Six Evolutions – Bach: Cello Suites

Top Classical February 11, 2022

Six Evolutions – Bach: Cello Suites

February 2022
Yo-Yo Ma, the world’s most renowned cellist, has recorded for the last time Bach’s Suites for Cello, masterpieces that have become his inseparable companion in his musical career for six decades. His father, a violinist, taught him Suite no. 1, beat by beat, when he was four years old and that memory is very vivid in him. Yo-Yo Ma aims to achieve the maximum diffusion to the musical works that marked a before and after in his personal and musical career. 

After a long and successful musical career, he has never lost his fascination for suites and is more convinced than ever of its universal appeal. That intimate relationship with the suites evolved in The Bach project, a two-year 36-city international tour. 

Ma invites you to enjoy music without labels. In fact, his interpretation of the Bachian suites, far from the stylistic rigor of the versions made with instruments of that period and the original criteria, is marked by his vehement temperament, with which he gives personality and lights up the dances in each suite.  

Through the years Ma’s tempos have remained very steady, although some critics have pointed out that his Courante of no.2 seems excessively fast and no.5 in can be found drastic in content and performance. He particularly excels in the readings of the Preludes, going from the well-shaped no.1 to the solemn no.2 and the pure brilliance of nos.5 and 6. 

Vigorous sound, energetic contrasts and Dynamics yet elegant and delicate in the pianissimos. The aerial interpretations of the preludes manifest his polished and peaceful expressiveness, and almost bitter in the gigues that close each suite. 

Yo-Yo Ma’s multifaceted career is la living prove of his continuous search for new ways to communicate with the public and his personal desire for artistic growth and renewal. And anybody who listens this new CD will clearly understand and hopefully share his pure love for those brilliant and enchanting suites.  

– David Gutman

SIX EVOLUTIONS – BACH: CELLO SUITES
YO-YO MA
Johan Sebastian Bach
1. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: I. Prélude  
2. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: II. Allemande  
3. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: III. Courante
4. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: IV. Sarabande 
5. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: V. Menuets I & II 
6: Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: VI. Gigue  
7. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: I. Prélude  
8. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: II. Allemande  
9. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: III. Courante  
10. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: IV. Sarabande 
11. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: V. Menuets I & II  
12. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: VI. Gigue       
13. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: I. Prélude  
14. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: II. Allemande
15. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: III. Courante
16. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: IV. Sarabande
17. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: V. Bourrées I & II 
18. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: VI. Gigue
19. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: I. Prélude       
20. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: II. Allemande 
21. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: III. Courante  
22. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: IV. Sarabande   
23. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: V. Bourrées I & II  
24. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: VI. Gigue
25. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: I. Prélude  
26. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: II. Allemande 
27. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: III. Courante
28. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: IV. Sarabande  
29. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: V. Gavottes I & II  
30. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: VI. Gigue
31. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: I. Prélude  
32. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: II. Allemande 
33. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: III. Courante
34. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: IV. Sarabande
35. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: V. Gavottes I & II  
36. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: VI. Gigue

Chopin by Ivo Pogorelich

Top Classical February 8, 2022

Chopin by Ivo Pogorelich

“Chopin” by Ivo Pogorelich: Daring Provocation and Profound Emotions

February 2022
Ivo Pogorelich’s “Chopin” marks a daring return to the spotlight, presenting a collection of Chopin’s works that challenges conventions and pushes the boundaries of interpretation. As a provocateur of the piano world, Pogorelich is no stranger to controversy, and this album continues that legacy with more concentrated and purposeful fervor.

The opening tracks feature Pogorelich’s signature sustained approach, notably in the Chopin C minor and E major Nocturnes. Unusually protracted, these performances captivate the listener with their intense emotional resonance. The centerpiece of the album, the F minor Fantasy, is a tour de force, clocking in at a staggering 16 minutes longer than the average rendition. Pogorelich’s transformation of the Lento sostenuto section into a profound largo is a masterstroke, evoking a sense of timelessness and profound introspection. However, some might find his restrained accelerations and dry legato phrases to be an acquired taste.

The B minor Sonata showcases Pogorelich’s unorthodox yet fascinating approach. The first movement surprises with extreme metrical leeway and microscopic attention to detail. While some might raise an eyebrow at his gargantuan ritardando before the development section, it serves to illuminate the intricate counterpoint and build a gripping harmonic tension. The Scherzo’s outer sections maintain a nimble and supple quality, but the Trio seems to wander indefinitely, stretching the limits of its expressiveness.

