmaninov
Brahms
RECITAL
Prelude No.12 Book I 'Minstrels'
Schubert/Liszt
Scherzo No.2 Op.31 in BD Minor
Chopin
Debussy
QUARTER-FINALS
RECITAL Sonata Hob XVI/48 in C Major Variations Serieuses Op.54 Sonata Op.22 STAGE IV
the Szymanowski Academy of Music with Master Teacher Andrzej Jasinski. He won First Prize and special prizes in the Paderewski Piano Competition as well as special prizes in the 1985 Chopin International Competition, Warsaw. He then began an extensive concert career throughout Poland and abroad. In 199, he was awarded First Prize in the Barbara Johnson Cultural Foundation. He is now
studying at the University of Southern California with Master Teacher John Perry on full scholarship.
Haydn Mendelssohn Ginastera
SEMI-FINALS
Sonata Hob XVI/33 in D Major Etude Op.25 No.ll
Barcarolle Op.60 STAGE I RECITAL Prelude No.5 Book II "Bruyères" Sonatas K544 and K427 Concert Etude No.2 'La Leggierezza
Rigoletto Paraphrase STAGE II
Beethoven Brahms
CHAMBER MUSIC Cello Sonata Op.69 in A Major
Beethoven
STAGE V FINALS TWO CONCERTOS Concerto KV414 in A Major Concerto No.4 Op.58 in G major
Beethoven
Mozart
Rachmaninov Haydn Chopin Chopin Debussy Scarlatti Liszt Verdi/ Liszt
QUARTER-FINALS
RECITAL Sonata KV330 in C Major For Ella (1991) STAGE IV SEMI-FINALS RECITAL Sonata Op.10 No.3 in D Major Sonata No.2 Op.35 in B° Minor CHAMBER MUSIC Violin Sonata Op.108 in D Minor
Mozart
Sheriff Prokotiev
Beethoven
Chopin Brahms
STAGE V FINALS TWO CONCERTOS Concerto KV491 in C Minor Concerto No.l Op.1l in E Minor
RECITAL onata Op.27 No.2 in C* Minor bonata No.3 Op.5 in F Minor
RECITAL
Etudes Tableaux Op.39 No.
Sonata No.7 Op.83 in BD Major
Images Book1 Reflets dans l'eau' Gretchen am Spinnrad STAGE II
Chopin Competition, he continued studies at
PROGRAM
1991 3rd Prize Géza Anda Intemational Piano
STAGE II
Wojciech Kocyan began piano at age six in his native Poland. With studies the Minister of Culture Scholarship and First Prize National
STAGEI
AWARDS
Prelude and Fugue No.19 Book I
29.3.66 Poland
Mozart Chopin
XIANG-DONG KONG
EWA KUPIEC POLAND
LEONID KUZMIN
22.10.68 Shanghai, China
2.11.64 Duszniki, Poland
9.4.64 Gomel, Byelorussia
Xiang-Dong Kong started his musical training at age tive. After the Cultural Revolution in
Ewa Kupiec studied in Katowice, the Chopin Academy in Warsaw, the Royal Academy of Music in London and undertook private
CHINA
1978, he was one ot the privileged tew to be admitted into the re-opened Shanghai Conservatory ot Music, where he studied until
1988 He has made debut appearances at the Lincoln Center's Alice Tully Hall in New York, the
Concertgebouw in Amsterdam and the Ambassador Auditorium in Los Angeles. He has concertized
throughout North America,
Europe, the Middle East and Asia, and has appeared with many international orchestras. A native of Shanghai, China, he was
the
youngest prizewinner in Moscow's 1986
Tchaikovsky Competition and Spain's 1987 Paloma O'Shea Competition. Recently he has been named the Xerox/Affiliate Artist for 1992-
1994 He has been the subject of teature articles in several publications, including being teatured as a young artist in Isaac Stern's film
documentary, "From Mao to Mozart". He has appeared in a number of television and radio
productions in China. Currently, he is a third year student at the Curtis Institute of Music, studying with Claude Frank. AWARDS 1988 Grand Prize Gina Bachauer International
Competition, Utah, USA. PROGRAM STAGE I RECITAL Etude Op.25 No.11
Arabesque Op.18 Paraphrase on Waltz oft the Flowers by
Chopin Grainger
Tchaikovsky
$TAGE I
RECITAL
Prelude No 12 Book Il Feux d'artifice' Three Pieces trom Op.118 No.l Intemezzo No.2 Intermezzo No.5 Romance Toccata
Debussy Brahms
Sonata KV282 in ED Major Sonata No.2 Op.36 in B° Minor (1913 STAGE IV SEMI-FINALS RECITAL Sonata Op 78 D894 in G Major
Spanish Rhapsody
Ravel
Mozart
Muczynsky Rachmaninov
Schubert Liszt
CHAMBER MUSIC
Viol1n Sonata Op. 108 in D Minor STAGE V
Brahms
FINALS
TWO CONCERTOS Concerto KV491 in C Minor
Concerto No.3 Op.30 in D Minor
She has won prizes at the National Piano
Competition for Artistic Scholarships of the Chopin Society in Warsaw, and has pertormed concerts in Germany, Italy, France, Austria,
Mozart
Rachmaninov
Leonid Kuzmin entered ervatoire at the age ot 7,
the Minsk Cons. He won a national competition as a student and then the top prize in the
Prague Intermational
After his family emigrated he continued studies with
Piano Competition. to the US in 1981,
Nina
the Manhattan School of Music.
Svetlanova
at
He
England, Holland, Denmark and USSR. She
has pertormed two years in a row at the Festival of Two Worlds in Spoleto, Italy, at the personal invitation of Gian Carlo
Germany. Recordings include pieces by Liszt,
pertormed in over 200 concerts, as soloist with orchestra and in recital, traveling throughout
has made recordings with the Polish Radio and TV, BBC London, Austrian Radio and NDR,
Chopin and a collection of chamber music for piano and cello.
AWARDS 1991 1st Prize Franz Liszt International Piano
Competition, London 1986 Ist Prize Competition of the Festival of Polish Pianism PROGRAM Etudes Tableaux Op.33 No.6 Toccata Op.ll
Etude Op.4 in B° Minor Variations Sérieuses Op.54
PROGRAM STAGEI RECITAL Sonetto 123 del Petrarca
Chopin
Rachmaninov
Prokofiev
STAGE II RECITAL Prelude No.9 Book I 'La Sérénade
Interrompue
Competition, Budapest, Hungary
Islamey
STAGEI RECITAL
Polonaise Op.53 in AD Major
Menotti.
During the past three seasons, he has the United States, Europe and South America.
AWARDS 1990 2nd Prize Stefania Niekrasz
Etude Op.10 No.5 La Campanella STAGE II
Debussy Szymanowski Mendelssohn
Sonata No.4 Waltz by the Beautiful Blue Danube STAGE II QUARTER-FINALS RECITAL Sonata K330 in C Major
Mozart Serocki
Ballade No.4 Op.52 in FMinor
Chopin
Sonata No.2 Op.36 in B° Minor Carmen
Chopin
STAGE IV
Scherzo No.3 Op.39 in C" Minor STAGE IV SEMI-FINALS RECITAL Sonata Op. 109 in E Major Sonata No.6 Op.82 in A Major
CHAMBER MUSIC STAGE V FINALS TWO CONCERTOS Concerto KV 467 in C Major Concerto No.2 Op.21 in F Minor
Humoresque
Brahms Mozart Chopin
Debussy Scriabin Strauss/Shutz-Evler
Mozart
Rachmaninov Bizet/Horowitz
SEMI-FINALS
Don Juan Paraphrase
CHAMBER MUSIC Cello Sonata STAGE V
Liszt
Chopin Paganini-Liszt
Schedrin
RECITAL Sonata Op.53 D850 in D Major
Beethoven Prokotiev
Balakirev
RECITAL
Prelude No.12 Bookl'Minstrels'
Preludes |1952)
Cello Sonata Op. 99 in F Major
STAGE III QUARTER-FINALS RECITAL Sonata No.2 Op.22
chambermusic studies with William Pleeth.
STAGE III QUARTER-FINALS RECITAL Sonata KV457 in C Minor
Schumann
USA
Schubert
Mozart/Liszt/Busoni Debussy
FINALS
TWO CONCERTOS Concert K414 in AMajor Concerto No.1 Op23 in BD Minor
Mozart
Tchaikovskv
SYDNEY INTERNATIONAL Piano Competition of
Australia JASON LI
xUESU LIU
CANADA
P.R. CHINA
16.11.67 Toronto, Canada
9.3.66 Xian, China
Jason Li studied at the Royal Conservatory of Toronto, and the University of Toronto. Music, He has studied under Boris Lysenko, Adrienne
Xuesu Liu was born into a musical family, beginning her studies of the piano at the age of six. She was a student of the Special School of the Central Music High School, Beijing, graduating with Distinction. Until 1987, she was a full time student of Prof Pao Hwei-chao. She had her first public concert at the age of eight and has had performances in different cities of China since. In 1985, she received the Chinese Composers' prize for interpretation of
E L Y A N E L AU S S A D E
USA
25.8.60 Texas, USA
Elvane
Laussade made and thirteen,
her
orchestral
at s i x t e e n ,
had
debut at her first
ot with the Houston the age as soloist appearances w a s also the of five She Birthday Symphony Orchestra. Beethoven t h e at Richmond teatured artist with thebaton of Celebration Concert Jens Under the Symphony in Virginia. a t the Rutgers Ms Laussade appeared Nvgaard, City's Jupiter Summertest
with New York
orchestral
engagements
Symphony. Other Texas; to El Paso & Galveston, have taken her Rhode Island; Newport, Shreveport, Louisiana; and South La Jolla, California; San Diego & Brunswick, New Jersey. Orange & New critical acclaim Laussade great Ms
for
received in New York City's her stunning debut recital New and she returned to the Hall, Merkin successful solo a York City stage tor the Lincoln Center's Alice Tully appearance in she Hall. Afrequent guest of s u m m e r festivals, sUNY at at Tanglewood, Aspen, pertormed has Summertest. Ms Laussade Buttalo, and Rutgers times for television numerous has pertormed and radio broadcasts and is now preparing for her tirst commercial recording of American
Music tor solo piano. AWARDS
Shannon and S K Ang.
