The magazine by Bösendorfer Austria N0. 9 | 2014/2015 Interviews

BÖSENDORFER
N0. 9 | 2014/2015
© Stefan Höderath
The magazine by Bösendorfer Austria
Interviews: Tori Amos and Eleanor Sokoloff
Viennese Sound
New Bösendorfer Artists
Postage paid | Publisher’s post office: 1010 Vienna, Austria
L. Bösendorfer Klavierfabrik GmbH, Bösendorferstraße 12, 1010 Vienna, Austria, mail@boesendorfer.com, www.boesendorfer.com | If undeliverable, please return to sender
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C e l e b r at i o n
B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
Bösendorfer Downtown’s 100th
Anniversary: A special celebration!
An article by Monika Hildebrand, journalist for Piano News magazine
T
Photo: Gerhard Peyrer
he Vienna Musikverein, a landmark in the heart of Vienna,
contains not only the famous Golden Hall, it also is home
to Bösendorfer Downtown, the Vienna salesroom for these
wonderful pianos. The relationship with the Musikverein, the
Gesellschaft der Musikfreunde (Society of the Friends of Music) was already very close when Bösendorfer moved in over
100 years ago. Ludwig Bösendorfer was an honorary member
of the society up to his death.
M
eanwhile, the salesroom can look back on 100 unforgettable, special years in the Musikverein building,
where the good vibes no doubt synergize with one another.
Equally unforgettable and special was the anniversary celebration that took place the evening of November 13, 2014
in the superb HalleNsalon of the neighboring Hotel Imperial.
There, a masterful Bösendorfer instrument Model 225 was
waiting to be played in order to show what a Bösendorfer
grand piano is capable of. Yet who was to play on this special evening? After all, many pianists love the highly personal
sound of Bösendorfer pianos. There is hardly a pianist who
performs in the Musikverein who fails to meet Anne-Sophie
Desrez, the Sales Manager, at Bösendorfer Downtown in order to play on the grand pianos on display there. The beautiful atmosphere invites people to stay for a while — it is a
salon that provides these wonderful instruments with the
environment they deserve.
sition written by the pianist himself, in which he once again
showed his passion for virtuosity. During the performance,
the piano revealed itself in all its facets and appeared to be
content. The many pianists in the audience for the occasion
visibly enjoyed the evening and felt properly entertained up
to the final notes.
F
D
I
Y
ranz Liszt already played on a Bösendorfer grand piano,
not least of all due to its stability, which held up to his
virtuosic, tempestuous playing. Anton Rubinstein, Pablo
Sarasate, Eugen d’Albert, Max Reger, Johannes Brahms, ­Ignaz
Paderewski, Hugo Wolf, Bruno Walter, Béla Bartók, Edvard
Grieg, Gustav Mahler, Richard Strauss, Arthur Rubinstein
and numerous other famous pianists and musicians were
­Bösendorfer lovers. Today, too, the list of pianists who play a
Bösendorfer piano is long. It was therefore not easy to decide who should play on this special evening in celebration
of our anniversary. Many would have been worthy and every­
one would have made the evening unforgettable in his or her
own way.
n the end, Dr. Johannes Kropfitsch, Vice Dean of the Konservatorium Wien, pianist and composer, was chosen. His
knowledge is immense and poured out of him during his
lecture on “Bösendorfer and the Viennese Sound,” which he
held to introduce the evening. Yet this was but the first part
of Johannes Kropfitsch’s performance. Immediately thereafter the audience was treated to a feast for the ears: the
concert on the masterful piano. The programme contained
a Schubert Impromptu, Liszt’s Mephisto Waltz, the Soirée de
Vienne by A. Grünfeld / Johann Strauss, and finally a compo|2
Dr. Johannes Kropfitsch, Vice Dean of the Konservatorium Wien
uring his era, Ludwig Bösendorfer, the son of the company founder Ignaz Bösendorfer, placed considerable
emphasis on concert life in his company. This tradition lives
on 100 years later. Bösendorfer Downtown is increasingly developing a select concert culture under the auspices of AnneSophie Desrez. The pianos are pushed aside in order to give
the audience room for small, fine concerts. Presentations of
the latest models with their continually innovative developments, all the way to the new SH Silent System version are
every bit a part of the Bösendorfer Downtown scene as are
concerts on exceptional instruments designed by architects
or other artists. An example is the Klimt Grand Piano – with
its inspiring reproduction of The Kiss by Gustav Klimt on the
inside lid.