In the Largo, Pogorelich paints an intimate portrait that transforms into a larger-than-life canvas, captivating the listener with its emotional depth. However, the finale falls short, lacking the spark seen in Pogorelich’s earlier video recording from the Racconigi Castle (DG). While undeniably individualistic, this interpretation feels cluttered with excessive voicings and phrasings, diminishing its overall impact.

Unfortunately, technical issues from his first Sony release still linger, with moments of sonic stridency and harshness in the louder passages. These detract from the otherwise mesmerizing performances, leaving some listeners longing for a cleaner and more polished sound.

“Chopin” is a bold and audacious album that showcases the pianist’s willingness to challenge conventions and take risks with his interpretations. While some moments might not resonate with everyone, there is no denying the sheer passion and intensity that Pogorelich brings to these performances. His ability to evoke emotions and draw the listener into Chopin’s world is undeniable, making this album a must-listen for those seeking fresh and unconventional perspectives on the beloved composer’s music.

Gautier Capuçon

Top Classical February 1, 2022

Gautier Capuçon

A Journey of Musical Brilliance

Top Classical, February 2022
Gautier Capuçon, born in Chambéry in 1981, embarked on his musical odyssey at the tender age of five when he first laid hands on the cello. From these early beginnings, a remarkable tale of dedication, passion, and musical prowess unfolded. Capuçon’s journey through the world of classical music has been a symphony of achievements, earning him a place among the most celebrated cellists of our time.

His educational foundation was meticulously laid at the Conservatoire National Supérieur in Paris under the tutelage of eminent cellists Philippe Muller and Annie Cochet-Zakine. Later, he honed his craft under the guidance of Heinrich Schiff in Vienna, a city steeped in musical tradition. These formative years not only refined his technique but also nurtured his unique musical voice.

Even in his mid-twenties, Capuçon had already amassed a portfolio of accomplishments that most musicians can only dream of. His meteoric rise in the classical music scene was marked by accolades that heralded his exceptional talent. The prestigious ‘New Talent of the Year’ recognition by Victoires de la Musique in 2001 was a testament to his undeniable gift. This was swiftly followed by a Borletti-Buitoni Trust Award in 2004, a recognition that further solidified his place among the elite.

The Echo Klassik awards, bestowed upon him on multiple occasions, mirrored the consistent brilliance that Capuçon brought to his performances. These accolades, born out of his exceptional musicianship, resonated not only with fellow artists but also with audiences worldwide.

Capuçon’s engagements with world-renowned orchestras like the Berlin Philharmonic, London Symphony, Chicago Symphony, and Concertgebouw Orchestra attested to his standing as a sought-after soloist. His performances were not mere recitals; they were captivating narratives woven through his deft fingers and his soulful connection to the music.

Yet, Gautier Capuçon’s artistry transcends the grand stages. He is equally at home as a recitalist and chamber musician, gracing revered halls and esteemed festivals across Europe. His collaborations with fellow luminaries illuminate the depth of his musical empathy and his ability to seamlessly meld his cello into intricate ensembles.

Beyond the accolades and stages, there’s an intimate relationship between Capuçon and his instrument. The 1701 Matteo Goffriller cello that he plays isn’t just a tool; it’s an extension of his expression. The harmonious union between artist and instrument elevates his performances, turning them into profound conversations with the audience.

Gautier Capuçon’s journey, though already illustrious, is far from complete. His dedication to his craft, his relentless pursuit of excellence, and his unwavering passion continue to propel him forward. His legacy is not just in the awards and honors he has garnered, but in the emotions he evokes, the stories he tells, and the moments he etches into the hearts of all who have the privilege of experiencing his music.

Royal College of Music

Top Classical January 29, 2022

Royal College of Music

Top institution for Performing Arts in the UK

Top Classical, January 2022
Located in the heart of London’s South Kensington the Royal College of Music is a world-leading music conservatoire with a prestigious history, contemporary outlook and inspiring location. It was founded in 1883 under the auspices of the Prince of Wales (later Edward VII) and the directorship of Sir George Grove to prepare gifted young musicians for entry into the highest echelons of the music profession. The RCM has trained some of the most important figures in British and international music life, including composers such as Holst, Vaughan Williams, Turnage and Britten; conductors such as Leopold Stokowski, Sir Colin Davis and Sir Roger Norrington; singers such as Dame Joan Sutherland, Sir Thomas Allen and Alfie Boe; instrumentalists such as Sir James Galway, John Lill, Gervase de Peyer, and Natalie Clein. 