Among his awards are
first prize in the Margaret Caulfield Memorial Scholarship Competition (1990), and the Piano
Section Winner of the International Stepping
Stones, Canadian Music Competitions.
He
was
also a semi-finalist in the Tchaikovsky
International Competition in Moscow in 1990.
Jason Li has performed solo recitals in Canada and USA and has appeared with the York Mills Chamber Orchestra, the York Mills Symphony
Orchestra, the Toronto Chinese Chamber Orchestra, the Misissauga Youth Orchestra annd the Centennial Symphony Orchestra of Vancouver.
AWARDS
1990 Semi-Finalist Tchaikovsky International
modern music.
In 1987, she moved to Berlin and began her concert activities in Germany Besides piano performances, she is actively involved in chamber music.
She has attended the master classes of Prof Gyorgy Sebok and Prof Vladimir Krainjew, and, since 1987, has been studying under Prof Klaus Hellwig at the HdK Berlin. AWARDS
Piano Competition Moscow
1988 Semi-Finalist Nina Kay Young Pianist of Most Promise, Gina Bachauer International Piano Competition.
1991 Diploma of Honour Maria Canals Inter national Piano Competition, Barcelona, Spain. PROGRAMM STAGE I RECITAL
1987 1st Prize Paganini International Competition (Chamber music), Italy.
Etudes Tableaux Op.39 No.3
Jeux d'eau
PROGRAM
Scherzo No.2 Op.31 in BD Minor
1989 3rd Prize Memphis State Univ. Intermational Piano Competition
STAGE I
1991 4th Prize San Antonio Intermational
Prelude and Fugue No.17 Book Il in AD
Keyboard Competition
Major
Bach
Prelude No.4 Book II Les fées sont d'exquises danseuses'
Spanish Rhapsody
Liszt
ntermezzo Op.ll8 No.6
PROGRAM
STAGE II
STAGEI RECITAL French Suite No.5 in G Major
Bach
Chopin Verdi/Liszt
Rigoletto Paraphrase STAGE II RECITAL Variations 'Ah vous dirais-je maman KV265 Prelude No 12 Book 1 'Minstrels' Scherzo
Sonata K457
QUARTER-FINALS in
C Minor
Kicercare& Toccata
Rhapsody in Blue (Solo Version STAGE IV SEMI-FINALS
Mozart
Debussy
Bartok
Mozart Menotti
Gershwin
ITAL
Sonata Op. Posth. D960 Waltz trom Faust CHAMBER MUSIC
in
BD
Major
Op.83
in
Schubert
Gounod/ Liszt
Cello Sonata
Op.69 in A Major STAGE V FINALS TWO CONCERTOS Loncerto K453 in Concerto No.2 G Major
Chopin
RECITAL
B° Major
Beethoven
Debussy
Prelude and Fugue Op.87 No.15 in DD
Shostakovich
Major Paganini Variations Op.35 Book I STAGE II QUARTER-FINALS RECITAL Sonata KV330 in C Major Etude de Sonorité No.2 Symphonic Etudes Op.13 STAGE IV SEMI-FINALS
Brahms
Chopin
RECITAL
Debussy Brahms
Morel Schumann
43
Sonata KV570 in Bb Major STAGE IV RECITAL
Mozart
Wang Qian-Yi Prokofiev
SEMI-FINALS
Sonata D568 in ED Major
Schubert
Preludes No.2,3,4 and 5 Book I
Voiles' 'Le vent dans la plaine' Seriabin Beethoven Prokofiev Franck
TWO CONCERTOOS
Mozart Brahms
QUARTER-FINALS
Sonata No.4 Op.29 in C Minor Mozart
FINALSS
Concerto KV467 in C Major Concerto No.3 Op.26 in C Major
Liszt
No.9) STAGE II RECITAL
Toccata
RECITAL Etude Op.8 No.10 Sonata Op.53 in C Major Waldstein' Sonata No.7 Op.83 in BD Major CHAMBER MUSIC Violin Sonata STAGE V
STAGE II
Ricordanza (Transcendental Etude
Prelude No.12 Book II Feux d'artifice
Etude Op.10 No. 8
STAGE III RECITAL
RECITAL
Etude Op.10 No.4
Rachmaninov Ravel
Mozart Prokofiev
Les sons et les partums tournent dans
'air du soir "Les collines d'Anacapri'
Ballade Op.52in F Minor
Debussy
Chopin
CHAMBER MUSIC
Cello Sonata Op.99 in F Major STAGE V FINALS TWO CONCERTOS Concerto KV595 in BD Major Concerto in G Major
Brahms
Mozart Ravel
Competitors ANNA MALIKOVA
MAURICIO VALLINA MARTINEZ
KENT MCWILLIAMS
RUSSIA
CUBA
CANADA
14.7.65 Tashkent, Russia
27.3.70 Havana, Cuba
Anna Malikova was born in Tashkent in a
Cuban pianist, Mauricio Vallina, studied at the
tamily of musicians. She started to study
Tashkent Conservatoire in the class of T AA
Havana Conservatory with Roberto Urbay, where he graduated with a gold medal. He is a prizewinner of the "UNEAC' competition in Havana, mentioned also as the youngest
Popovich, with whom she studied till 1979.
prizewinner, and the "Amadeo Roldan"
Tom 1979, she was sent to the Central Musical School at Moscow Conservatoire in the class ot Professor LN Naumov. In 1984-89 she was a student of Moscow State Conser vatoire, where she continued her studies with Protessor LN Naumov, graduating from his
Competition in Santiago de Cuba, additional prize for the best performance of Cuban music. Since 1988 he has studied at the Moscow State Conservatory with Professor Henrietta Mirvis
music from 6 years with her mother, and later she entered a special musical school at
class, as a probationer-assistant in 1991.
Anna Malikova is a laureate of international pianist competitions. She leads a wide concert career in the USSR and abroad in Poland, Yugoslavia, Germany and Italy. Anna Malikova has made a recording of Chopin works with the firm 'Art and Electronic'. AWARDS
1990 5th Prize International Piano tition Frédéric Chopin, Warsaw.
Compe
and Irina Plotnikova.
He has pertormed in
recitals and has appeared with symphonic orchestras all over the Soviet Union. He was invited to play in intermational music festivals
at Alma-Ata and Samara and also recorded for radio and television in Russia and Cuba.
Scarlatti
Masques
Debussy
STAGE I
STAGE II
Chopin
Feux Follets (Transcendental Erude
No.5 Etude Op.42 No.5 STAGE I RECITAL Sonatas in D Major and D Minor Aufenthalt' and 'Auf dem Wasser zu
singen
Prelude No.12 Book II Feux d'artifice' STAGE II QUARTER-FINALS RECITAL Prelude and Fugue Op.87 No.2 in A Minor
Sonata KV281 in BD Major Canaval Op9 STAGE IV SEMI-FINALSs RECITAL Sonata Op.120 in A Major in F Major, A Minor and
Waltzes AD Major
Mephisto Waltz No.l Sonata No.4 Op.40 in F" Major CHAMBER MUSIC Violin Sonata Op. 108 in D Minor STAGE V FINALS TWO CONCERTOS Concerto KV457 in C Major Concerto No.1 Op.11 in E Minor
Liszt Scriabin Scarlatti Schubert/ Liszt
Debussy
Shostakovich Mozart
Schumann
Chopin
RECITAL
Rondo Op.129 in G Major Tarantella
Debussy Beethoven Liszt
STAGE II QUARTER-FINALS
RECITAL Sonata KV284 in D Major Sonata No.5 Op.38 in C Major Toccata
Mozart
Prokofiev
Tglesias
STAGE IV SEMIL-FINALSs RECITAL Sonata Op.l10 No.3 in D Major Humoreske Op.20 CHAMBER MUSIC Cello Sonata STAGE V FINALS TWO CONCERTOS Concerto KV467 in C Major Concerto No.3 Op.26 in C Major
Schubert
McWilliams studied
distinction. Previously he had completed a M. Mus Degree at the University of where his teacher was Prof Boris
During 1990/91, Kent lived in Poland where he had the opportunity of studying with Prof
Andrezj Jasinski, and of researching the
intluence of Polish folk music on the performance of Chopin's Mazurkas and Polonaises. He is currently completing a Doctorate of Music in Pertormance degree with Marc Durand at the University ot Montreal. He has appeared as recitalist, soloist with orchestra, and chamber musician in Austria,
Beethoven Schumann
Debussy
conductor Kazuhiro Koizumi and the University of Toronto Symphony Orchestra. He has pertomed in master classes with artists
such as Lazar Berman and Peter Donohoe. has been an award winner at the competitions of the Regina Symphony, the University of Toronto, and the Canadian Music
He
Competitions. AWARDS 1988 Prize Winner Porto International Piano
Competition, Portugal. PROGRAM STAGE I RECITAL Etudes Tableaux Op.39 No.9 Sonata Kl46 Nocturne Op.27 No.2 Polonaise Op.53 STAGE II
Mozart Prokofiev
Liszt
Scriabin
Rachmaninov Scarlatti Chopin Chopin
RECITAL
Prelude No.7 Book I La terrasse des audiences du clair de lune' Etude Op.8 No.2 Sonata|1962 STAGE II QUARTER-FINALS RECITAL Sonata KV576 Etude de Sonorité No.2 1966) Variations on the motif of Bach
Chopin
Toronto, Lysenko.
