Category: Piano History - Page 2

This Week in Piano History: The Concert with an Audience of Legends (Including Liszt, Mendelssohn, and Wieck!)

Written By Curtis Pavey

THIS WEEK IN PIANO HISTORY, Chopin had his premiere at the Salons de Pleyel in Paris on February 25, 1832.¹ Chopin’s first concert after arriving in Paris, this debut marked one of the few times the Parisian public was able to hear Chopin’s performances.

Chopin initially left Poland for a concert tour throughout Europe, but the journey was extremely difficult and he ultimately left Poland for good. His tour began in Vienna, but was immediately brought to a halt due to an uprising in Poland, which nearly resulted in the assassination of Grand Duke Constantin.² Because of this, he struggled to find any concerts and spent several months waiting for a Russian passport.³ When he finally left for Stuttgart, he discovered the news that the Polish uprising was unsuccessful and he became extremely depressed.⁴ His arrival in Paris on October 5, 1831 was thus clouded by this nearly year-long journey and his slow adaptation to Parisian life.⁵

At the Salons de Pleyel on February 25, 1832, he performed a number of his own works during this concert including his Concerto in E Minor and his Variations on ‘Là ci darem la mano.’ The concert additionally featured Kalkbrenner’s Grande Polonaise for Six Pianos and performances by a number of other Parisian musicians. Among the many audience members were Mendelssohn, Liszt, Friedrich Wieck, and his daughter Clara Wieck.⁶

*The program from Chopin’s debut performance at the Salons de Pleyel.*

A mini documentary by Stanisław Leszczyński and pianist Alex Szilasi, which demonstrate a few pianos from Chopin’s time.

Performing Chopin in the Style of Chopin?

A review in Fétis remarked, “Here is a young man who gives himself up to his innate impulses and, taking no-one as a model, has discovered, if not an utter renewal of piano music, at least a fragment of that which for so long has been sought in vain, namely an abundance of original ideas, the origins of which can nowhere be indicated. By this, we do not wish to maintain that Mr Chopin is endowed with the powerful organisation of some Beethoven, […] I speak here of the music of pianists. […] Mr Chopin performed […] a concerto which astounded and pleasantly surprised the auditorium both with its freshness of melody and type of passages, and also with its modulations and the overall arrangement of the movements. There is spirit in these melodies, there is fantasy in these passages, and everywhere there is originality. […] This young artist also deserves praise as a virtuoso. His playing is elegant, light, full of grace, and marked with brightness and purity.”⁷ To learn more about Chopin’s performing style, read this article, Performing Chopin in the Style of Chopin?, by pianist Beth Chen!

Chopin maintained a relationship with Pleyel & Co. and its owner, Camille Pleyel. Remarking about his experience playing Erard and Pleyel pianos, Chopin stated: “When I am feeling indisposed, I play on an Erard piano and I easily find in it a ready-made sound; but when I feel alive and strong enough to find my own sound, I need a Pleyel piano.”⁸ Interested in learning more about Chopin’s early experiences and his relationship with Pleyel pianos? Check out this article by Jean-Jacques Eigeldinger translated by Deana Shuman!

Chopin and Pleyel

Sources

Different sources list this date as February 25th or February 26th.
Jim Samson, “Chopin, Fryderyk Franciszek,” Grove Music Online, 2001; Accessed 20 Jan. 2023, https://www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000051099.
Ibid.
Ibid.
Ibid.
Jean-Jacques Eigeldinger, “Chopin and Pleyel,” trans. Deana Shuman, Piano Magazine 2, no. 3 (May 2010), pianoinspires.com/article/chopin-and-pleyel/.
“The Years of Adaptation (1831–1835) – 1832,” Calendar, The Fryderyk Chopin Institute, Accessed January 20, 2023, chopin.nifc.pl/en/chopin/kalendarium/123_the-years-of-adaptation-18311835/72.
Jean-Jacques Eigeldinger, “Chopin and Pleyel,” trans. Deana Shuman, Piano Magazine 2, no. 3 (May 2010), pianoinspires.com/article/chopin-and-p

Eigeldinger, Jean-Jacques. “Chopin and Pleyel.” Translated by Deana Shuman. Piano Magazine 2, no. 3 (May 2010). pianoinspires.com/article/chopin-and-pleyel/

Samson, Jim. “Chopin, Fryderyk Franciszek.” Grove Music Online. 2001; Accessed 20 Jan. 2023. oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000051099.

The Fryderyk Chopin Institute. “The Years of Adaptation (1831–1835) – 1832.” Calendar. Accessed January 20, 2023. chopin.nifc.pl/en/chopin/kalendarium/123_the-years-of-adaptation-18311835/72.

Dr. Curtis Pavey is a pianist, harpsichordist, and educator. A performer of works from the 16th through the 21st centuries, he feels equally at home performing or teaching at the piano and the harpsichord. He is currently based in the Cincinnati area and maintains a private piano studio.

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This Week in Piano History: The King of Etudes

Written By Curtis Pavey

THIS WEEK IN PIANO HISTORY, we celebrate the birth of pianist and composer Carl Czerny who was born on February 21, 1791. Although primarily known for his numerous etudes, Czerny was a prolific composer publishing over 800 works with opus numbers.

Czerny was born into a middle class family in Vienna, Austria. His father, Wenzel Czerny, was a musician and piano repairman. Although an amateur, he taught lessons and was able to support his family with a modest income. Czerny was a child prodigy and, by the age of ten, was capable of playing challenging works of Mozart and other contemporary composers. He met Beethoven at age ten and was accepted as one of his students. During this time, Czerny studied the works of Beethoven as well as C.P.E. Bach’s Essay on the True Art of Keyboard Playing.¹

Although Czerny stopped his studies with Beethoven shortly after, he remained a close friend throughout Beethoven’s life. He performed a number of Beethoven’s works including his Emperor Concerto and later in life published a treatise called On the Proper Performance of All Beethoven’s Works for the Piano. According to Lindeman and Barth, the score examples contain rewrites and suggest that Czerny had his own ideas about how Beethoven’s music should be performed.² Despite this, Czerny’s writing on Beethoven’s works offers an important commentary about Beethoven’s composition and performance style.

Czerny is perhaps best known for the several hundred etudes published in his lifetime. These vary greatly from works at the beginning level to works suitable for the concert hall. Among his many studies are works such as the School of Virtuosity Op. 365, the School of Legato and Staccato, Op. 335, the 24 Easy Studies for the Left Hand, Op. 718, and the Nouveau Gradus ad Parnassum, Op. 822. The title for this last work appears to be an ode to Clementi, one of Czerny’s friends.³

Although Czerny is known so well for his etudes, he was a composer of a large number of works in diverse genres such as sacred music and serious concert pieces. In the nineteenth century, Robert Schumann, in his journal Neue Zeitschrift für Musik, popularized the idea of Czerny only being a composer of etudes; this idea continues to perpetuate modern discussions of his works.⁴ Despite this, Czerny wrote a number of serious piano works including eleven published piano sonatas. Liszt is known to have performed and highly reviewed Czerny’s Piano Sonata No. 1 in A-flat Major, Op. 7.⁵ The work is an expansive sonata of five movements lasting over thirty minutes. Among the many highlights of this work are the lyrical first movement and the exciting closing movement featuring a virtuosic and chromatic fugue. You can hear a recording of this sonata here, performed by pianist Martin Jones.