The college was founded in 1883 to replace the short-lived and unsuccessful National Training School for Music (NTSM). Since its creation the college has been linked with the British royal family. Its patron is currently Queen Elizabeth II. For 40 years Queen Elizabeth the Queen Mother was president; in 1993 the Prince of Wales became president. 

The college is situated in South Kensington, the home of science, arts and inspiration, directly opposite the Royal Albert Hall on Prince Consort Road, next to Imperial College and among the museums and cultural centres of Albertopolis.  

With 840 students from more than 55 countries studying at undergraduate, masters or doctoral level, the RCM is a community of talented and open-minded musicians. RCM professors are musicians with worldwide reputations, accustomed to working with the most talented students of each generation to unlock their artistic potential. 

RCM professors are leaders in their fields and further enhancing the inspiring offer to students, each year the RCM is proud to welcome renowned musicians such as of Lang Lang, Dame Kiri Te Kanawa and Bernard Haitink and many others. The RCM’s many performing groups –including five orchestras, two jazz bands and the RCM International Opera School – are celebrated for the vitality and excellence of their performances and are regularly invited to perform at significant venues both in the UK and overseas. 

The Royal College of Music is considered one of the world’s great conservatoires, training gifted musicians from all over the world for international careers as performers, conductors and composers. In fact, the college has been named the top institution for Performing Arts in the United Kingdom in the 2019 QS World University Rankings. RCM was also ranked the top UK conservatoire for music in The Times and Sunday Times Good University Guide 2019 and top music conservatoire for overall student satisfaction in the latest National Student Satisfaction (NSS) Survey according to the Times Higher Education.

Beethoven Symphony n. 7

Top Classical January 13, 2022

Beethoven Symphony n. 7

January, 2022
Seiji Ozawa, the legendary Japanese director, celebrates his 85th birthday with the release of a new live work dedicated to Beethoven on his 250th anniversary. Conducting his beloved Saito Kinen Orchestra, considered one of the 20 best orchestras in the world.   

The maestro’s virtuosity has been recognized by artists and the critics around the world: “Ozawa is perhaps entering a glorious Indian summer of creativity” – Gramophone  

“Animation, dynamism and joy … he is among the luckiest creatures of God who are nourished and sustained by the love of what they do”- John Williams. 

The unyielding energy and dedication from the now-eighty-five-year-old maestro is highly admirable: The rhythmic punch and sharpness in the Leonore Overture are undeniable, although some might argue that it feels a bit restricted tempo-wise. Special mention deserves the series of admirable woodwind solos and Saito Kinen Orchestra’s principal flute, in particular.  

Ozawa’s Seventh Symphony, first movement is marked by a gracious introduction and a neatly balanced main body. In many occasions Scherzos are skipped by the director, while the vigorous finale leads to a cathartic climax. 

The Symphony also rewards us with an exquisite woodwind playing, especially in the middle movements this can be easily spotted on the famous second movement which is masterfully performed and fully lyrical. 

Third movement develops with dance-like fluidity and great majesty. Wagner called this symphony ‘the apotheosis of the dance’, something which Ozawa has in mind. But the meticulosity in the performance sometimes turns against us and makes us loose the breathtaking effect of the piece. 

Some critics point out the lack of intensity of the Adagio, in which, without really languishing, Ozawa makes strings and woods vibrate, in a call to resignation accompanied by tears on the violins. It certainly lacks the intensity and heady scope of other versions.  

Even if it is true that the recording is been done may times before, no one can deny the greatness of this recording full of expertise, colour and exemplary interpretations

– Paul Thomas

Beethoven 7
Seiji Ozawa
Ludwig van Beethoven
1. Overture “Leonore No. 3”, Op. 72b
2. Symphony No. 7 in A Major, Op. 92: I. Poco sostenuto – Vivace
3. Symphony No. 7 in A Major, Op. 92: II. Allegretto
4. Symphony No. 7 in A Major, Op. 92: III. Presto – Assai meno presto
5. Symphony No. 7 in A Major, Op. 92: IV. Allegro con brio

Elbphilharmonie

Top Classical January 13, 2022

Elbphilharmonie

The Hamburg’s treasure

Top Classical, February 2022
On Friday, November 4, 2016 the city of Hamburg was jumping of joy when at last, after a long bumpy journey the Elbphilharmonie was officially handed to the mayor, Olaf Scholz. The costs, since the idea was approved in 2005 until the completion of the works, grew 1000%, going from 77 million euros at that time, to 790 million today.