in Rachmaninov's Third Piano Concerto with
Debussy
Prelude No.3 Book II 'La Puerto del Vino'
RECITAL
Andante Spianato and Grand Polonaise
Kent under pianist Oleg Maisenberg at the Stuttgart Musikhochschule, receiving an Artist Diploma with the highest
Canada, France, Germany, Poland and Portugal. His professional debut was as soloist
PROGRAM STAGE I RECITAL Sonatas In D Minor (Pastorale] and D Major (Tempo di ballo) Etude Op.10 No.8 L'isle joyeuse
PROGRAMM
14.7.62 Moose Jaw, Canada
Debussy Scriabin
Schedrin Mozart
Morel
"Weinen, Klagen, Sorgen, Zagen'
Lisze
Brahms
Alborada del gracioso
Ravel
Mozart
STAGE IV SEMI-FINALS RECITAL Sonata Op. 101 Five Preludes Op. 16
Chopin
Sonata No.7 Op.83 in BD Major CHAMBER MUSIC Violin Sonata in A Major STAGE V FINALS TWO CONCERTOS Concerto K491 in C Minor Concerto No.1 Op.23 in BD Minor 4
Beethoven Scriabin
Prokotiev Franck
Mozart Tchaikovsky
SYDNEY INTERNATIONA Piono Compettition
Australia
IRINA MOROZOVA
USA
SHEET MUSIC
Brashs Pty Ltd
will provide a music Room 354 for the duration of the
shop
at
the
Sydney
Conservatorium of Music Competition Stages in the Conservatorium performed during -V Stages will be music. available
Works
for sale
as
well
other piano
as
CASSETTE TAPES
Members of the public may purchase the performances of each Stages I-IV inclusive. (This offer Competitor in cach does not include An order form is the Concerto performances). available trom the Foyer of the is that the tapels) will be Conservatorium. expected It available ordered. approximately 24 hours after being of the
21.3.66 Tyumen, Russia
the
began play1ng the piano Inna Morozova was accepted into the Leningrad of 6and a tor Gitted Children. In 1985 ot at
School
Music
she graduated trom the Rymsky-Korsakov College ot Music (Diploma with Honours|. By the time she entered the Leningrad Conservatory she had already given several recitals in Leningrad's major halls. Her principal teachers were Galina Orlevskaya, Vlad1mir Schakin, Sophi1a Vakman, Tatyana Kravchenko.
Inna Morozova was fully engaged in a protessional pertorming career before she
emigrated to the US in December 1990.
NOVOTEL SYDNEY ON DARLING HARBOUR Applaud the views. Revel in the rates. Experience the delights of a hotel worth noting!
PROGRAM STAGEI RECITAL
Erude Op 10 No.10
Chopin
Chromatic Fantasy and Fugue Sonata No.3 Op.28
STAGE
VISIBLY DIFFERENT
RECITAL
Preluáe No.5 Book I "Les collines dAnacapr Varations on a theme of Corelli
Capricio Op.76 No.5 STAGE II QUARTER-FINALS RECITAL Sonata KV576 1n D Major
Prelude and Fugue Op.87 No.13 in F* Major
anations
Bach
Prokofiev
Debussy
novotel
Rachmaninov Brahms
SYDNEY
100 Murray Street, PO Box 600, Pyrmont NSW 2009
Tel (02) 934 000 Fax (02) 934 0099 Toll Free 008 024 499
Mozart Shostakovich
on a
book I
theme by
Pagan1ni Brahms
STAGE IV SEMI-FINALS RECITA Sonata Op 109 in E Major
Beethoven
Sonata No.9 Op.68
Schumann
Davndsbundler Dances Op.6
Scriabin
CHAMBER MUSIC Vjolun Sonata
Op.108
STAGE V FINALS
in D Minor
Brahms
24 HOURS MUCH MORE THAN A RADIO GUIDE
TWOCONCERTOS
Concerto KV595 in BP Concerto in G Major Major
Mozart Ravel
In our June issue: Full details of all Sydney International Piano Competition broadcasts plus special Piano Competition features
Regular features on Music,
Literature, the Arts, Contemporary Issues.
ldeas Record Reviews Programtranscripts
National, Arts FULL program details for ABC-FM Stereo, Radio
ABC 00
RADIO
ine
musiC
on
ABC-TV
storcs naltonally
Available monthly from newsagents, AiC shops and onkr lur years subsciptiun send a chequeimoney For (021 3kH 2705 Bov 9994, Syoduey 2001. Uuquiies: 24 Hvus Subseriptions, GPO Sia
a
45
to
Previous Juries and Prizewinners 1977 Jury Australia USSR
Rex Hobcroft, Chairman
Sergei Dorensky
Australia West Germany
Sir Bernard Heinze Ludwig Hoffman Lucrecia Kasilag Eugene List Andre-F. Marescotti Denis Matthews Hephzibah Menuhin Jan Weber Wiktor Weinbaum
USA Switzerland
Jurgen Meyer-Josten
Prizewinners 1. Irnna Plotnikova 2. Svetlana Navasardian 3.Andre Laplante 4. Marioara Tritan
USSR
1. Du Ning-wu 2. Bernd Glemser 3. Thomas Duis 4. Eduardus Halim 5. Aman Wiesel 6. Ueli Wiget 7. Istvan Gulyas 8. Rita Kinka 9. David Selig 10. Michael Gurt 11. Luigi Ceci 12. Phillip Shovk
England USSR USA
Malaysia Brazil USA
Hungary Poland Australia
Special Prizewinners The Australian Newspaper Prize for Best Australian Pianist
Jeno Jando
Musica Viva
Chamber Music Prize 1981 Jury Rex Hobcroft, Chairman Claude Frank
David Selig
Bernd Glemser Thomas Duis Eduardus Halim
Australia USA
Eileen Joyce
Australia/UUK
Andre-F. Marescotti Frederick Page Cecile Ousset Abbey Simon Li Mingqiang Gordon Watson Wiktor Weinbaum Roger Woodward Prizewinners 1. Chia Chou 2. Endre Hegedus 3. Catherine Vickers 4. Daniel Blumenthal 5. David Owen Norris 6. Liora Ziv-Li 7. Marc Raubenheimer
Switzerland New Zealand
8. Patrick OByme
China West Germany Australia USA
Hungary Australia Japan China West Germany West Germany Indonesia Israel Switzerland
Hungary Hungary Australia USA
Italy Australia
Special Prizewinners
Piers Lane
9. Martin Roscoe 10. Alec Chien 11. Edward Newman 11. Yves Rault
France
Elizabeth Powell Harold C. Schonberg Peter Solymos Gordon Watson Kasuko Yasukawa
Prizewinners
USA
5. Philip Fowke 6. Manana Doidzashvili 7. Daniel Blumenthal 8. Dennis Lee 9. Diana Kacso 10. Gary Steigerwalt 11. Jeno Jando 12. Pawel Checinski 13. Piers Lane
Italy
Li Min-duo
USSR
Canada
Australia/UK
Canada
Andre Laplante
Poland Poland
Australia
Eileen Joyce CMG Marcello Abbado Nicole Henriot
Philippines England England
1988 Jury
1985 Jury Rex Hobcroft,Chairman
Cladan Cultural Exchange Institute Prize for Best Australian Pianist Lotto People's Choice Prize Musica Viva Chamber Music Prize Australian Opera Auditions Committee Prize for Best Accompanist
Rex Hobcroft,Chairman
Australia
Joan Chissell Nicole Henriot Li Mingqiang Albrecht Roeseler
England
France
China
West Germany USA
Harold Schonberg Warren Thomson
Australia
Kazuyuki Tohyama Ana Maria Trenchi de Botazzi Arie Vardi Lev Vlasenko 1. 2. 3. 4. 5. 6.
Alexander Korsantiya Riccardo Zadra Eduardus Halim David Buechner Sergei Erohin Phillip Shovk
USSR
Italy Indonesia USA USSR
Australia
7.Gilead Mishory
Israel USSR Austria Australia Israel
8. Anton Batagov 9. Matthias Fletzberger 10. Victor Sangiorgio 11. Asaf Zohar 12. Adrienne Krausz
Hungary
Special Prizewinners Phillip Shovk Hephzibah Menuhin Memorial Scholarship for the Best Australian Pianist
Alexander Korsantiya Riccardo Zadra
Reisner-Pennycuik Concerto
Prize for the Best Overall Concerto Performances Lotto People's Choice Prize Musica Viva
Riccardo Zadra
Eduardus Halim
Chamber Music Prize Alexander Korsantiya
Australian Chamber Orchestra
Prize for the Best Performance
of a Mozart Concerto The Australasian
Victor Sangiorgio
USA
Performing Rights Association Prize for the best performance
China Australia
of an Australian Composition
Poland Australia
Canada
Hungary England
MAKE FRIENDS WITH
ISrael South Africa New Zealand
England USA USA France
Special Prizewinners Daniel Blumenthal
Musica Viva Chamber Music Prize David Owen Noris Musica Viva Special Prize Phillip Shovk Yamaha Music Foundation Prize for Best Australian Pianist Alfred S. White Bequest Endre Hegedus Prize for Best
Israel
USSR
Prizewinners
France
Canada USA
apan Brazil
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S.S.O. Conductor EDOUARD CHIVZHEL
Edouard Chivzhel was born in 1944 into a highly musical Leningrad family. His
father, of Latvian descent was a noted violinist and his mother was the organistof
the
Leningrad Kirov Thcatre
Chivzhel showed exceptional talent from the carliest age and graduated from. the Leningrad Conservatoire in 1972 with the highest distinction in piano and conductin He completed three more years of post-graduate studies at the Leningrad Conservatoire
Higher Academy of Music in the prestigious conducting classes of Arvid Jansons.sthe patriarch of a whole generation of the Soviet Union's finest conductors.
In 1971, while still a student at the Leningrad Conservatoire, Chivzhel scored a remarkable success in winning the 3rd Soviet Conductor's Competition in Moscow Chivzhel's talent soon brought him to the attention of the legendary Yevgeni Mravinsku Chief Conductor of the Leningrad Philharmonic for over 40 years who took the closest
possible interest in his musical development.