Czerny’s Piano Sonata No. 1 in A-flat Major, Op. 7 performed by pianist Martin Jones.

Besides his compositions, Czerny is also known as an important teacher. He apparently maintained a rigorous teaching load, teaching twelve hours per day from 8 a.m. to 8 p.m.⁶ Czerny was a teacher to famous pianists Stephen Heller, Sigismond Thalberg, and Franz Liszt, who later dedicated his own set of etudes, the Études d’exécution transcendante, to him in 1852.

*Beethoven was Czerny’s teacher and mentor.*

*One of Czerny’s star students was Franz Liszt.*

Want to learn more about using etudes in your teaching? Check out this article with advice from Nancy Bachus, Seymour Fink, and Marilyn Neeley about using etudes in your studio!

What is the role of “etudes” in a pianist’s development? Which ones do you use and when?

Sources

Stephan D. Lindeman and George Barth, “Czerny, Carl,” Grove Music Online. 2001; Accessed 20 Jan. 2023, oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000007030.
Ibid.
Ibid.
Ibid.
Ibid.
Ibid.

Lindeman, Stephan D., and George Barth. “Czerny, Carl.” Grove Music Online. 2001; Accessed 20 Jan. 2023. oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000007030.

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This Week in Piano History: The Ragtime “Scott” You Might Not Know

Written By Curtis Pavey

James Sylvester Scott

THIS WEEK IN PIANO HISTORY, we celebrate the birth of major ragtime composer James Sylvester Scott who was born on February 12, 1885. Scott produced a number of hits including Ophelia Rag, Frog Legs Rag, and Grace and Beauty.

Originally from Neosho, Missouri, Scott was born to former slaves James Scott Sr. and Molly Thomas Scott. His musical upbringing began on his own as he learned to play piano by ear, but later studied with teacher John Coleman and continued as he watched and gave performances at Lakeside Amusement Park.¹ These experiences helped him to improve his musical abilities and, because of this, he was hired by the Dumars Music Company to work as a sales clerk and perform his own music to demonstrate the instruments.²

While working for the Dumars Music Company, Scott was able to publish several of his own pieces including works such as On The Pike March. Upon meeting fellow ragtime composer Scott Joplin in St. Louis, he was introduced to Joplin’s publisher John Stark.³ After this introduction, Scott published a number of rags throughout 1906–1922, making him a leading composer in this style next to figures such as Scott Joplin.

Although similar in nature to Scott Joplin, James Sylvester Scott is an important and noteworthy composer in his own right. One of the most interesting features of Scott’s rags is his use of increasingly colorful and chromatic harmony. In Victory Rag, Scott uses half-diminished and fully diminished chords to great effect. Scott was concerned about balance in his music and carefully balanced the sections of the rags to create symmetry in phrase lengths. His music contains many virtuosic elements including arpeggios, thick chordal textures, and octaves. Want to hear one of Scott’s most famous compositions? Check out this recording of Ophelia Rag performed by pianist Fred Sturm.

Ophelia Rag performed by pianist Fred Sturm.

Around 1920, Scott moved to Kansas City where he established his own teaching studio, performed in silent films and pit orchestras, and even performed with a dance band. His activities in Kansas City helped him to become one of the most important Black pianists there.⁴ After the death of his wife, Nora Johnson, in 1930, Scott continued to teach and perform until his death in 1938.

If you are curious about including ragtime in your studio, read Meg Gray’s article, Pupil Saver: First Steps into Ragtime, to learn about this style via the music of Florence Price.

Winter 2020: Pupil Saver: First Steps into Ragtime

An article by Meg Gray titled Pupil Saver: First Steps into Ragtime.

Sources

Peter Muir, “Scott, James Sylvester,” Oxford African American Studies Center, 31 May. 2013; Accessed 20 Jan. 2023, oxfordaasc-com.uc.idm.oclc.org/view/10.1093/acref/9780195301731.001.0001/acref-9780195301731-e-37819.
John Edward Hasse, “Scott, James,” Grove Music Online, 2001; Accessed 20 Jan. 2023, oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000025252.
Ibid.
Peter Muir, “Scott, James Sylvester,” Oxford African American Studies Center, 31 May. 2013; Accessed 20 Jan. 2023, oxfordaasc-com.uc.idm.oclc.org/view/10.1093/acref/9780195301731.001.0001/acref-9780195301731-e-37819.

Hasse, John Edward. “Scott, James.” Grove Music Online. 2001; Accessed 20 Jan. 2023. oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000025252.

Muir, Peter. “Scott, James Sylvester.” Oxford African American Studies Center. 31 May. 2013; Accessed 20 Jan. 2023. https://oxfordaasc-com.uc.idm.oclc.org/view/10.1093/acref/9780195301731.001.0001/acref-9780195301731-e-37819.

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This Week in Piano History: The Pianist Who Could Crack a Joke

Written By Curtis Pavey

Victor Borge

THIS WEEK IN PIANO HISTORY, we remember the debut of The Victor Borge Show on NBC-TV on February 3, 1951. Borge’s brilliant comedic routines brought humor to the classical music concert hall in ways previously not experienced.

Born in Copenhagen, Borge’s musical studies with his parents, who were both musicians. His father supervised his early musical training, but he later was accepted on full scholarship into the Danish Royal Academy of Music at age of nine. Borge additionally studied with Frederic Lamond, a former student of Liszt, and Egon Petri. In the initial part of his career, Borge satirized many different elements of his life, including some beyond music.¹ He was a noted critic of Adolf Hitler. Born to an Ashkenazi Jewish family, Borge was forced to flee Europe for the United States in 1940.

Upon arriving in the United States, he was able to quickly find work by appearing on Bing Crosby’s radio show in NYC called Kraft Music Hall.² The success of this program later resulted in Borge’s own radio show. In 1951, The Victor Borge Show officially debuted on NBC-TV. His clever routines, largely making fun of his own abilities and other quirks of the classical music field, were quite popular; however, the show was taken off the air after just a few months.