oung artists then and now continue to be promoted by
Bösendorfer. Already in 1889, Ludwig Bösendorfer donated a “premium piano” to the winner of the Bösendorfer
Competition. It is good, that these traditions continue to be
cultivated and fostered, that value continues to be placed on
the quality of the instruments, and that they are handmade
in Austria with considerable expertise. We wish these traditions to experience many more beautiful and unforgettable
anniversaries!
E D I T O R I A L
Editorial
Dear Reader,
2
013 saw the 185th anniversary
of the founding of our company by Ignaz Bösendorfer. 2014
saw the 100th anniversary of our
Vienna flagship Stadtsalon shop
situated in Bösendorferstrasse
in the world famous Musikverein
building. Bösendorfer is a company steeped in history. However,
we do not believe in standing still
and are constantly trying to perfect on perfection. Not only do our craftsmen and engineers
painstaking re-examine our processes – precision through
engineering, perfection through craftsmanship – but we review product design and introduce new models on a regular
basis. This year saw the introduction for Europe of a silent
version of our 170 model, combining the best of two worlds,
­Bösendorfer’s world class acoustic instruments together
with Yamaha’s superb digital silent system. It also saw the
introduction of the second Marquetry edition piano – the
Schönbrunn model – following the sell-out of the first two
series.
O
ur magazine is a collaborative effort with stories contributed by staff members, distributors and friends. The
highlight of this issue is an interview with Tori Amos, an artist with such close ties to Bösendorfer. There is also an interview with one of the most respected teaching professors in
the USA and a passionate fan of Bösendorfer, Eleanor Sokolov.
She celebrated, like our Stadtsalon shop, her 100th birthday
this year. Professor Kropfitsch, Head of Keyboard Studies at
the Konservatorium Wien (City of Vienna University for Music), has kindly written an article on Viennese sound from an
artist and composer’s view.
P
lease enjoy these and the other interesting stories.
Brian Kemble, MBE MA
Managing Director
Contents
Bösendorfer Downtown’s 100th Anniversary ............................... 2
Editorial · Imprint .................................................................................... 3
Happy Birthday Mrs. Sokoloff! ........................................................... 4
Harriet Krijgh – “A Rising Star” and Her Festival ......................... 6
International Jenö Takács Piano Competition 2014 .................. 6
Parmigiani Montreux Jazz Piano Solo Competition ................. 7
Nottingham International Jazz Piano Competition 2014 . ..... 7
Marialena Fernandez – Passionately Crossing Borders . ......... 8
Wien Modern – six grand pianos in 12th-tone tuning .............. 9
Tori Amos: “Unrepentent and resonationg with the now” .. 10
“Viennese sound” from an Artist and Composer’s
perspective ............................................................................................... 12
Carlo Grante performing at Lincoln Center in New York ...... 14
Viennese gala celebration at the AMoCA Museum
in New Mexico . ...................................................................................... 14
Viennese Tradition meets Moscow . ............................................... 15
A night of the arts at the Ritz-Carlton in Vienna ...................... 15
Marialy Pacheco – Welcome to the Bösendorfer
Artist Family ............................................................................................ 16
Ambrosio Valero – Welcome to the Bösendorfer
Artist Family ............................................................................................. 17
The Music Hall in Harbin’s Old Synagogue (China) ................ 18
Yong Siew Toh Conservatory of Music (Singapore) ................. 18
Special Model “Schönbrunn” ............................................................ 19
Imprint · Editor, media proprietor, publisher: L. Bösendorfer Klavierfabrik GmbH, Bösendorferstraße 12, 1010 Vienna, Austria, Tel. 01.504.66.51-0 · Design and layout: FineStudios e. U., Vienna.