From 1974 to 1977 Chivzhel worked as Assistant Conductor to Mravinsky with the
Leningrad Philharmonic Orchestra. By the late 1970s Chivzhel was appearing as Permanent Guest Conductorwith the Leningrad Philharmonic as well as conducting the
Moscow Philharmonic, the Moscow Radio Symphony Orchestra and the orchestras of Riga Talin and Gorki. He was in constant demand throughout the Soviet Union as a
brilliant orchestral coach and charismatic performer. Since the the mid 1980s career has become international, with appearances in England, Germany,
Chivzhel's
Czechoslovakia, Poland, Romania and Hungary.
In 1986, Chivzhel became chief Conductor of the Umea Sinfonietta, combining his work there with frequent appearances with the Helsingtors Symphony Orchestra and in 1988 he made his operatic debut with the Royal Swedish Opera with pertormances of "Manon Lescaut' and 'Eugene Onegin' in Stockholm.
Sweden,
Edouard Chivzhel's first Australian tour was in July 1989, when he was invited to conduct the Australian Youth Orchestra. Chivzhel achieved remarkable results with the young musicians and the series of concerts in Sydney, Melbourne and Canberra, including two performances of Prokotiev's Cantata "Alexander Nevsky' were an outstanding success. In
February 1991, following a highly
Guest Conductor with
successful two month tour of the United States as USSR State Symphony, Edouard Chivzhel
Svetlanov and the became a permanent resident of the USA.
SYDNEY SYMPHONY ORCHESTRA 1992 SYDNEY SYMPHONY ORCHESTRA DONALD HAZELWoOD AO OBE DENE OLDING cO-cONCERTMASTERS General Manager Mary Vallentine Orchestra Manager Ann Hoban Marketing & Development Manager Merryn Carter Sales & Public Relations Manager Jan Ross Accountant Christopher Griffith
Corporate Development Manager Mary Jo Capps Promotions & Advertising Co-ordinator Sean Laguatan National Systems Administrator, Concert Music Mitchell Miller AUSTRALIAN BROADCASTING CORPORATION Constituted under the Australian Broadcasting Corporation Act, 1983 Chairman Professor Mark Armstrong Deputy Chair Lyndsay Connors Director Rod Cameron
Staff Elected Director John Cleary Director Di Foggo Director Professor Richard W. Harding Managing Director David Hill Director Michael J. Terlet AO Director Janine Walker General Manager, Concert Music Helen Mills Symphony Orchestra is grateful for the assistance it receives
The Sydney Government through
from the Federal
the Australian Broadcasting Corporation, trom the NSW Govermment through the Ministry for the Arts, and from the Council ot the City of Sydney. 48
SYDNEY INTERNATIONAL Piano Competition of
Sydney S y m p h o n y O r c h e s t r a
Australia we
a
Orchestra Symphony
The
when
Sydney
932, began in
Australian B r o a d c a s t i n g C o m m i s s i o n
t
today
world the Sydney Opera House. It takes its place, along with the other major music institutions, at the centre of Sydney's and Australia's musical life.
recitals by world-renowned pianists, the lighthearted Summer Nights with the SSO, Tea
Lead by its Chief Conductor Stuart
special 60th birthday festival and Family Concerts providing popular
included a concert at the United Nations
with a special Bicentennial Tour, which
and hugely popular with Sydney concert-goers. But that's not all. Each January over 100,000
headquarters in New York. Response from the critics was enthusiastic with the Washington SSO as 'one of the
ydney-siders salute their orchestra at its open-air Symphony Under the Stars concert for the Festival of Sydney. Winners of the
know
the then
was
alian Governm by the BBC. To created established recently of Austra.
the lines the along AB present day the
the
nas
Challender, the Sydney Symphony Orchestra made a triumphant debut in the US in 1988
and
maintained t O g e t h e r with
orchestra
a n d has fostered Sydney's other states n a t i o n ' s principal hase in five be t h e time to
the
continued
at
same
concert managemert.
orchestras
Most
scene. 1947 onto
slip
onto
the
With Eugene G00SSens Conductor, its Chiet
as
the plattorm!
That
international
transtormed
leading musical force
recovering trom
a
war
isolated nation stillthe world to its doorstep. which had brought became the Orchestra Through him the of a country
bursting
with
the
artistic lite
and eager new-tound optimism the world
stage.
make its way onto at 96 Today the Sydney Symphony Orchestra and busiest, is the country's largest players the buildings of the to
resident in
one
ot
Donald Hazelwood A0,
great
OBE
separate concert series, the EPSON Master
uncertain
an
and unique studio players dynamic a body of seventy-two 1nto givers occasional concert baton it Under his symphonic ensemble. in a small
spearhead of
This year the Orchestra presents eleven
and
remarkable
conductor
became the
Express proclaiming the world's finest orchestras'.
appointment in the SSO leapt
Series and EPSON Mozart Master Series representing a broad sweep of the symphonic masterpieces; Great Classics with its popular 'landmark' works; 20th Century Orchestra showcasing symphonic works of our time with a special emphasis on premieres and first of
familiar with new
offering some of the world's greatest musicians
HORNS Robert Johnson (Principal) Lee Bracegirdle (Associate Principal) Bernard Hillman
CELLOS
Mayor Gorbatov
Douglas Trengove (Principal 3rd)
Frederick McKay Antony Morgan
Clarence Mellor Chris Harrison
Peter Morison
TRUMPETs
Juris Muiznicks
Daniel Mendelow (Principal Paul Goodchild (Associate Principal
DOUBLE BASSES
Jenniter James
Kees Bocrsma (Principal
Georges Lenz
Neil Brawley (Associate Principal)
Benjamin Li
Maxwell Claxton David Potts Ross Radford
SECOND VIOLINS
Gary Andrews (Principal) Susan Dobbie (Assoc. Principal)
Pieter Bersée Maria Durek Suti Huang
Stanislaw Kornel Faina Krel
VIOLAS
Peter Pluhl (Principal
Anne-Louise Comerford (Associate Principal
David Jackson
(A/Assoc. Principal Robyn Brookfield Graham Hennings Robert Humes Rodney Lovenfosse
Justine Marsden-Wickham
FLUTES
Janet Webb l(Principal James Kortum PICCOLO Rosamund Plummer (Principal)
COR ANGLAIS Karel Lang (Principal)
CLARINETSs Lawrence Dobell |Principal Margery Smith (Associate Principal) Anne Menzies BASS CLARINET Craig Wenicke (Principal BASSOONS
John Cran (Principal| Roger Brooke [Associate Princ1pal)
Mary McVarnsh
Lorelci Dowling
Leonid Volovcsky
cONTRABASSOON
Waldemar Wolski
Martin A Foster (Principal
Cathenine OFlynn
David Dixon
Russell Mattocks
HARP Lousie Johnson (Principall
OBOES
Karl Titchener-Bloom
Scott Kinmont (Associate Principal)
Winston Sterling
Guy Henderson (Pimicpal Simon Blount (Associate Principal Carol Hellmers
Bors Warton Maja Verunica
TROMBONES Ronald Prussing (Principal
Walter Sutcliffe
Nicola Lewis
Pailippa Paige
Peter Walmsley John Wood
JohnShields
Elizabeth Lockwood Biyana Rosenbilt
as
a
superb launching pad
for new careers Involvement with an extensive Education
Program (Schools Concerts introduce 40,000
young people annually to the wonders of orchestral music-making), hundreds of hours of radio/television broadcasts, and extensive touring ensure that the SSO reaches vast
Sydney Symphony Orchestra, celebrating its
Australia's national artistic treasures.
Jo5eph Costa
Janet Sapritchian
Year
chamber concerts, The Piano Series of four
Alywn Elliot
Aleander Vinokurov Fiona Ziegler Léone Ziegler
the
60th birthday in 1992, is in every sense one of
Wendy Reid David Wickham
Rosalind Maud
of
in concert with the SSO; Music for Spring
Patricia Mcndelow (Associate Principal)
Warren Reid
Performer
audiences.
Gregory Elmaloglou
Jennirer Booth
Young
Competition secure the chance to appear with the Orchestra soloist
Versatile in its activity and repertoire, meeting the musical needs of Sydney and its region, the
FTRST V1OLINS
Goetz RichterjAssociate Concertmaster Antoni Bonetti (Principal Julie Batry
ABC
at fostering the core of the concert-going audiences of the future; Great Performers
Catherine Hewgill (Principal
Donald Hazelwood (Concertmaster
musical
entertainment tor parents and young children
Australian the performances; Meet the Music,a works aimed
mixture
Dene Olding Co-Concertmasters
Dene Olding(Concertmaster
and Symphony Friday matinee concert, A
Celebration of Australian Orchestras as a
49
BASS TROMBONE Alan Mewett (Principal) TUBA Steve Rossé (Principal)
TIMPANI
Richard Miller (Principal
PERCUSSION
lan Cleworth (Principal) Rebecca Lagos Colin Piper PIANO & CELESTE Anthony Baldwin
ohumea RIOS I97
Theres a better view from The Lobh
A
the
Rent SYDNEY
All day dining in the Mezarnine Lournge and The Lièy Restaurant. For peepe who've already seen the Opera Houe.Callte Regenr (0) 23 0000
SYDNEY INTERNATIONAL Chamber
Plono Competition
Orchestra
Australia
ralian A u s .
MAX MCBRIDE Max McBride returned to Australia in 1979 after studying in with Otmar Suitner, working with the Nieder
Vienna
conductor oster
reichische Tonkunstlerorchester and conduct
ing the Vienna Hochschulorchester. Since then he has conducted all the major orchestras in Australia. He made his debut
with The Australian Opera
conducting
Mozart's Don Giovanni in 1987. In 1989 he
conducted The Barber of Seville for The Australian Opera and with the Canterbury Opera in Christchurch. In 1991 he conducted a new production of The Marriage of Figaro at the Victoria State Opera. In addition to a busy schedule with many pro-
fessional orchestras, he works regularly with youth orchestras and in May 1991l conducted the Canberra Youth Orchestra.