In describing his work with Borge, director Perry Lafferty stated, “He was probably as talented a person as I worked with in my life… Nobody stopped to think it through at the time, but he’s so special with what he does on the piano with music, that it’s not something you sit down with writers… Nobody might have thought that—including me—that television would burn his act up. Now, you had to think, ‘What do you do with him? He doesn’t do acting, he just plays the piano.’ It was the hardest thing in my career… Victor Borge fought everything we wanted to do.”³

After The Victor Borge Show was taken off air, Borge continued to perform and conduct around the globe. He performed his Comedy in Music show on Broadway, giving nearly 850 performances.⁴ In addition to worldwide fame, Borge received a number of honors and awards in recognition for his outstanding contributions to the classical music field. In 1997 he was given an honorary degree from Trinity College Connecticut. In addition. he was one of the honorees at the 1999 Kennedy Center Honors. He also received the Order of the Dannebrog from Denmark. He continued performing up until his death in 2000, a week shy of his 92nd birthday.

A skit based on Liszt’s Hungarian Rhapsody No. 2.

A video featuring a portion of the original The Victor Borge Show broadcasts from 1951.

Sources

Karen Monson, “Borge, Victor,” Grove Music Online. 2001; Accessed 20 Jan. 2023, oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000046993.
Ibid.
Wesley Hyatt, Short-Lived Television Series, 1948-1978: Thirty Years of More Than 1,000 Flops (First edition. Jefferson, NC: McFarland & Company, 2003), 26.
Karen Monson, “Borge, Victor,” Grove Music Online. 2001; Accessed 20 Jan. 2023, oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000046993.

Hyatt, Wesley. Short-Lived Television Series, 1948-1978: Thirty Years of More Than 1,000 Flops. First edition. Jefferson, NC: McFarland & Company, 2003.

Monson, Karen. “Borge, Victor.” Grove Music Online. 2001; Accessed 20 Jan. 2023. oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000046993.

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This Week in Piano History: The Birth of Philip Glass | January 31, 1937

Written By Curtis Pavey

THIS WEEK IN PIANO HISTORY, we celebrate the birth of American composer Philip Glass, who was born on January 31, 1937. Known for his unique approach to minimalist style, Glass’ award-winning compositions continue to inspire audiences worldwide.

Born in Baltimore, Maryland, Glass began studying the violin and flute in his childhood, later becoming intrigued by composition as a teenager. He enrolled at the University of Chicago where he received a BA in Liberal Arts in 1956 before taking up composition studies at Juilliard. Among his important early influences were Vincent Persichetti, Darius Milhaud, and even Nadia Boulanger. Throughout the 1960s, Glass’ minimalist style developed and was influenced by his study of Indian traditional music.¹ With the establishment of his own ensemble—The Philip Glass Ensemble—he was able to ensure the exclusive performance rights of his music and thus control its dissemination to the public.² Glass has received a number of awards for his concert and film music including a National Medal of Arts and recognition as a Kennedy Center Honoree.

Glass has written music for every type of classical genre including opera, symphonies, concerti, sonatas, and etudes. He has composed more than a dozen operas including the notable Einstein on the Beach and Akhnaten, which tells the story of an Egyptian pharaoh of the same name. He continues to write symphonies, with Symphony No. 13 written in honor of Canadian-American journalist Peter Jennings being premiered in March 2022. Additionally, Glass composed film scores to dozens of movies and TV shows including The Truman Show, for which he won a Golden Globe for Best Original Score in 1998.

Pianist Víkingur Ólafsson performs Étude No. 5 by Philip Glass.

Pianist Paul Barnes and flutist Ron Warren perform Piano Concerto No. 2: After Lewis and Clark by Philip Glass with Tyler White and the UNL Symphony Orchestra.

Among his most popular piano works are his three piano concerti and his two volumes of Etudes. His piano works are notable for their repetitive structures, oscillating accompaniment patterns, and introspective qualities. In his Etude No. 5, performed here by pianist Víkingur Ólafsson, Glass creates a long arc out a somber piano accompaniment pattern which later accompanies a melody played at first in octaves.

Glass’s Piano Concerto No. 2: After Lewis and Clark musically conveys the narrative of Lewis and Clark’s famous journey throughout the American West. The piece, heard here performed by pianist Paul Barnes and the UNL Symphony Orchestra, is in three movements and includes a solo performed on a Native American flute in the second movement titled “Sacagawea.”

In describing his own style, Glass states: “I’ve been called a minimalist composer for more than 30 years, and while I’ve never really agreed with the description, I’ve gotten used to it … but what I really am—and increasingly so—is a universalist composer. I’m interested in all kinds of music, and sooner or later most of those musics find their way into my own compositions.”³

Teaching Contemporary Piano Techniques to Intermediate Piano Students with Alexina Louie’s Star Light, Star Bright

Interested in ways you can teach contemporary music techniques to your students? Check out this article by Lynn Worcester Jones in which she explains her teaching tips using the music of Alexina Louie.

Sources

Edward Strickland and Mark Alburger, “Glass, Philip,” Grove Music Online, 16 Oct. 2013 (Accessed 16 Dec. 2022), oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002252917.
Ibid.
Tim Page, “Nothing Less,” The Washington Post, January 16, 2005, washingtonpost.com/archive/lifestyle/style/2005/01/16/nothing-less/2668c73f-bc71-43ac-b237-dd30dc545747/ (accessed December 16, 2022).

Evans, Tristian. “Glass, Philip.” Grove Music Online. 26 Mar. 2018; Accessed 16 Dec. 2022. oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-3000000124.

Page, Tim. “Nothing Less.” The Washington Post. January 16, 2005. washingtonpost.com/archive/lifestyle/style/2005/01/16/nothing-less/2668c73f-bc71-43ac-b237-dd30dc545747/ (accessed December 16, 2022).

Strickland, Edward, and Mark Alburger. “Glass, Philip.” Grove Music Online. 16 Oct. 2013; Accessed 16 Dec. 2022. oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002252917.

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This Week in Piano History: The Birth of Muzio Clementi | January 23, 1752

Written By Curtis Pavey

*A piano manufactured by Muzio Clementi & Co.*

THIS WEEK IN PIANO HISTORY, we celebrate the birth of pianist, composer, and piano manufacturer Muzio Clementi, who was born on January 23, 1752. Although Clementi is most well known today for his sonatinas, he wrote a number of large-scale piano sonatas and achieved great success with his piano manufacturing business.

Clementi, born in Rome, lived the majority of his life in England where he established himself as a musician and businessman. In his teen years, he was introduced to Peter Beckford who “bought” Clementi’s service for seven years.¹ Following this, Clementi gradually began to establish himself as an independent musician on the London stage. Although Clementi gave many concerts as a pianist and conductor, he significantly limited his concert appearances after 1790 and was significantly more involved in his piano building and music publishing company. His business successfully sold pianos throughout Europe and even employed his then students Johann Baptist Cramer and John Field to help market the pianos. He additionally gained the rights of several important composers such as Beethoven and was the first to publish them in England. Clementi’s company continued to be successful long after his retirement. Clementi died from an illness on March 10, 1832. He was later buried in Westminster Abbey in London.