For the Swiss architects Jacques Herzog (1950) and Pierre de Meuron (1950), both born in Basel, the Elbphilharmonie is the most outstanding construction of the new century so far. The team is also the author of brilliant works like the Tate Modern in London, the oscillating university library of Cottbus or the football stadium in the shape of a tire from Munich.

As many cultural emblems, this German monument also has a nickname: Elphi. It is a glass and steel complex built over a historic warehouse for coffee, tea and cocoa based one of the docks of the colossal port of Hamburg. The slender construction includes a large concert hall with capacity for 2,100 spectators; a smaller room for chamber recitals (550); and a wide Plaza that serves a social meeting point for the public before the concert starts. At 80 meters in length, the escalator that leads to the upper floors is the longest in Europe.

The opening concert took place on January 11th, 2017 by the NDR Orchestra – Elbphilharmonie, conducted by Thomas Hengelbrock among emotional tears from some of the musicians who felt overwhelmed by the sentimental importance of the event. 

However, not everything turned out great for this astonishingly beautiful hall. The Japanese specialist Yasuhisa Toyota was in charge of the acoustic design. Ten thousand diffuser panels, made with a mixture of ground rock (from Bavaria) and cellulose pulp (recycled paper and cardboard waste), line the room to achieve a better sound distribution. 

Unfortunately the acoustics of the Elbhilharmonie in Hamburg have had major problems since it was inaugurated. The problem seems to be that the sound of the large auditorium is so sensitive and precise that every little noise (as paper wrapper of a candy) gets magnified, which causes that an orchestra can easily cover a singer voice preventing it from reaching some sectors of the venue. This was exactly what happened the concert of the Basel Symphony Orchestra with Kaufmann. 

In the middle of the recital and when Kaufmann was singing Das Lied von der Erde by Gustav Mahler, a lady from the audience stood up and snapped at the tenor: Mr. Kaufmann we can’t hear you from here; a moment later another spectator was also complaining about the same problem. Some also moved around the room, quickly looking for a better place causing a big chaos on the hall. The reaction by the hall managers was prompt. The prize of the entrance tickets was lowered tickets with immediate effect for those less fortunate sectors of the room. 

Ironically, and with the exception of a few large orchestras that have not yet done so, almost everyone wants to perform at the Elphilharmonie. But is a matter of prestige more than adequacy what moves this will.   

The architectural beauty (designed by the Swiss studio Herzog & Meuron) and the acoustic exquisiteness of the Japanese engineer Yasuhisa Toyota fascinate visitors. The gigantic astonishing hall really deserve a visit, the interior decoration ant he innovative structure are worth admiring.

Yuja Wang

Top Classical December 8, 2021

Yuja Wang

The “wonder woman” pianist

Top Classical, December 2021
Ever since pianist Yuja Wang came to international attention it was clear that she’s a serious young artist with more to her formidable talent than jaw-dropping technique. Praised for her charisma and captivating stage presence, acclaimed by the public and valued by critics since her debut, Yuja Wang is a whirlwind of energy and assured virtuosity on the keyboard who breaks the stereotypes of classical music with brilliant, fresh and astonishing piano recitals.

Yuja Wang was born in Beijing and encouraged to make music at a young age by her dancer mother and percussionist father. She began piano lessons at the age of six, and her progress was accelerated by studies at Beijing’s Central Conservatory of  Music.  In 1999 she moved to Canada and enrolled as the youngest ever student at Mount Royal Conservatory. Wang’s exceptional gifts were widely recognised in 2001 with her appointment as a Steinway Artist, and again the  following  year  when  she was offered a place at Philadelphia’s prestigious Curtis Institute of Music, where she studied with Gary Graffman.

Her international breakthrough came in 2007 when she replaced Martha Argerich as a soloist with the Boston Symphony Orchestra. Two years later she had already signed an exclusive contract with Deutsche Grammophon and since then she has become one of the most well-known artists on the international circuit, with a prolific career and numerous albums. Yuja Wang was named Artist of the Year 2017 by the magazine «Musical America». 