Max McBride has made several appearances overseas. He conducted the Christchurch
Symphony Orchestra in 1988 and 1989. In 1988, he toured the USA, The Netherlands and Australian capital cities conducting
Barry
Conyngham's new music theatre work,
Bennelong for the Australian Chamber Orchestra. He toured Europe with the Australian Chamber Orchestra in November 1990. This year he has taken up a teaching post at the Canberra School of Music. Future conduct
ing engagements include the Queensland Philharmonic Orchestra, and the Australian Chamber Orchestra for the Sydney International Piano Competition Mozart
certos.
The Australian Chamber Orchestra, founded in 1975, is a national orchestra with an outstanding intermational reputation for artistic excellence.I t is a colourful and vibrant ensemble composed of the finest young musicians in this country. The Orchestra consists of a core group of seventeen sting and three wind players which, depending on repertoire, is augmented by specialist players and soloists who are permanently associated with the orchestra.
The Orchestra's national programme of activities is extensive and includes subscription series in
Sydney, Melboume, Canberra, Newcastle and Brisbane. The Orchestra also plays in regional centres and other capital cities on a regular basis. This national profile is the direct result of the Orchestra's
developing commitment to the goal of providing Australia with the highest calibre of chamber music and musicians.
Intermaionaly, the Australian Chamber Orchestra is probably Australia's most travelled cultural Oansation having visited many European, Asian and South American countries as well as New
and theUnitedFestival Statesof Tours planned include IBMHall SouthLondon East Asia Tour andand a European TourAmerica. which will include the for BBC1992 Proms, RoyalThe Albert and the Concertgebouw, Amsterdam. In addition to international touring, the Australian Chamber gained an international reputation for its recordings.
Orchestra has
ONer the years the Australian Chamber Orchestra has worked with some of the world's most distinEushed conductors including Sir Charles Mackerras, Neville Marriner, and Sir David Willocks. "The OrcDestra 1s extremely fortunate to have one of Britain's most CBE,Adv1Ser. Hogwood interna tionaly active and revered chamber music Christopher conductors, as its Artistic
ue erum of the highly talented and dynamic young Australian violinist Richard Tognetti, to take tae position of Orchestra Director in 1989, opened up an exciting Chamber Orchestra's artistic chapter in the Austraiian history
ducnard' direction, the Orchestra has reached new heights and attracted some of the worlds B 015sts including internationally acclaimed Australian soprano Yvonne Kenny, outstanding Julian Lloyd Webber, Cest most outstanding pianist Paul Badura-Skoda ana inter nationally renowned soprano, Joan Europe's Carden. 1992 Mi ra's Season includes some of the world's most exciting soloists. Michala Petri, order virtuoso; Milan Names such as TurkoviC, solo bassoonist with the Vienna Symphony HaAustralian soprano Deborah Hickox a Riedel, Jean-Yves Thibaudet, French pianist with Richard behts O and Steven Isselis playing a 1745 Guadagnini cello, are just lughts o of the 1992 a few of the highseason. s
con
Chamber Musicians CHARMIAN GADD -
VIOLIN
Charmian Gadd has recently returned to Australia after twenty-three rears in the worldwide career has included solo performances with many of the world's USA chamber music and Professorships at two US Universities. She is
Artist-in-Residence
at
the
fines
Svdney
and Europe.
otchestras, tecitals,He
Conservatorium and remains active in both here and in the USA. the Her background is an unusual one.She was born in the Australian huueh now
perior
ce held
pioneers and her father's English intellectuals. Her mother, self-taucheSn. Her mot When the child showed remarkable promise she was enrolled at the Svd
commenced her formal training. on her have been predominantly European. Richard Henryk Szeryng of the Carl Flesch tradition and
Influences
Belgium,
Conservatoriumfirstandteache.ere
Goldner, Viennee.
Viennese, Josef Gingold tra
Janos Starker nave been her
teachers and mentors.
most infdin
won the ABC Concerto betore leaving Australia in 1962 and ha in the Vienna International Violin Competition and the Emma award toured Australia many times, both for the ABC and Musica Viva.Feldman She is well new generation of artist-teachers and attracts students cnowniladelphia as a
Charmian
Competition
intemationally.
nen
nfluential 1zevinne
memberSheof theas
CARMEL KAINE - VIOLIN
Bormin Wagga, NSW, CarmelKaine began her violin studies at the age of 4 and, at 8, entered the Sydney onservatorium, studyingwith Georgina MeClean and Florent Hoogstoel. At the age of 17, she graduated
with Performers and Teachers Diplomas and was awarded the prize for the most outstanding student of the year by Sir Eugene Goossens. In 1956, Ms. Kaine went to England to study with Frederick Grinke at the Royal Academy of Music. She won the 3 violin prizes in the first year as well as the Dove Scholarship. Three years later she was accepted
the
Juilliard School in New York City to study with Ivan Galamian, in the of company tellowastudents, Itzhak Perlman, Kyung-Wha Chung and Pinkus Zuckerman. While there, she was awarded Juilliard at
Scholarship and the Violin Fellowship. She made her début in 1963 at the famous Wigmore Hall, London, joined the Trio of London and broadcast with the BBC. She has toured for the ABC and in 1967, won first prize at the Vienna Intermational Violin
Competition. Ms. Kaine's professional career has seen her performing and touring both in Europe and Australia and as a member of such prestigious groups as St. Martin-in-the-Fields, The Melos Ensemble, Italy (Guest Leader),
The Quartet of London (Leader 1982-86) and the London Virtuosi (Guest Leader for several tours of Spain). She has served as Director & Leader of the and been Peterborough String Artist in Residence at Perth University and the Melbourne College of the Arts. In Orchestra 1976, she became a Professor at the Royal Academy of Music and was made a Fellow of RAM in 1981. In July of in Violin at the Queensland Conservatorium of 1990, she took up the position as Senior Music while continuing an active career as a soloistLecturer throughout Australia.
GEORG PEDERSEN
Danish
CELLO
cellist
Tortelier.
Georg Pedersen is a graduate of the Paris Piatigorsky at He also studied in the masterclass of GregorConservatorium,
where he studied with Paul the University of Southern
California. Pedersen was Principal
Cellist with the Royal Danish Philharmonic under many of s leading conductors, and has toured extensively in Europe, USA, Canada, Asia, Australia andthe Newworld' Zealand as a soloist with major orchestras, and as a recitalist and chamber music player. He was a co-founder of the Dania String Quartet and the Copenhagen Chamber Soloists and has pertorne and taught in music festivals here and abroad and made records for EMI, Chandos, CBS, Fona, su
Classics, Larrikin and Tall Poppies. loists of came to Sydney to join the Sydney String Quartet and is also a member or Ats. He Australia, after having held teaching positions at the Adelaide and the Victorian Colleges or tn Arts. has toured all over the country as soloist for the ABC and for Musica Viva and has co at Cello in u grants from Australia Council. Pedersen is Senior Lecturer Prenered new worksofwith the Sydneymany Conservatorium Music.
Pedersen
2
SYDNEY INTERNATIONAL Piano Competition
Piano Music? New In
of
Australia
Wihat's
picked up who has
aianist
lez,
a
score
by
of thne
is, or any the he avant
Cage,
Aenakis
spearheaded
who
ago
ers quarter-century
0arde of
a
over
that came fhe change sixties led and
music
to
of
that in the
knows
re-
radical
c o m p o s i t i o n
highly conservative in style, or that they
one
and
much SOCial as mus1cal, packed-ouut
as alone thhe walls were just the harp itselt, let assaulted as sometimes seemed like a relic which d o u b l e d as keys, t i m e s . P1anists offormer p e r c u s s 1 o n i s t s , maybe as harpists, a knowledge of at times, vocalists; and could prove very useful. electronics basic conventionally at the of Even when seated the pianist hadplenty keyboard, with. The silently novelties to contend an occasional in-
Stockhausen concerts are largely a thing of the past. Given that the young pianists
side
became box, resonant black caressed in a big, likely to be
depressed
note
was that in late
retinement
house became
way
international stature). It is not hard to see why this the case. Over the past couple of
decades, concert
technique,bui
like the Boulez sonatas in the they know those by Beethoven Mozart, or be comparably receptive to and (or
means that they are by local composers, who may or may not be of the highest
oniy approach evaluations not also of the whole sudden, All of a as a medium. o n its to the piano a w a r e of a harP lying whose fifties
occasional Claude Helffer or Roger Woodward) are likely to know even classics'
have been imposed by the rules of the competition (which in turn probably
audiences
critical of) their
ments? There are
have
demonstrably become ever less inclined to listen to 'new music ot virtually any species; tor reasons which may well be as
involved in a competition are learning to enthral a public, as well as impress a jury, one can Scarcely blame them for avoiding unfamiliar works which, in a crucially
competitive situation, are more likely to alienate than endear. Frankly, the same
may apply to a jury. Personal preferences apart, hoW many jurors (apart from the
romantic pian of course: in
also
interpretative
some basic
refine-
questions
played any, or have been unable to
distinguish
between
dilettante
presentations and professional ones. In practise, faced with a score like Xenakis's
Evryali or Stockhausen's Kavierstück X, one needs every ounce ot conventional
technique one can muster, even to get started. The trouble with such pieces is not that -
conventional technique
it's essential!