*Portraits of Clementi along with a photo of his tombstone at Westminster Abbey in London.*

In December 1781, Mozart and Clementi met in Vienna at the court of Joseph II where they battled in a notoriously famous piano duel. Clementi thought highly of Mozart’s playing, but Mozart was less than thrilled with Clementi’s performance stating: “Clementi plays well, as far as execution with the right hand goes. His greatest strength lies in his passages in 3rds. Apart from that, he has not a kreuzer’s worth of taste or feeling – in short he is a mere mechanicus.”² Clementi’s fame did not initially suffer, but Mozart’s comments were shared by others in the musical world of the time and thus caused Clementi to later fade out of concert life.³

Pianist Vladimir Horowitz performs Clementi’s Sonata in F-sharp Minor, Op. 25, No. 5, III. Presto.

Clementi is especially well known for his many sonatinas and sonatas. Clementi’s Op. 36 publication of six sonatinas contains some of the most iconic music for intermediate-level pianists. Each of the sonatinas in the set progressively increase in difficulty, offering a variety of different challenges for developing pianists. His works, however, are not limited to the intermediate-level pianist. Many of his sonatas contain virtuosic elements such as the playing of legato thirds at rapid speeds as heard in the final movement of his Sonata in F-sharp Minor, Op. 25, No. 5.

His Sonata in G minor “Didone abbandonata,” Op. 50, No. 3, performed here on a copy of a Viennese fortepiano, contains amazingly expressive moments and is an effective concert work for advanced-level pianists. Besides keyboard music, Clementi wrote several symphonies, though they failed to compare to the works of that time by Haydn and Beethoven.⁴ His pedagogical work, Gradus ad Parnassum, contains one hundred different exercises published in three volumes, representing some of his finest work.

Fortepianist Anastasia Chin performs Clementi’s Sonata in G Minor, Op. 50, No. 3, “Didone abbandonata.” This was performed on a copy of a Conrad Graf Viennese fortepiano, circa 1820’s, by Rod Regier.

Clementi: Sonatina in C, Op. 36, No. 1, I. Allegro

Amy Glennon shares teaching tips regarding Clementi’s Sonatina in C, Op. 36, No. 1, I. Allegro.

Are you or any of your students working on Clementi’s Sonatina Op. 36, No. 1? If so, check out this video by Amy Glennon that includes tips and tricks for tackling this standard of the piano repertoire.

Sources

Alan Tyson, Leon Plantinga, and Luca Lévi Sala, “Clementi, Muzio.” Grove Music Online, 2001 (Accessed 16 Dec. 2022) oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000040033.
Ibid.
Ibid.
Ibid.

Cranmer, Margaret, and Peter Ward Jones. “Clementi.” Grove Music Online. 2001; Accessed 16 Dec. 2022. oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000005937.

Tyson, Alan, Leon Plantinga, and Luca Lévi Sala. “Clementi, Muzio.” Grove Music Online. 2001; Accessed 16 Dec. 2022. oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000040033.

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This Week in Piano History: The Premiere of Charles Ives’ Concord Sonata | January 20, 1939

Written By Curtis Pavey

*Charles Ives and Harmony Twichell Ives*

THIS WEEK IN PIANO HISTORY, we celebrate the premiere of Charles Ives’ Concord Sonata, which American pianist John Kirkpatrick premiered on January 20, 1939. The sonata, Ives’ second piano sonata, lasts over forty-five minutes and is noted for its extremely dense writing and complicated use of leitmotifs.

Ives was an American musical pioneer who was known for his colorful and fascinating musical palette. Ives’ father, George E. Ives was one of his primary teachers and held a number of musical positions in Connecticut where he conducted multiple ensembles. Charles Ives grew up studying with his father and played several instruments including piano, organ, and drums, which he performed in his father’s band. Ives experimented throughout his life with a variety of sound worlds including microtonality and polytonality.

Ives’ Concord Sonata was published as his second and final piano sonata in 1920, but Ives revised it a number of times. In the sonata, Ives reflects on writings from poets in the New England area. Each of the different movements of the sonata is titled after a famous American writer including Ralph Waldo Emerson, Henry David Thoreau, Nathaniel Hawthorne, Bronson Alcott, and Louisa May Alcott. Although written for solo piano, the sonata includes noted solos for flute, viola, and a block of wood, which is used to play clusters in the Hawthorne movement. The sonata is dense, featuring leitmotifs from Beethoven’s Symphony No. 5, several hymns, and other excerpts of works by composers such as Debussy and Wagner.¹

*The Charles Ives House in Danbury, Connecticut. Ives was born here in 1874.*

In addition to the sonata, Ives wrote an essay titled Essays Before a Sonata, in which he described his new musical aesthetics. In writing this document, he joined a number of other twentieth-century composers such as Olivier Messiaen who wrote about their musical methods.

Although the sonata initially received mixed reactions, it was later praised by American author Henry Bellamann who described it as “elevating and greatly beautiful.”² A number of pianists have recorded the work in recent years including Stephen Drury, Marc-André Hamelin, Gilbert Kalish, and Pierre-Laurent Aimard.

Interested to hear a recording of Ives’ Concord Sonata? Listen to this recording of Stephen Drury performing the work in Jordan Hall at New England Conservatory in Boston, MA.

Pianist Stephen Drury and flautist Jessi Rosinski perform Ives’ Concord Sonata on Sunday, June 16, 2013 at Jordan Hall of the New England Conservatory.

Sources

James B Sinclair, A Descriptive Catalogue of the Music of Charles Ives, (New Haven: Yale University Press, 1999), 227.
J. Peter Burkholder, James B. Sinclair, and Gayle Sherwood Magee, “Ives, Charles,” Grove Music Online (16 Oct. 2013; Accessed 15 Dec. 2022), www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002252967.

Burkholder, J. Peter, James B. Sinclair, and Gayle Sherwood Magee. “Ives, Charles.” Grove Music Online. 16 Oct. 2013; Accessed 15 Dec. 2022. www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002252967.

Sinclair, James B. A Descriptive Catalogue of the Music of Charles Ives. New Haven: Yale University Press, 1999.

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This Week in Piano History: The Death of Jazz Pianist Alice Coltrane | January 12, 2007

Written By Curtis Pavey

THIS WEEK IN PIANO HISTORY, we remember Alice Coltrane, who died on January 12, 2007 in Los Angeles, California. Coltrane was a jazz pianist, harpist, and composer who later transformed her life as a Hindu spiritual teacher (swamini) under the name Turiya Sangitananda. Her recording and performing career spanned the second half of the twentieth century into the early 2000’s when she recorded her final disc.