Produced and printed in Austria. Distribution: self-distribution to Bösendorfer friends and interested parties. Editorial office address: L. Bösendorfer Klavierfabrik GmbH, Attn.: Marion Alexander, Gymelsdorfergasse 42, 2700 Wr. Neustadt, Austria. Senior editor: Marion Alexander. Authors: Marion Alexander, Anderson Museum, Mag. Sylvia Marz-Wagner, Forte and Piano Moskau,
Monika Hildebrand, Brian Kemble, Prof. Johannes Kropfitsch, Simon Oss, Ritz Carlton Vienna, Emilio Rodriguez Drop Artist Management, Yamaha Artist Service Center NY, Yamaha Music Asia, Yamaha Music China, Markus Walther, Klaus Wingensiefen General Management. Photos: Anderson Museum, Luca d‘Agostino Phocus Agency, Forte and Piano, Nancy Horowitz, Kunstuniversität
Graz – Institut Oberschützen, Montreux Jazz, National University of Singapore, NIJPC, Marialy Pacheco, David M. Peters, Richard Galassini, Gerhard Peyrer, Ritz Carlton Vienna, Sara Ruano/Drop
Artist, Markus Sepperer, Wolfgang Simlinger, Jennifer Taylor, Yamaha Music China; Cover: Stefan Höderath. Translation: Albert Frantz. Primary direction and disclosure according to media law:
Magazine for persons interested in music and friends of Bösendorfer in Austria. Errata and printing errors, etc., including price quotations, excepted. No liability is assumed for unsolicited
pictures and manuscripts submitted. Reprints permitted exclusively upon written consent of the publisher. All rights reserved. Contributions marked by name present the author’s opinion,
not always that of the publisher. No legal action will be countenanced for sweepstakes.
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I n t e r v i e w
B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
Happy Birthday Mrs. Sokoloff!
BÖSENDORFER: Congratulations on your 100th birthday. What
is the secret to your good health?
Eleanor Sokoloff: I eat, I sleep and I love my students. I think
part of my health is the fact that I really love what I do.
BÖSENDORFER: How would you summarize your life as an
educator?
Eleanor Sokoloff: Well I came to the Curtis Institute in 1931.
The Curtis was not that old at that time; but all my life, for
79 years I’ve taught there. I started teaching supplementary
piano at the school in 1936, even before I graduated. And then
Rudolf Serkin took me out of the supplementary piano class
and put me into major piano in 1940. So I’ve been teaching
all together 79 years. I can’t believe it myself. It’s a long time
to hold a job. I’ve never been anywhere else. I teach privately
also, but mainly very young students.
BÖSENDORFER: I understand that with your husband, who
had also been at Curtis, you often played as a duo. If I may ask,
what is it like to play with one’s spouse?
Eleanor Sokoloff: That’s a good question. We had a lot of concerts with 4 hands. In most cases, it is peaceful. The only conflict we had was because there is always a discussion of who
uses the pedal and who gets in the way and who gets the
hand out of the way and so on. But that’s just funny, it’s not
at all important. It’s the result that is important. I had only
the greatest respect for my husband, who had a gorgeous
tone and made many recordings. I learned a lot from him. He
was very, very busy. If I wanted to see him I had to go to the
concerts. He was a vital part of the Curtis Institute and if you
look to the left in the hall, you’ll see my husband’s portrait.
BÖSENDORFER: At Curtis, you met many legendary musicians
including Josef Hoffmann.
Eleanor Sokoloff: Yes, he was the Director when I came to
Curtis; and, of course, he was a magnificent pianist. And I had
Rachmaninoff once visiting Curtis. I met many great players
like Piatigorsky and of course I know Yuja Wang and Lang
Lang who both went to Curtis. And Leonard Bernstein who
went to school with me. Then, there was Samuel Barber. And
many of our students are magnificent. Kit Armstrong is, for
example, a remarkable young man. He was eight years old
when he became my student. He was adorable, just lovely.