-
but that it is
is
not
useless
enough:
poco a poco più i s t e r i c o - - - - - - - - - - - - -
matter VII or the Stockhausen's Klavierstück Constellation-Miroir movement of
Boulez's
depressed
a
Sonata, the silently of which create a variety as
Third notes
harmonic resonances involved almost much mental and physical energy as the sounded. As for the notes that are actually clusters pioneered by Cowell, Ives and Omstein in the earlier part of the century,
in Stockhausen's Klavierstück X they were combined with Lisztian glissandi to such a degree that pianists were obliged to protect their palms by wearing mittens with the
fingers cut away (since the demands on traditional fingerwork are no less prodigious. The typical leaps that
Td3..
sprained unprepared fifth fingers in La Campanella were aggravated, in the post
Webern era, by constant note-to-note
changes of dynamic levels that called for the most carefully rehearsed digital
choreography. Yet these pieces retained inks, however tenuous, with the pianistic past. In Xenakis's Herma, on the other hand, the whole legacy of conventional planism was swept aside: the
composer
specified what notes were to and when, but with almost totalbe played, disregard fOr human physiology. The strong fingers Dequeathed by remained an asset,traditional but for the practice rest, one Was starting from degree zero. And in Situation where an a average audience's esponse to such pieces was best, t i s not uncertain at of surprising that the Pertormance contemporary worKS came, tor the most devoted specialists. part, the proVince or
meno
poco
---Bterico
rall...-----
--.
:
the tace of things,
those times are ut their traces over; remain. The saddest or uEm,
perhaps, is the virtual piano music from disappearance 5neral concert botn tu repertoire audien mpetitions. If and that O
the new
*****
O*** ******
*O*************
or
competition 8et to hear new works, SEnerally one assume either can that they will
pe
(
l e Ped., aven a e r Ceaied to resona
of
pianism'. The popular notion that you don't have to have a real technique to play new music is a fable, largely invented and disseminated by people who have never
Ferneyhough: Lemma-lcon-Epigram
it
has
skills
be supplemented by lucky circum except in very new
to
which,
stances, you have
to
teach yourself.
The exclusion of this repertoire, however, is a real loss to all involved: pertormers, and listeners al1kc. If the carly days urors ot post-war new music produced a solo
often somewhat repertoire that in character, and was tollowed by esoteric a phase in which the two-piano medium seemed to predominate (thanks not least was
to the Kontarsky brothers), the last 15
years
have
to
begun
see
a
real
revitalisation of the repertoire. Major European composers like Berio,
the new means all of However, by no intractable. What would work is cqually candidates for be the most appropriate Probably thc first inclusion? competition Ligeti, book of Etudes by GyörgY six pieces not in whose 1983, composed
aspect of only test ruthlessly every but also technique, pianistic conventional
relatively euphonious harmonic inn the last two piecesand world. As for Berio,series Luftklavier a 'four elements' brief Feuerklavier are attractive, in particular Feuerklavier showpieces; have learnt for allows whatever one may Czermy to good use. school The emergence of a New Romantic inhabit
a
Ferneyhough, Ligeti, Stockhausen and
in the 1970s, especially in Germany,
point
to rejuvenate might have been expected This hasn't really repertoire. pianist the happened, but at least two of Woltgang
Xenakis have all made substantial can contributions, and in the USA one to works by Babbitt, Carter,
Feldman and many others.
LICHT that will keep him busy until the
Rihms's Klavierstücke No.5 (1975) and are well worth any No.7 (1980) been virtuoso's attention: No.5 has minor Compared to a "hyperchromatic C sonata movement 'à la Schubert', while
carly years of the next century, any
No.7 is a formidable extended study in
-
There are some problems, of course. Since Stockhausen's more recent Klavierstücke
XTI-XTV are offprints of the 7-0pera cycle pianist attempting
them has to double
as
a vocalist, as well as engaging in some stage theatrics that may not be to every pertormer's taste. As for Feldman's later pieces, once the composer had acquired an artistic and financial) interest in Turkish rugs, with their intricate, only seemingly
double octaves. And what has Australian music to offer in this context? Nothing to displace Boulez and Stockhausen, perhaps, but a good deal
more, with much greater variety and
individuality, than one might expect from
land often The Sydneythe names) of its Comr mposers added significantly PianoCompetition has it to the commissioning works toire reperte y composers: notable among the reauany
Nigel Butterley's esults ar ecstatic, somewh Tippett-like Uttering Joye Bozidar
Kos's Kolo, es, complex cyclic rhythms inspired of music, and Graham Hair's Slovenian folk Under Aldebaran, with its of both Messiaen and Elliott Carter,echoesuminous Amon older Oh composers, Keith Humhla compact and concentrated Sonatas deserve special mention and from the younger generation, Michael (the bad boy' of Australian netanin
music ever controversial but award-winnin rchestral work Black Snow) has recently produced a characteristic block-buste entitled Stroke. to the Australian MusicPianist-visitors Centre, attractively located in the midst of The Rocks, Sydney's principal tourist area, might also find much of since his
Boyd, Ross
interest in works by
Anne
Edwards, Peter Sculthorpe and David Lumsdaine, Larry Sitsky.
Pieces of this kind should be accessible to virtually any skilled pianist. With Babbit,
Ferneyhough and Xenakis one frankly enters more daunting territory in most cases, it would be toolish to expect to
scattered around the periphery of a whole
fully master pieces by these composers in less than several few months. Still, one would presumably expect to live with a
(1981) and For Bunita Marcus (1985| run
continent. As overseas competitors and visitors will soon discover, Australian urban life is a mixture of many cultures, and this is retlected in the inspirations
Beethoven sonata
for the best part of 90 minutes, which
repeated patterns, his pieces got longer and longer: Piano (1977) comes out at a modest 25 minutes, but Triadic Memories
rules them out for most normal concert
purposes, let alone those of competitions!
a
a country which has a population akin to
that of Belgium or the Netherlands
or
one
of
the big
Schumann cycles tor at least that long
before exposing it in public. Often the initial problem is both psychological
molto rit.
tempo
80a
(
*********
PIp-
-
*
************************************************************************************************************************
**************
*********************************
a tempo
--
**************************************************************************************************************************************************** **
.
***********
Rihms: Klavierstücke #5
54
SYDNEY INTERNATIONAL Piano Competition Australia
-66
OCce
Ped.
Ped. JE 19328
even
with the virtuoso
and physiological: one works of the romantic repertoire, the able through
to Play be erratically, perhaps, but wel enough to get an immediate grasp ot of how it feels the piece, and an idea three under the tingers. Yet with the the same (and above named composers would probably hold good for Carter's cxpects
to
scoreat sight
Night Fantasies, spontaneous attempts : busking through' bring rather meagre ewards
tor once, it's better to sit andd
intricate interplay of pitches, rhythms, touch and dynamics. It's not easy, and these are by no means the pieces one into as the late 20th century. Still, it seems to me that pianists who have mastered Ferneyhough's Lemma-lcon-Epigram or
would recommend
first incursions
Xenakis's Mists wil want to keep these it is pieces in their repertoire; I think these, rather than the ne0-conservative
works proliferating in the most recent repertoire, that are likely to hold up in
hsten to a recording. After that, one can
the years to come.
St down the score and start out personal finger-choreographies for the
As for audience response, my suspicion is that really transcendental pianismn
with
working
=66
=96
C-
5
Berio: Feuerklavier communicates itselt in any repertoire. Yet in the current cultural climate, one can't be too surprised if not every
competition hopeful feels ready to act on that suspicion...
By Richard Toop, Head of the
Division of Musicology within the School of Academic Studies at the Sydney Conservatorium of Music and world authority on contemporary music.
GERSHWIN peody In Blue Plano Concerto0/
PROKONEN
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Senetee pour pienooe6. 7a8
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SYDNEY AUSTRALIA 1992
EMI CLASSICS LASSICS
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ANOVSKY
everkonzert/
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orpiano No.1
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SYDNEY INTERNATIONAL Piano Competit1on for
New
Australha
Phanos
Old was lapping at the very foundations of the
Of course,
piano repertoire. Mozart, Beethoven, Chopin. Soon there were recordings on
aspect to the pertormance practice issue
original instruments of Brahms and
emergence of a large body of published historical This literature poses a considerable challenge to traditional teaching. Recent books such as Sandra
'AUTHENTICIT
ON PIANOPERFORMANCI THOUGHTS
ME
House one
NPIA war
to
the Opera buskers at
of
night I Quay
Circular
were stand. wooden Two o1 them
pup dhd holding eendoo beautilully s. painted thing thing
for
for
tourists
.
pertect pertect the a sur-. making the Was of nst from a piece to a thira ctening like that reasonable sound was first reaction numents-
wn0
My Claude yC piping. I felt the guilt Tropique. e Tniste e hook, of the there is no and sadnessdiscoverinS that has which not been which Westerner on the world Westerm attluence. ulrurein the the depris o I by polluted lege, thought. Butdoos
Levi-Strauss
anthropolOgist,
over-priVileged
SurelytnisW
ding the 'authentic' Tistened, Ihey the man's such seruple. admired
plavers
had
no
enioved,
laughed I
and
surprisingly it was
to eTSatility. As recall, it did tend ettectivealthoughpartials, giving the upper phasise STainysound.
The irony hear
Franz
Was that
ments.