Coltrane was born in Detroit and spent her early years studying piano. Her talent was immediately noticeable and she spent her youth exploring a range of musical influences including classical, bebop, and gospel styles. Among her early teachers were noted jazz pianists Barry Harris and Terry Pollard. At the piano, she brought a unique style and impressed her early colleagues. When Terry Gibbs, an American vibraphonist, met Coltrane, he immediately hired her on the spot. Years later, he reflected about that moment: “Alice MacLeod was her name and she played four bars, just four bars. And I stopped it, I said you’re hired; you got the job.”¹

Coltrane briefly married Kenny Hagood in 1960 and gave birth to their only child, Michelle. In 1963, Alice Coltrane met American saxophonist and composer John Coltrane and later married him in 1965. They frequently performed together and began building a family with three children: John Jr., Ravi, and Oran. John Coltrane died in 1967 from liver cancer, which brought on a new period of artistic and spiritual exploration from Alice Coltrane.

Alice Coltrane recorded dozens of albums featuring her eclectic musical interests. Among her most popular recordings are Live at the Village Vanguard Again!, Transcendence, Divine Songs, Translinear Light, and Transfiguration. Her career featured numerous collaborations including Yusef Lateef, Sonny Stitt, Reggie Workman, Roy Haynes, Charlie Haden, Roland Kirk, Joe Henderson, and her children Ravi and Oran.

In her later years, Coltrane turned towards Hinduism as a guiding spiritual and artistic force. She became a spiritual teacher in the Hindu tradition and changed her name to Turiyasangitananda. Her beliefs led her to found the Sai Anantam Ashram in Agoura Hills, CA. During this late period of her life, she wrote a number of documents about her spiritual journey and was inspired by Hindu hymns, which later appeared in her music. Coltrane died from respiratory failure on January 12, 2007.

Interested in listening to Coltrane’s performances? Listen to this recording of her performing at the International Jazz Music Festival Jazz Jamboree in Warsaw in 1987 with her son Ravi Coltrane and musicians Roy Haynes and Reggie Workman.

Pianist Alice Coltrane performs with Ravi Coltrane, Roy Haynes, and Reggie Workman at the International Jazz Music Festival Jazz Jamboree in Warsaw in 1987.

Sources

Farai Chideya, “Alice Coltrane, Wife of John, Left Her Own Mark,” National Public Radio, January 16, 2007, transcript, npr.org/templates/story/story.php?storyId=6868236.

Berkman, Franya. “Coltrane [née McLeod], Alice.” Grove Music Online. 4 Oct. 2012; Accessed 15 Dec. 2022. www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002228112.

Chideya, Farai. “Alice Coltrane, Wife of John, Left Her Own Mark.” National Public Radio, January 16, 2007. Transcript. npr.org/templates/story/story.php?storyId=6868236

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This Week in Piano History: The Premiere of Tchaikovsky’s Ballet “The Nutcracker” | December 18, 1892

Written By Curtis Pavey

*The original production of The Nutcracker, Imperial Mariinsky Theatre, Saint Petersburg,1892*

THIS WEEK IN PIANO HISTORY, we celebrate the premiere of Tchaikovsky’s ballet, The Nutcracker, on December 18, 1892. Although the premiere performance of the ballet was not well received, it has become one of Tchaikovsky’s most beloved compositions.

The History of The Nutcracker

Based on a story by E.T.A. Hoffman, Tchaikovsky’s The Nutcracker tells the story of a young girl named Clara (Marie in Hoffman’s story). Clara is gifted a beautiful nutcracker by her godfather, but it breaks after a fight with her brother Fritz. Waking at midnight to check on the toy, Clara is swept away into a magical story involving battles with mice and toy soldiers and fanciful travels. Some of the most famous music of the ballet comes in Act II, where a divertissement consisting of the “characteristic dances” occurs. The ballet ends with a final waltz in which Clara wakes up in her own bed.

The premiere of the ballet was rocky and not everyone approved of the work. One critic wrote: “First of all, Nutcracker can in no event be called a ballet. It does not comply with even one of the demands made of a ballet. Ballet, as a basic genre of art, is mimed drama and consequently must contain all the elements of normal drama. On the other hand, there must be a place in ballet for […] dances, made up of the entire essence of classical choreography. There is nothing of this in Nutcracker. There is not even a subject.”¹ The ballet, revived in 1954 by George Balanchine, later became a huge success. Today every major ballet company in the United States routinely performs Tchaikovsky’s ballet every holiday season to sold-out crowds.

Keyboards and The Nutcracker

Ballerina Lauren Cuthbertson performs the Dance of the Sugar Plum Fairy, a piece featuring the twinkling sounds of the celesta.

One of the most notable moments of the ballet score is the use of celesta in the “Dance of the Sugar Plum Fairy.” Writing to his publisher, Tchaikovsky announced, “I have discovered a new instrument in Paris, something between a piano and a glockenspiel, with a divinely beautiful tone. I want to introduce this into the ballet and the symphonic poem. The instrument is called the ‘Celesta Mustel,’ and costs 1,200 francs. You can only buy it from the inventor, Mustel, in Paris. I want to ask you to order one of these instruments […] Have it sent direct (sic) to Petersburg; but no one there must know about it. I am afraid Rimsky-Korsakov and Glazounov might hear of it and make use of the new effect before I could. I expect the instrument will make a tremendous sensation.”² The instrument did make quite a sensation and has become prominent in movie scores of the last few decades including its use in the Harry Potter movies (Hedwig’s Theme).

Due to the popularity of the Nutcracker, many have written arrangements of the suite for piano. Tchaikovsky himself arranged the suite for solo piano in 1892 and other popular arrangements were written for piano four hands by Eduard Langer and two pianos by Nicolas Economou. Listen to the following recording of Martha Argerich and Lilya Zilberstein performing Economou’s masterful arrangement.

Pianists Martha Argerich and Lilya Zilberstein performing Economou’s arrangement of The Nutcracker Suite.

Sources

Roland John Wiley, Tchaikovsky’s Ballets: Swan Lake, Sleeping Beauty, Nutcracker (Oxford: Oxford UP, 1985), 221.
Modeste Tchaikovsky, Life and Letters of Peter Ilich Tchaikovsky, trans. And ed. Rosa Newmarch (New York: Haskell House Publishers Ltd., 1970): 663.

Kodat, Catherine Gunther. “Dancing Through the Cold War: The Case of ‘The Nutcracker.’” Mosaic: An Interdisciplinary Critical Journal 33, no. 3 (2000): 1–17.jstor.org/stable/44029692.

kusc.org/culture/staff-blog/classical-california-ultimate-playlist/tchaikovsky-nutcracker/

npr.org/2013/12/25/257139160/the-dark-roots-of-the-nutcracker-and-the-man-who-wrote-it

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This Week in Piano History: Death of Ignatius Sancho | December 14, 1780

Written By Curtis Pavey

THIS WEEK IN PIANO HISTORY, we remember composer (Charles) Ignatius Sancho who died on December 14, 1780. Sancho, also an abolitionist and writer, impacted eighteenth-century British literature and culture. Sancho’s life began tragically as he was born on a slave ship headed for South America. Both of his parents died in his infancy—his mother died from disease and his father committed suicide in order to avoid slavery.