The past year has been chock-full of landmark events for Wang: Throughout this last year Wang has been nominated as resident artist in three of the most important venues in the world: the Carnegie Hall in New York, the Vienna Konzerthaus and the Luxembourg Philharmonie. Currently tackling about 110 concerts a year, she is undoubtedly building her career in the fast lane. And justifiably so: the San Francisco Chronicle, for one, has declared that she has ‘a practically superhuman keyboard technique with artistic eloquence that is second to none’.

This brilliant career, always on the spotlight hasn’t been except of criticism. Last February Wang was shamed by critics for her appearance, for wearing sunglasses during her recital. The piano virtuoso has defended herself explaining that she had been detained and subjected to “intense questioning” for over an hour at Vancouver International Airport, causing her to almost miss her recital at the Chan Centre for the Performing Arts. Yuja Wang says she delivered the recital in sunglasses to hide her tears.

“My main concern in that moment was to give the best performance I possibly could, and not to allow the audience to be distracted by my swollen eyes or visibly shaken demeanour. It would never be my intention to snub or disengage with an audience. Everything I do on stage is about connecting with people. My audiences and fans sustain and nourish me as an artist.” Said Yuja.

Manhattan School of Music

Top Classical November 23, 2021

Manhattan School of Music

Elite education in an intimate environment

Top Classical, November 2021
Founded in 1918, the Manhattan School of Music is a music institute in New York City dedicated to the personal, artistic, and intellectual development of its students, training them in performance and composition.  With humble beginnings as a small community music school, the School is now a renowned conservatory for classical music, jazz and musical theater. Located in the Morningside Heights neighborhood of New York City, it has over 500 undergraduate students and offers undergraduate and graduate and doctoral degrees in voice, instrumental performance, jazz, and composition; graduate degrees in accompanying, orchestral performance, and contemporary performance and a doctorate in accompanying.

Under the leadership of Marta Istomin, president since 1992, the School employs a superb artist-teacher faculty of 250 professional musicians, and is also an active presenter of more than 400 public performances.   Manhattan School of Music’s faculty is made up of members of New York City’s leading performing institutions–the New York Philharmonic, Metropolitan Opera, New York City Opera, Chamber Music Society of Lincoln Center etc.–as well as acclaimed soloists and chamber musicians.

Scores of alumni have made it big in the music world, including classical composer John Corigliano, who has won a Pulitzer Prize, five Grammy awards and an Oscar, as well as actor and composer Harry Connick Jr., who has sold over 28 million albums worldwide.

Receiving education at such great standards is not available for everybody. Admissions are very selective and the entrance fees are high. In fact a recent study concluded that Manhattan School of Music’s overall typical net price combined with high quality education results in a slightly lower value for the money when compared to other colleges and universities in New York. The intimate environment is very appreciated by the majority of the students. However most of them reported problems due to the low number of rehearsal rooms given the number of students. 

About the education program, even though nobody would argue that it is rich and solid, some voices claim that it might be too restricted letting no space for artistic freedom and creativity. Alexa Smith, Chief of Staff and Assistant Vice President of Special Initiatives at Manhattan School of Music, believes that more space should be given to art in the music programs: “There is room for more art in our music programs. We ask our students to learn from one another. We ask our orchestra members and opera casts to grow from their interactions to produce highly creative art. But if we do not come to the stage with equal liberation, this concept is not possible. Artistic liberation comes from a shared idea of what matters. Free expression and interpretation matter. Technique matters. And the person whose music you are singing or playing matters.” All in all, Manhattan School of Music is and will always be one of the best music institutions every undergraduate would love to attend.

The Berlin Recital

Top Classical November 22, 2021

The Berlin Recital

November 2021
If there’s one single quality that everybody agrees about Yuja Wang is that she never leaves nobody indifferent: neither her loyal fans nor her most fierce detractors. And the pianist just made it clear again with this neat recording, recorded by Deutsche Grammophon during a recital held at the Philharmonie in Berlin. The German capital and its varied, lively and open spirit concert hall seem to be very significant and not chosen at random; it’s just representing Yuja’s artistic image and ability. 

The challenging repertoire has also been selected to reveal Yuja’s unarguable natural gift for dealing with works of such caliber. Her expressive musicality, her sophisticated techniques and her prodigious memory are fully given at the service of the music.  The the stylistic intentions of the pianist in this recital are certainly declare by the martial chords and deeply moving melodies of Prelude no. 5, opus 23 by Rachmaninov. We can appreciate her incisive sound, direct and precise attack, energy and character in the Andante dolce and in the extraordinary Vivace of Sonata no. 8 by Prokofiev, Études no. 1 and 9 of Ligeti, or in “The insects.”, the challenging trills of Sonata no. 10 by Scriabin. 