The
who
on
my way to the Orchestra of
achieve such
original
a
superbly
western
concert Was
the However, on
a rather
Was on
Brugghen s
8th Century grainy sound
overem-
way home, as I
where past the same spot
instru-
marvellous.
walked
the didgeridoo
couldn't help taken place, I tradition is am session had t a 30,000-year old teeling that pipe, aren't we happy with a piece of PVCThe Dreamtime precious: being just a ittle own, relatively can embrace plastic, yet our decided that seems to have Junior culture from to steel strings, or from move the gut WOOden
was some to metal frames
kind of
cardinal error. One thinks of Pierre Boulez's Is comments that a culture which afraid to that is obsessed move 1orward, a culture in with the past, is a culture which is decline. 'When people will collect the least Knickerbocker button from the eighteenth
century
he said, "that
is something
which I|
tind protoundly distasteful' Yet the shift towards 'historically-aware perfomance styles (leaving aside the probiematic, not to mention somewhat pretentious term, 'authentic') is surely the single
most Significant change in attitudes to perOTmance of the last thirty years. Although t may seem a contradiction, revival of the
ast has been the one of the strongest 1Orces tor rejuvenating the present. In his
provocative article The Pastness of Present and the Presentness of Past' (in Nicholas
enyon's book Authenticity and Early Music Oxtord University Press), Ricnaru 1aruskin attempts to show that
historical PEOrmance styles are a really a product o
modernismn
nas no doubt come as a surprise to so OW quickly the pertormanee VEment has overtaken even a practice cent repertoire like that of the Telatively piano. Not gago, Pertormance Practice imeant ue Pertormance Practice 10 Tecorder players and somethin8 Who pertormers dnt play 'Teal' instruments. No soone t 4sts grudgingly handed Bach back hear (how otten does one near a BachSIchordists suite in ays than the n a piano recital these Pertormance Practice tlood
Debussy. It will be ironic indeed if the music of Boulez and Stockhausen, which
has always been somewhat at the margins
of the standard repertoire, 1s finally wel comed to the fold in recordings on 'authentic' Steinways trom the 1950s [you remem-
there
is
another important
beyond instruments alone and that is the
documentation
Rosenblum's Pertormance Practices in
cessing, it will'surely not be long betore the of levers tor
Classic Piano Music (Indianna University Press and William Newman's Beethoven on Beethoven: Playing His Piano Music His Way (Norton) and the welcome reprintings of source b00ks by Czemy, Turk, Clementi, Kullak, Moscheles and many others have
throwing eighty seven highly temperamen-
done more than just provide a huge pile ot
ber, the old fashioned sort, with hammers
and strings). In the days of digital audio pro-
insanely elaborate system
tal pieces ot felt against about two hundred notoriously unstable metal wires is regard ed, along with that preposterous contrap tion, the typewriter, as yet another example
of the nineteenth and early twentieth cen tury obsession for tinding mechanical ways
bedtime reading for sympathetic pi1anists.
They have provided a source which inter teres with, and sometimes contradicts, the
traditional teacher/pupil relationship
Despite technological innovations, the mode ot transmission of pertormance tradi
much better
tions has been remarkably consistent
done without any moving parts. Authentic' pertormers of the future will
across the centuries and across cultural
of performing tasks
which
are
presumably be those who
have time tor
such mechanical inetticiency. Predictions like this are probably enough to bring out the Luddite in most pianists. Yet
as Charles Rosen, reviewing the abovementioned Kenyon anthology pointed out, it is this mistrust of change which is one of the most 'unauthentic' ot present day attitudes. When Beethoven, finished Opus 111 in 1822 on his Broadwood, he wouldn't have dreamt of insisting on one of Streichers
pianos of 1790 to play Opus 2, no. I. After
Beethoven's death, Schindler, Czerny and
boundaries. Players traditionally have not
learmt how to play by reading books. They
have learnt by the labour-intensive, time individual demonstration, imitation and corTection.
consuming, expensive, method ot
The contlict between these two methods ot
transmitting information
is
one
ot the
most
interesting aspects ot the pertormance prac
tice movement. The assumption by mem bers of the Vienna Philharmonic, tor exam
ple, that their genealogical inheritance trom Beethoven validated their pertormances received a considerable challenge trom those who wanted to point out just how tar that line had strayed trom its
many of his hangers-on, vociterously deplored many aspects of the play1ng style
Source. The same 1s true ot the many
of the 1830s and 40s and called for a return values. retum to the to
to Beethoven via the Czerny, Leschetizky line. This contlict represents a confronta-
traditional pianos of those
But to
times and forego the latest on escapement, the
the
Erard technology
Babcock steel frames, the Steinway ove
preferred the stringing (though Brahms Viennese straight strung instruments), and still
the more etticient damping and pedal action would have struck them as nonsen
sical. assume that However, it would be wrong to on an historical perspective of the lack
pianos during the nineteenth century
to individual varia meant an inditterence Robert Winter (writing tions among pianos. in R. Larry Todd's Nineteenth-Century
Piano Music, Schirmer Books) has recently that it is decline in colour and
the
argued
ditferent piano makers variety between i1s which is the biggest loss today. The issue is better an Erard or a Pleyel whether
not
pianists who trace their own lineage back
tion between two sorts ot knowledge what and
one might call 'traditional knowledge the acquired knowledge of the academic positivist tradition. course this Of between blind
and
doesn't have
to
be
battle
a
ignorance on the one hand on
ivory-tower intellectualism
the
dit other. which tend to here involved issues terent ot be contused. The tirst is the question circumstances, music how, and under what It
Seems
to
me
there
are two very
was pertormed in the past, particularly Those during the composer's lhtetime. be enlightened by research and ISSues can The
second the results canto be enlightening. should past practices which extent the intluence today's pertormances. the the living not tor Pertormance is tor
IS
dead. Today's
audiences
anx insights
have ditterent
tor Chopin (Chopin, as is clear trom JeanPianist acques Eigeldinger's book, Chopin, Press and Teacher, Cambridge University 'when I teel out preterred the Pleyel except
Jssumptions, Ieties, artistic needs, ot the past and it and prejudices trom those must admin the that pertormer these is to this in a way which 1s Ister. How they do intormation and
of
their personal responsibility rightly
of
two
existence sorts'). Rather, it is more ditferent instruments and many very Desides- each of which catered tor ditterent the
the lack ot a and personalities. It is
tastes existence o definitive, 'Chopin piano', the choIce which constitutes and alternatives s i t u a t i o n ot Chopin's Paris the essential all manutac loday, Wnter claims, almost degree, are, to a greater or lesser turers the basic struc Steinway clones
as
tar
as
ture and mechanism goes.
reconciled with historical
to
er's intentions should ter tor artistie judgement
the compos
remain
a
mat
School
in the Peter McCallum, Lecturer ByAcadeic the Sydney Studiesin of of Music undd music Conservatorium Morning critic for the Sydney
Herald.
Friends
of the Sydney International
Piano Competition
of Australia
Mrs Kathryn Greiner
Patron
Dr Peter Sculthorpe OBE
Music Paton
Senator Bronwyn Bishop
Chaiman
Mrs Denise Fink
Deputy Chairman
Thomson OAM Assoc Prof Warren Miss Margaret Carter
Vice Presidents
Miss Christine Gailey
Hon. Secretary
Mrs Sheila Prior AM, BEM
Hon. Treasurer
Newsletter Editor Public Relations Officer
Mrs Carolyn Benn Mr Malcolm Beazley AM
Dr Lou Abbott
Executive Committee
Mrs Debbie Angus Mr Graeme Bell AO, MBE Mr George Gifford Mrs Susan Hamilton Mrs Eleanor Herriott
Mrs Josephine Jacoby Mr Elizabeth Jeffrey Mrs Joy Knowles Mrs Joan Levy Mrs Christine Liddy Mrs Trish Mappin Mrs Elayne Mills
Assoc Prof Ross Steele Mrs Margaret-Anne Stokes Hughes Piano Competition of Australia founded in 1978 The Friends of the SydneytheInternational in It was conceived by group ot people who wished 1977. tollowing the success of first SIPCA also considered that to promote the ideals of musical excellence fostered by the Competition. They interest should be maintained between was
a
the Competition
was
of such
importance that a continuing
Competitions.
Since its inception the Friends has built up a strong membership of people from all walks of life,
Australia wide. Regular recitals, presented at the homes of generous supporters, give Friendsthe
is Peter Donohoe who opportunity to meet and enjoy excellent musicians. A particular favourite and who will perform at in most generously pertorms at recitals for the Friends whenever Australia the opening concert of the Competition. Consuls-General in Sydney are also most supportive and
we are grateful for their interest and assistance.
These activities and others have enabled the Friends to contribute substantial donations to the many advantages in beinga Friend. Membership is only $10.00 per
Competition funds. There are annum and some of the benefits are:
Concessions for subscriptions and single tickets for all stages of the Competition, including the Opening Recital and the Final Concerto Concerts at the Sydney Opera House. Special advance booking. Special events and receptions connected with the world of music during and between Competitions. The chance to meet distinguished intermational guests in Sydney for the Competition and at other times.
58
SDECIAL VITATION FOR TIHOSE TTENDINCGT E PIANO COMDETITION
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SYDNEY INTERNATIONAL Piano Competition C o m p e t i t i o nR u l e s
Australia Performance contract
planists
to 1960 is open 12 July ]
ibility Competition
th
horn
or
on
1974.
It
1s
frst P'iano
of
maXImum
limited
forty
to a
is h ad de ed d he ea
/mpetitors.
committee,
selection Warren choice
at1ons
by
Artistic
for
mittee,
A hector. the
Australia.
of.
Competition
national
n:5S1on
of
to
Sydne
the
of
p r i zC ew in n rt s om p ee ti ion
open
not
than.
atos
any
atter
24 June
4T:0nality
of
a n d no
of
Thomson,
was
responsible 263 the
from
competors
International
following
Competition Stages
stages. Stages 1, have in the competition will Verbrugghen held be TV wll Music. five
and
conservatorium
the Sydney in will be held Svdney Opera House Hall
of
the Concert
of
Hall
of the
V
Stage
perform in
the Sydney International Piano
Competition ot Australia prizewinner's concerts from the end of the Competition until
18 September 1992.
For this purpose the
Compctition reserves the right to hold prizewinners under an Exclusive Performance
and Recording Contract until that date. The Competition also reserves the right to hold the first prizewinner under an Exclusive Australian Pertormance Contract for two years
received,
BUditions
i
The first prizewinner and some other prizewinners will be required to be available to
Recital will Gala Opcening by the sponsorea Hall, benetit
be held City of
The will be n the Town PizeWinnersConcert Svdnev, and the of the Sydney Opera Concert Hail held in the
House
participate in the All pianists chosen to in the be required to pertorm Competition will stages. recital ISt two will be selected for the Stage II Twenty pianists selected for the twelve rectals, pianists will be musiC; six V chamber Tecitals and Stage will be selected for the Stage V
pianists
Concertos
drawn br lot by the Lord Mayor ot Sydney, Alderman
Order of appearance in stages I and II
Frank Sart0r, prior to the Competition.