His name is similarly complicated. Sancho went by Ignatius (given at his baptism) in his later life after he stopped using his first name, Charles.¹ Compared to the squire of Don Quixote named Sancho Panza, he received the last name Sancho due to his lifelong struggle with his weight.² He worked as a slave in Greenwich, England before being discovered by John, Second Duke of Montagu. John was impressed with Sancho and frequently invited him to the Montagu house where he was later hired by the Duchess of Montagu. When she passed away, the salary and inheritance he received helped him to purchase property, vote in British parliamentary elections, and continue his self education. After a challenging time in which he lost most of that money, Sancho went back to work for the Montagu family and became acquainted with a number of important members of British society. From there he later opened a grocery shop in Westminster with his wife, before dying in 1780 from complications related to gout.

Rehearsal video of Reginald L Mobley and Henry Lebedinsky of Agave singing Sancho’s song Sweetest Bard for their recording project, “American Originals”.

After his death, his letters were published in a subscription series and were extremely popular. His writings are important documents from the time, giving firsthand accounts of slavery, which were uncommon at the time due to illiteracy of slaves. His intellect and impressive writing style made a large impact on British people of the time, showing that African slaves were capable of great talents and abilities. His writings were even used to help justify the end of the Slave Trade. In addition to being the presumed first Black man to vote in Britain, Sancho was also the first to receive an obituary in the British press, demonstrating his recognized place in eighteenth-century British society.³

Sancho wrote a number of pieces that involve the keyboard including A New Collection of Songs, Twelve Country Dances for the Year 1779 for harpsichord, and a set of minuets and other dances. Many are dedicated to members of the upper class and even British royalty. Although Sancho was an amateur musician and his compositions are often on a smaller scale, his works are of significant pedagogical value, demonstrating English genres in the popular galant style of the time. Sancho’s Twelve Country Dances for the Year 1779, for instance, contains a number of early-intermediate level dances in Baroque and early-Classical styles.

Some of Sancho’s music can be heard in the video recording below by pianist Duane Hulbert and in this recording of Sweetest Bard performed by countertenor Reginald Mobley and keyboardist Henry Lebedinsky.

Want to learn more about Ignatius Sancho? He’s one of the composers featured in our self-paced, online course: Unsung Heroes in Piano Pedagogy: 20 Pieces by Black Composers to Use in Your Studio Now. Learn more and enroll here!

Pianist Duane Hulbert performs keyboard music of Ignatius Sancho.

Sources

Vincent Carretta, “Sancho, (Charles) Ignatius (1729?–1780), author,” Oxford Dictionary of National Biography (23 Sep. 2004; Accessed 27 Nov. 2022), www-oxforddnb-com.uc.idm.oclc.org/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-24609.
Ibid.
Ibid.

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This Week in Piano History: Premiere of Gershwin’s Piano Concerto in F | December 3, 1925

Written By Curtis Pavey

Songwriter George Gershwin (1898 – 1937) at a piano. (Photo by Evening Standard/Getty Images)

THIS WEEK IN PIANO HISTORY we celebrate the premiere of Gershwin’s Piano Concerto in F on December 3, 1925 in New York’s Carnegie Hall with Gershwin at the piano. After the success of his Rhapsody in Blue, Gershwin set out to prove to the classical musical world that he could handle a traditional classical form and the challenge of orchestration.

Commissioned by Walter Damrosch and the New York Symphony Society, Gershwin composed the concerto over several months in the summer of 1925. Gershwin completed much of the composition in a practice shack at the Chautauqua Institution, an educational center in Chautauqua, New York. Unlike the Rhapsody in Blue, which was orchestrated by Ferde Grofé, Gershwin wanted to orchestrate his concerto and spent several months studying orchestration and getting feedback from other talented arrangers and orchestrators. He finished the orchestration in November 1925, just in time for the premiere in December of the same year. Gershwin remarked about the concerto: “many persons had thought that the Rhapsody was only a happy accident… I went out to show them that there was plenty more where that came from.”¹ The premiere of the piece did not see the same success as the Rhapsody in Blue, though it was positively critiqued by the likes of Rachmaninoff.

Score of Gershwin’s *Piano Concerto in F*

The concerto is a three-movement work in a traditional fast-slow-fast scheme. Gershwin uses elements of jazz such as the blues scale, call-and-response figures, syncopation, and more to evoke sounds similar to the musical style of the Rhapsody in Blue. The first movement, marked “Allegro,” is in sonata form and begins with a short orchestral introduction before the piano enters with a bluesy solo spotlighting the pianist. Two themes from the orchestral and piano introductions stand out: a dotted figure introduced first in the bassoon part, and this jazzy, nostalgic theme presented in the piano.² The first movement is characterized by several changes in mood and tempo, a heavy reliance on the two main themes, and thick chordal writing for the piano soloist. The second movement, marked “Andante con moto,” is intimate with a significant number of solos performed by the flute, trumpet, oboe, and horn. Jazz influence is abundant here, recalling melodic gestures directly from his Rhapsody. After a robust cadenza and a lyrical middle section, the piece seems to gain in intensity, only to fade away. The hustling and driving third movement marked “Allegro agitato” contains seemingly endless repeated notes and great rhythmic vitality. Ending with a transformed and romanticized return of the original piano theme from the first movement, this concerto effectively combines elements of American popular styles with classical approaches to form and the piano concerto genre.

Gershwin’s original approach to musical composition in the early twentieth century was noted by many composers. Gershwin had a lifelong fascination with the music of Debussy and Ravel. He tried to study with Nadia Boulanger and Maurice Ravel, both of whom denied his request with Ravel famously saying “why become a second-rate Ravel when you’re already a first-rate Gershwin?”

Even Arnold Schoenberg, whose musical sound world seemed to be at total odds with Gershwin’s jazz-infused writing, noted the unique contributions of Gershwin’s style. Schoenberg eulogized Gershwin stating that he “was one of these rare kind of musicians to whom music is not a matter of more or less ability. Music, to him, was the air he breathed, the food which nourished him, the drink that refreshed him. Music was what made him feel and music was the feeling he expressed. Directness of this kind is given only to great men. And there is no doubt that he was a great composer. What he has achieved was not only to the benefit of a national American music but also a contribution to the music of the whole world. In this meaning I want to express the deepest grief for the deplorable loss to music. But may I mention that I lose also a friend whose amiable personality was very dear to me.”³

Want to listen to Gershwin’s Piano Concerto in F? Check out this recording from the Van Cliburn International Piano Competition 2022 with finalist Clayton Stephenson at the piano and Marin Alsop conducting the Fort Worth Symphony Orchestra.