The recital includes Works from different historical moments. From a late romantic -Rachmaninov-, two visionaries of the 20th century -Scriabin and Prokofiev-, and a contemporary without veils, Ligeti. However, this chronological order is not respected in the program, which may seem surprising for some listeners. 

Her gifted ability is such that even the most demanding repertoire seems doomed by the interpreter who relentlessly performs wildness of infinite notes that could abstract the listener from it. Then is where maturity and contrasts emerge:  the pauses, the evocative harmonies, the search for textures as in the crescendo-diminuendo of Prelude no. 10 or in the Debussian beginning of Scriabin’s sonata, brings to the performance the distinctive point, which proves not also Wang’s undoubtfully flawless technical skills, but also her wisdom in performing and great musical understanding.

We are surely in front of a highly recommended, thrilling and ingenious album.

– David Gutman

The Berlin Recital
Yuja Wang
Sergei Rachmaninoff
1. Prelude in G Minor, Op. 23, No. 5
2. Études-Tableaux, Op.39, No. 1 in C Minor
3. Études-Tableaux, Op.33, Etudes-Tableaux, Op. 33, No. 3 in C Minor
4. Prelude in B Minor, Op. 32, No. 10
Alexander Scriabin
5. Piano Sonata No. 10, Op. 70
György Ligeti
6. Études pour piano, No. 3 “Touches bloquées”
7. Études pour piano, No. 9 “Vertige”
8. Études pour piano, No. 1 “Désordre”
Sergey Prokofiev
9. Piano Sonata No. 8 in B-Flat Major, Op. 84: I. Andante dolce
10. Piano Sonata No. 8 in B-Flat Major, Op. 84: II. Andante sognando
11. Piano Sonata No. 8 in B-Flat Major, Op. 84: III. Vivace

Van Cliburn competition

Top Classical October 13, 2021

Van Cliburn competition

Top Classical, October 2021
The Van Cliburn Piano Competition is a prestigious piano competition held every four years at Fort Worth, Texas. Pianist Harvey Lavan “Van” Cliburn, Jr. established the Van Cliburn International Piano Competition, which has become one of the best-known classical music contests in the United States. 

Van Cliburn was an American hero and an international icon for over five decades. He was praised as one of the most persuasive ambassadors of American culture, as well as one of the greatest pianists in the history of music. In 1958 he became famous as America’s classical music champion when he won first prize at the inaugural International Tchaikovsky Competition, which took place in Moscow when it was the capital of the communist Soviet Union. Van Cliburn’s victory took on deeper political and cultural implications in the context of the Cold War, as he defeated his Russian competitors.  Four years later in 1962, a dedicated group of Fort Worth volunteers held the First Van Cliburn International Piano Competition in his honor; the competition is now widely recognized as one of the most prestigious the best-known classical music contests in the world. 

Held at four-year intervals, The Cliburn allows the finest young concert pianists to perform before a global audience. In addition to the competitions, the Foundation manages the careers of professional competition winners for a defined period of time and presents concert series and educational programming in the Fort Worth area. The competition began on-line audio streaming of the performances and in 2009, all of the performances were webcasted live for the first time in its history. 

In its 60-year history, the Cliburn has identified and ushered a host of exceptional internationally well-known artists including Barry Douglas, Olga Kern, Radu Lupu, Jon Nakamatsu, and Cristina Ortiz.  

Before the competition takes place, an esteemed five-member screening jury travels from all over the world to hear more than 100 pianists perform a 40-minute recital in front of a live audience. From these auditions, 30 of the world’s finest pianists will be invited to compete for the coveted Cliburn medals, more than $175,000 in prizes and awards, and three years of commission-free career management valued at over $1.3 million. During a demanding three-week schedule, all competitors will perform two 45-minute solo recitals in the Preliminary Round. Then 12 semifinalists will be selected to perform a 60-minute solo recital. The six finalists will perform 6 competitors will perform two concertos, with the Fort Worth Symphony Orchestra and conductor Marin Alsop 

This year for the first time in its 60-year history, the Van Cliburn International Piano Competition has been postponed. The competition hosted in Fort Worth has been rescheduled to June 2022 from its original June 2021 date, due to the coronavirus pandemic.