Appearances will follow in alphabetical order although some flexibility in the order of appearance in Stages IV and V may be necessary tor rehearsal and programming factors.
All works prepared for the Competition must be payedTom memory, with the exception of the Stage IV chamber music works.
Those competitors wh0 are unable to pertorm when called upon to do so may be disqualified. n the case of illness or accident certified by an
ndependent medical practitioner, the Jury may, its
at
discretion, allow the competitor his/her appearance. Practice and Rehearsals Daily practice facilities will be the order of
to
change
from 18 September 1992. Please Note No flash or other photography, other than that of official Competition photographers, will be
permitted during performances. The Competition reserves the right to make changes to the program. No material contained in this program can be
reproduced without permission of the Sydney International Piano Competition of Australia. All stages of the Competition will be open to the general public and broadcast live throughout Australia by the Australian Broadcasting
Corporation.
Repertoire Regulations Any competitor who knowingly gives inaccurate or misleading information will be disqualified. Competitors who took part in previous Sydney Intermational Piano competitions must submit new repertoire.
The list of works to be presented at the Competition was chosen by the competitors from the Competition repertoire and includes the competitors' own choice of works where this is required. No work, whether own choice or listed in the repertoire, may be repeated in another stage. Competitors must list timings and publishers of contemporary works.
Competitors must ensure that the timings specitied tor each stage are not exceeded. The Jury reserves the right to stop a competitor who runs over time.
Repertoire
There
All competitors will play in Stages I and I1. Stage I Recital 20 minutes Each competitor will present: 1. One (1) virtuosic study by Chopin, Liszt or
Performance Rights
Rachmaninov.
competitors at the Sydney
provided forof Conservatorium
Music.
will be two rehearsals for each of the chamber music and concerto programs. While
competitors are in Australia they will be nttacted exclusively to the Competition. The has the LOmpetition right, without Iees, to: payment or
Televise, film,
video, tape, broadcast Or stages of the
all POtograph hedia tor Competition any other purpose. TOduceof and distribute or
Ent lees to ai stages of the
without
tor
2. The remainder of the program will be own
limit competitors, recordings Competition, either in whole part, including the PrOduce documentary prizewinners' concerts. feature ilms. Al approaches to Ough and withthethemedia must be made Eon approval of the and the De TequiredSecretariat, to be available for competitors media calls the
or
as
anged.
2. The remainder of the program will be own choice of works by two (2) other composers. One or more works of each chosen composer may be played. Stage II Recital 20 minutes 1. One (1) prelude from either Preludes Book I or II by Debussy.
or
choice of works by two (2) composers other than Debussy or the two own-choice composers listed in Stage I. One or more works of each chosen composer may be
played.
Twenty (20) competitors will be chosen for the Quarter-Finals Stage I.
Quarter Finals Stage IlI Recital 40 minutes 1. One (1) sonata by Haydn, Clementi
3. The remainder of the program will be own choice of works by one or more composers other than the of the sonata chosen in above.
composer
Twelve (12)
competitors
Semi-Finals Stage IV.
will be chosen for the
Semi-Finals Stage IV
Recita Chamber Music Each competitor will present 50 minute a recital and one chamber music work. Recital 50 minutes 1. One (1) sonata by Beethoven or Schubert. 2. The remainder of the programme will be the
competitor's own choice.
Chamber Music Each competitor will present one (1) sonata: Violin and Piano Sonatas
Beethoven
Op.47 'Kreutzer Op.108
Brahms Franck
Sonata in A No. 2
Bartok OR
Cello and Piano Sonatas Beethoven Op.69 Brahms Op.99 Chopin Op.65 Faure Op.117 Sonata Debussy Six (6) competitors will be chosen for the Finals Stage V.
Finals Stage V
2 Concertos
Competitors will play one |1) concerto trom each of the following two groups GROUP A
Mozart
KV414 KV467 KV453 KV491 KV459 KV595
GROUP BB
Beethoven Schumann
Chopin
Liszt Brahms Saint-Saens
Tchaikovsky
Rachmaninov
Nos. 4 or 5
Op.54 Nos. 1 or 2 Nos. 1 or 2 Nos. 1 or 2 Nos. 2 or4 Nos. I or2 No 3 or Rhapsody on a Theme of Paganini
Ravel Bartok
Prokofiev
G major Nos. 2 or 3 Nos. 2 or 3
Competitors will pertorm the Mozart concertos with the Australian Chamber Orchestra and the Group 2 concertos with the Sydney Symphony
Orchestra. Smoking is prohibited in the Conservatorium.
Unauthorised recordings and the taking of photographs are strictly forbidden throughout the Competition.
No one may enter or leave the Verbrugghen Hall except in the pauses between Competitors' performances.
AUSTRALIAN BROADCASTING CORPORATION All concerts broadcast live on ABC FM Stereo Radio.
AUSTRALASIAN PERFORMING RIGHTS
Mozart. 2. A work written since 1950, preferably from the country of the Competitor. or
ASSOCIATION LTD. Complimentary licence for all pertormnances of the Competition has been granted by the Australasian Pertorming Rights
Association
63
SYDNEY
CONSERVATORIUM OF MUSIC he Svduer Comservuorum Mue nf established 19%), rme of the oldest in
nd
I
EXCELLENCE
MEETS
meost
has
prestigous
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truditiom f ererllenee
a
hols n
Australha
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performers, (ommposers, musie ologrsts and teachers. lis graduate s have done much tn
enbance
the
und have
music
enVironment of this
spread the influence of the
counin
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Conservuoriums stulf are
lh greatest
EXCELLENCE
educators are committed to providing the highest
WHEN STUDENTS AND FACULTY MEET TOGETHER AT
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cOURSES OF STUDY OFFERED ARE: PREPARATORY SCHoOL FOR TALENTED YOUNG MUSICIANS
the communities in which they live.
The Comservatorium is pleased to
EXTENSION STUDIES Guitar Ensemble, Arranging. Fundamentals, Big Band. Vocal Workshops, Musicianship.
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CLASSIC EDITIONS These handsome editions from Allans Publishing are recogniscd around the world for their clarity of print and meticulous research. At the same time they remain aftordable to every pianist and can be recommended with confidence by the
JSMC
discerning mucie teacher.
Johann Sebastian BACH 48 Preludes and Fugues, in two volumes The Well Tempered Clavier) Edited by Warrn Thomson Completcly new engraved edition Edited by one of Australia's authorities in keyboard music Bar-by-bar analytical notes for each work Complete facsimile of Bach's original manuseript included
BEETTKWEN
Ludwig van BEETHOVEN Piano Sonatas, complete in four volumes
Editedth Professor Kendall Taylor, C.B.E. F.R.C.M. Edited by a recognised Beethoven authority Each sonata is preceeded by extensive performing and analytical notes
Latest
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Facsimile editions of several sonatas are included
Wolfgang Amadeus MOZART Piano Sonatas, complete in two volumes Edited by Warren Thomson
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Notes
SYDNEY INTERNATIONAL Piano Competition
Application Form
of
Australia SIPCA THE FRIENDS OF THE If you have enjoyed the Piano Competition this year and would like to become involved in the next one, become a member of the Friends ot the Sydney International Piano Competition of Australia by the form below:
filling o u t
Application Form I wish to take advantage of a Special Competition offer and receive 18 months' membership for a 12 month subscription ot S10.00. This offer is available until 31 July 1992.
Please print Mr, Mrs, Miss, Ms Address
Telephone I enclose $10.00 being my annual subscription Please return to:
Signature
Mrs. Sheila Prior, Hon. Treasurer Friends of the Sydney International Piano Competition of Australia 149 Artarmon Road, Artarmon, NSW 2064
Telephone: (02) 419 4665
FUYO
People's
Choice Prize $4000
Leading Industrial Group
Sponsored by The Fuyo Group, Japan's
vOTING FORM Indicate your vote in order of preference, numbered 1, 2 and 3
only, in the boxes provided.
Competitors Hiroshi Arimori
Duncan Gifford Daniel Gortler Ivo Janssen
Michele Bolla
Elyane Laussade
Cristiana Pegoraro
Jason Li Andreu Riera Olivier Cazal Xuesu Liu Vitali Samoshko Ruei-Bin Chen Rustem Khairutdinov Anna Malikova Benjamin Saver Ya-Fei Chuang Young-Ah Kim Mauricio Vallina Martinez Helen Sim Mark Clinton Matthias Kirschnereit Kent McWilliams Bela Simon Hanna Cyba Irina Morozova UElisaveta Smirnova Wojciech Kocyan Richard Dowling Shirley Hsiao-Ni Pan Lev Vinocour Xiang-Dong Kong Carson Dron Ewa Kupiec Soojin Park Wei-Yi Yang Alan Gampel Stephan Zind Leonid Kuzmin UMarkus Pawlik Please complete this form and place it in one of the boxes provided in the front foyer of the Sydney
Opera House Concert Hall, following the last Finalists' Concerto Concert on Saturday July 11, 1992. orms must be lodged no later than half an hour after the last concert. The winner of the Fuyo People's Choice Prize will be announced on the evening of Saturday, July 11 at the Prizewinners' Concert starting at 7.30 pm, Concert Hall, Sydney Opera House,.
LUCKY PROGRAM' DRAWING First draw: 2 nights accommodation at the Ritz-Carlton Hotel
Tickets to the July 10 and 11 Concerto and Finalists' Recital at the Opera House
Second draw
2
nights accommodation at the Hyatt Kingsgate Hotel
Tickets to the July 10 and 11 Concerto and Finalists' Recital at the Opera House
Winners will be flown to Sydney from anywhere in Australia courtesy of Ansett Airlines
OFFICIAL ENTRY FORM Name:
Address Telephone nis form
must
be filled
in
and mailed
to
NSW the SIPCA office: PO Box 420, Double Bay,
to arrive no later than June 22, 1992.
Cdrawing
will be held
at
the Official Opening Ceremony
Only original forms from the Program are acceptable.
on
Wednesday June 24,
1992.
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