What he has achieved was not only to the benefit of a national American music but also a contribution to the music of the whole world.
Arnold Schoenberg on George Gershwin³

Clayton Stephenson performs Gershwin’s Piano Concerto in F with Marin Alsop conducting the Fort Worth Symphony Orchestra.

Sources

Herbert Glass, “Concerto in F,” Program Notes, Los Angeles Philharmonic, laphil.com/musicdb/pieces/1441/concerto-in-f.
Michael Thomas Roeder, A History of the Concerto (Portland, OR: Amadeus Press, 1994), 421.
Martin Buzacott, “The Unexpected Friendship Between Gershwin and Schoenberg,” Classically Curious (blog), Australian Broadcasting Corporation, March 18, 2019, abc.net.au/classic/read-and-watch/music-reads/classically-curious-gershwin-schoenberg/10915460.

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This Week in Piano History: Ignacy Jan Paderewski Resigns from Polish Prime Minister Position | November 27, 1919

Written By Curtis Pavey

THIS WEEK IN PIANO HISTORY, we reflect upon the resignation of Ignacy Jan Paderewski as Prime Minister of Poland on November 27,1919.¹ An important pianist, composer, and statesman, Paderewski’s influence and legacy in Polish culture and early twentieth-century politics is undeniable.

Paderewski was born in Kursk, Podolia, which is now part of Ukraine. He had a complicated childhood as his mother passed away after his birth and his father was arrested due to his suspected involvement in a political uprising. Despite the challenges his family faced, Paderewski studied piano as a child and showed great potential. His talent helped him find opportunities to study in the Warsaw Conservatory and to establish himself as a pianist and composer. His challenges did not stop there—after marrying his first wife, Antonina, they produced a son named Alfred. Both Antonina and Alfred died young, causing great distress to Paderewski. He also struggled professionally, barely making ends meet through his musical career.

Paderewski’s Piano Concerto in A minor, Op. 17

After traveling to Berlin, Paderewski met a number of important composers who encouraged his career.²This experience led him to the opportunity to study with Theodor Leschetizky, a highly respected piano teacher of the nineteenth and twentieth centuries. From here, Paderewski was able to establish himself as a performer, touring the United States and Europe. One of Paderewski’s most popular pieces was his Piano Concerto in A minor, Op. 17, written in 1888. The piece, dedicated to Leschetizky, is infrequently performed today, but contains a variety of technically challenging passages in a typical Romantic style.

As a performer, Paderewski was well respected as a masterful and spontaneous performer. He frequently personalized his interpretations of other composers’ works noting: “It is not a question of what is written, it is a question of musical effect.”³ Despite the public’s admiration, Paderewski greatly struggled with nervousness throughout his concert career, frequently taking extended breaks in order to recover from the strenuous concert schedule he maintained.

Paderewski’s role in Polish politics is complicated. Throughout his life, Paderewski often championed causes for Polish independence. Poland was frequently partitioned by neighboring empires in Austria, Germany, and Russia prior to gaining independence in the twentieth century. During the First World War, Paderewski made Polish causes a focal point of his public activities. Woodrow Wilson, then President of the United States, requested his help in securing votes for his presidency in return for supporting Polish independence.⁴

A rare recording of Paderewski performing Chopin’s “Heroic” Polonaise in A-flat Major, Op. 53

After the war ended, Paderewski was tapped by Józef Piłsudski, then the Polish Chief of State, to become the Prime Minister of Poland. He was ousted after less than a year in the position due partially to his underdeveloped leadership skills. Although Paderewski represented Poland again in 1920 in political office, he again resigned and returned to pursue a career in music before dying on June 29, 1941 in New York City.

Looking back on Paderewski’s life and career, it is clear that Paderewski frequently overcame obstacles that challenged him personally and professionally. His legacy as a pianist and statesman shows the results of his tireless efforts to find purpose and success in his difficult life.

Sources

Some sources give conflicting dates (December) for Paderewski’s resignation as Prime Minister of Poland.
Jim Samson, “Paderewski, Ignacy Jan,” Grove Music Online, 2001, accessed 15 Nov. 2022, www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000020672.
Ibid.
Ibid.

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This Week in Piano History: Death of Dame Myra Hess | November 25, 1965

Written By Curtis Pavey

THIS WEEK IN PIANO HISTORY, we remember Dame Myra Hess, a British pianist who died on November 25, 1965. Hess rose to fame due to her lunchtime concerts in London during World War II and later became Dame of the British Empire (DBE) in 1941 in recognition of her outstanding musical achievements.

Hess was the youngest of four children and began studying piano at the age of five. She was a remarkable young talent and was admitted to both the Guildhall School of Music and the Royal Academy of Music where she studied with pianist Tobias Matthay. Matthay, a noted British pianist and composer, helped prepare Hess to launch her career as a soloist.

After studies with Matthay, Hess gave many successful performances as a young pianist, performing with conductors such as Willem Mengelberg and Thomas Beecham. After firmly establishing herself as a noted soloist in Europe, she toured constantly throughout Europe performing almost one hundred concerts a year.¹ She became similarly popular in the United States after her debut, which occurred in 1922, and in numerous concerts including more than a dozen at Carnegie Hall.

Known primarily for her performances of Classical period repertoire, Hess was a strong proponent of the works of Mozart, Beethoven, and Brahms. Hess did not like to make recordings and struggled to listen to herself play stating, “when I listen to myself play, I feel I am going to my own funeral.”² That said, there are a number of excellent performances and a few videos that survive of Hess’s live performances. Check out this recording of Myra Hess performing the first movement of Beethoven’s “Appassionata” Sonata.

One of Hess’s greatest achievements was her series of concerts that occurred during World War II. Performing in London’s National Gallery, Hess gave well over a hundred concerts while concert activity in London was halted due to the war. Her concerts were well attended and were inexpensive, allowing a large amount of people to afford to see her perform. The concerts were not just solo performances—Hess frequently performed chamber music in this setting, inviting other important British musicians to share the stage with her.

Myra Hess’s career further blossomed after the end of World War II. She gave notable performances of works of Mozart, Brahms, Beethoven, and more before her death in 1965. As we look back on Myra Hess’s life and career, it is her invaluable engagement in civic life as an artist during the twentieth century’s most chaotic and unsettled period and her spectacular recordings that make her a defining musical figure of the twentieth century. Learn more about Myra Hess and her London concerts during World War II in this Piano Magazine article by Elizabeth Lemme.

