1992 Program for the Sydney International Piano Competition

Page 1

24 JUNE -

11 JULY 1992

e

SYDNEY INTERNATIONAL Piano Competition

of Australia Sydney

NORTHWEST

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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.


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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

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CIIB IOR

TOSE WIO

PLRIORNING TI ADDRICTATT

ARTS

SYDNEY OPERA

SUPPE

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REMY MARTIN FINE CHAMPAGNE COGNAC

Cal

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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


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Music Patron/Artistic Director

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.


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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


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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

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will provide a music Room 354 for the duration of the

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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

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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

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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

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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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PETER DONOHOE performing the opening recital of the STH INTERNATIONAL PIANO COMPETITION

SYDNEY AUSTRALIA 1992

EMI CLASSICS LASSICS

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everkonzert/

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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


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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


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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.

2028



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