Sources

Bryce Morrison, “Hess, Dame Myra,” Grove Music Online, 2001, accessed 15 Nov. 2022, www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000012935.
Bryce Morrison, “Hess, Dame Myra,” Grove Music Online, 2001, accessed 15 Nov. 2022, www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000012935.

britannica.com/biography/Myra-Hess

nationalgallery.org.uk/about-us/history/the-myra-hess-concerts/myra-remembered

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This Week in Piano History: Birth of Jorge Bolet | November 15, 1914

Written By Curtis Pavey

This week, we celebrate the birth of Jorge Bolet, born on November 15, 1914 in Havana, Cuba. Bolet was a Cuban-American pianist whose impressive technical and expressive powers made him a champion of the music of Franz Liszt.

Bolet began his studies with his sister Maria. From a very early age, Bolet was captivated by music and recounted stories from his mother that he used to listen to his sister practice as a baby. By the age of ten, Bolet was comfortably performing advanced piano works, including selections from the Chopin Etudes. He later enrolled at the Curtis Institute of Music at the age of thirteen after a recommendation was sent on his behalf.

His studies at the Curtis Institute of Music were characterized by significant strides in his playing. While at Curtis, Bolet studied with American pianist David Saperton and frequently performed for Josef Hoffman. Bolet briefly paused his studies at Curtis to travel and perform in Europe. Upon returning to the United States, he took up conducting studies at the Curtis Institute of Music, studying with Fritz Reiner.

His career began after he won the first prize of the Naumburg International Piano Competition, and gave an important recital in New York’s Carnegie Hall. Despite this success, Bolet’s career took some time to develop; only in his later years was Bolet fully recognized for his pianistic prowess. Besides his active performing career, Bolet also taught students at both the Curtis Institute of Music and Indiana University where he served as a Professor of Music (Piano).

Bolet’s affinity for music of the Romantic composers, and especially Liszt, was the focus in his concert programs. New York Times critic Harold C. Schonberg described Bolet as “one of the great Liszt pianists of the century, with the fingers of Horowitz and the tone of a Lhévinne.”¹ On Decca’s record label, Bolet produced a number of recordings of Liszt’s piano music, which were reviewed with critical acclaim. Check out this recording of Bolet performing Liszt’s Hungarian Rhapsody No. 12 in C-sharp Minor at a recital performance at Indiana University.

Although Bolet bloomed late in his performance career, his impact on the musical world remains undeniable. His legacy as a performer and teacher continues to inspire the work of countless pianists around the world.

Sources

Gruen, John. ‘Where Have You Been, Bolet?’ New York Times. January 28, 1973. www.nytimes.com/1973/01/28/archives/where-have-you-been-bolet-where-were-you-bolet.html

Morrison, Bryce. “Bolet, Jorge.” Grove Music Online. 2001; Accessed 31 Oct. 2022. www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000003445.

www.nytimes.com/1973/01/28/archives/where-have-you-been-bolet-where-were-you-bolet.html

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This Week in Piano History: Happy World Piano Day!

Written By Curtis Pavey

THIS WEEK IN PIANO HISTORY, we are celebrating World Piano Day and the accomplishments of all pianists!

The piano was invented over three hundred years ago by Bartolomeo Cristofori, an Italian builder. His ingenious design from 1700 used hammers inside the action of a harpsichord to create a wider dynamic range. Cristofori’s instrument ignited the interest of keyboard makers throughout Europe including Gottfried Silbermann who created a similar model that eventually got the approval of Johann Sebastian Bach. Although today’s piano is quite different from its prototype, the legacy of Cristofori’s invention is undeniable.

In celebration of the many pianists who have brought inspiration and joy to the world since the inception of the instrument, today we are highlighting several pianists who have been featured in Piano Magazine over the years. We hope you enjoy reading about these excellent musicians and hearing their thoughtful music making.

Martha Agerich on Respect and Love for the Music

According to many pianists of today, Martha Argerich is frequently cited as the greatest living pianist. Originally from Argentina, Argerich began studying piano at an early age with Vincenzo Scaramuzza and later Friedrich Gulda, Stefan Askenase, and Maria Curcio. She rose to prominence in her adolescent years after capturing the top prizes at both the Chopin and the Busoni International Piano Competitions at the age of 16. Known especially for her performances of Chopin, Ravel, Liszt, and Prokofiev, Argerich has toured around the world and has performed with every major orchestra.

In 2015, Argerich sat down with Leonne Lewis for an interview with Piano Magazine in which she recounted her experiences with her teacher Friedrich Gulda, her thoughts on piano teaching, the importance of exploring different styles, and more. You can read it here.

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Gabriela Montero on Improvisation and Advocacy

Hailing from Venezuela, Gabriela Montero, described by Argerich as “a wonderful pianist and improviser,” is known for her creative performances mixing both classical repertoire and her improvised reactions. After winning the third prize in the Chopin International Piano Competition in 1995, her performing career took off. Besides her work as an artist, Montero is committed to ensuring human rights around the world and was named an Honorary Consul by Amnesty International in 2015. In an interview with Piano Magazine, Montero described her experience with improvisation as a personal practice until she was encouraged to share it with the world by Martha Argerich.

In the interview, she states that improvisation “has become more and more a tool of storytelling, and reporting what’s going on in the world, and issues that I want to speak about. It has always been there. It’s the first thing I do when I sit down at the piano to say hello.” You can read more about Montero’s thoughts about her musical upbringing and her exciting concert schedule in the interview, accessible here.

Spencer Myer on Unique Practice Methods

Spencer Myer, is an active recitalist and performer around the world. Myer, who studied at the Oberlin Conservatory of Music, The Juilliard School, and Stony Brook University, launched his career after winning the 2006 Christel DeHaan Classical Fellowship from the American Pianist Association and the 2008 New Orleans International Piano Competition. He was recently appointed Associate Professor of Music (Piano) at Indiana University’s Jacobs School of Music In 2019, Myer presented a workshop on practicing at the National Conference on Keyboard Pedagogy (now NCKP: The Piano Conference).

In an interview with Barbara Fast, Myer told Piano Magazine (formerly Clavier Companion) that his interest in unique practice methods began while preparing for international piano competitions. One of his unique practice methods to secure memory involves occasionally lifting one’s hands from the piano keyboard while playing and “mentally continuing to play.” Myer’s practice methods and tips for developing pianists are discussed fully in this article.

Sean Chen on The Role of Piano Teachers

Another winner of the Christel DeHaan Classical Fellowship from the American Pianists Association, Sean Chen, was catapulted onto the world’s stage after his third prize win at the 2013 Van Cliburn International Piano Competition. A graduate of The Juilliard School and Yale University, Chen is a Steinway Artist. In addition to his performance career, Chen is also passionate about computers, math, and science.

Chen describes his musical upbringing along with his decision to enroll in Juilliard over Harvard and more in this interview with Piano Magazine (formerly Clavier Companion).

Sources

O’Brien, Michael. “Cristofori, Bartolomeo.” Grove Music Online. 2001; Accessed 31 Oct. 2022. https://www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000006835.

Click to read more Pianist interviews

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