But for most of the young people it’s a hard business to get
into and the only way is through the competition route. And
that has become more difficult. The standard is growing
higher and higher.
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Photo: Rich Galassini – Cunningham Piano
Legendary piano pedagogue Eleanor Sokoloff is the oldest and longest-serving member at
the Curtis Institute of Music. She has had more than 75 of her students perform with the
Philadelphia Orchestra. Among her students are pianists such as Hugh Sung, Claire Huangci,
Susan Starr, Kit Armstrong, Leon McCawley and Keith Jarrett. June 16, 2014 she celebrated her
100th birthday. Simon Oss had the honour to meet Mrs. Sokoloff for an interview about her
life as a teacher and her love for the piano.
Eleanor Sokoloff at her Bösendorfer model 200 during the
interview with Simon Oss and Rich Galassini.
BÖSENDORFER: How has the environment of competitions
changed over the years?
Eleanor Sokoloff: I suppose there is change in everything.
But I tell you quite frankly, in the beginning when I came to
the school, we had mostly applicants from Korea, Russia and
America. Now, I hate to say this, the Americans fail. I have no
American students in my class but many Chinese are good
now.
BÖSENDORFER: Why this change?
Eleanor Sokoloff: Arts and Music are the first thing that are
cut when there is a financial problem. And these children
have nothing. So what do they hear? They hear rock. I mean
there are a thousand different kinds of awful music that they
can listen to and that they worship. It’s very sad. That is what
happens to the Americans. Well, the Chinese on the other
hand, have separate schools for musicians, starting with little kids 5 years old. At the age of 10 they come to the Institute
and they are so good that we take them in. I have 3 students
that came to the Institute at 10 years old. And we take only
the best. I don’t know whether you know this, but it is harder
to get into Curtis than it is to get into Harvard. Curtis is very
selective. I’m the only woman on the piano faculty, by the
way.
BÖSENDORFER: What do you think is the reason for this?
Eleanor Sokoloff: I wonder too. For women it’s like a glass
ceiling. How many great women pianists do we have in the
world? Not many. At the top we have maybe two. It’s a man’s
world. I think it takes something special to be on the top. It
does. But there are those who could. Yuja Wang is, for example, wonderful. She sits like a princess. She is way up there.
She has had a great start.
BÖSENDORFER: Do you feel it is changing nowadays and getting easier for women?
Eleanor Sokoloff: I hope that it will get better. Perhaps I use
my own position as an example, but I think it’s still hard for
women in this field. Women are doing fine in medicine and
other professions, at least better than they used to. But in
music performance they are still a minority. I don’t think
we’re on an equal path with men, even in this country, which
is perhaps more liberal than others. When I was young it was
much worse. But I still think it is bad. It’s a long struggle. If
you think back about how hard it was for women to get a
vote. It was a miracle that I was appointed to Curtis as a student. It was a very hard time. My first year was agony. But
I survived. I started teaching in ’36 and graduated in ’37. In
the early 30s, when a teacher became pregnant, she had to
leave the school. One of the women who was teaching supplementary piano was in that position. And why they picked
me, I still don’t know. I was very young, in my early 20s.
BÖSENDORFER: How did your piano teaching change over the
years?
Eleanor Sokoloff: Experience. You know exactly what you
hear, you understand what it takes. I learned from my own
experience what it takes to become a pianist, and that there
has to be a balance between technical training and musical
training, so that the two advance together. I think you learn
more when you teach than when you practice by yourself.
BÖSENDORFER: Is it true that your students are required to
play, at almost every lesson, a piece of Bach?
Eleanor Sokoloff: That is absolutely true. They go through all
the Preludes and Fugues, both books and at every lesson. I
think Bach is the greatest teacher of all because it’s not one
hand doing the melody and the other playing the accompaniment. They have to learn how to handle many voices at one
time.
BÖSENDORFER: I understand many of your students have been
chosen to perform with the Philadelphia Orchestra?
Eleanor Sokoloff: Yes, at least 75 have. I’ve lived so long. And
many of my students have doctorates and are teaching at
universities. That’s what I recommend to all women. Get the
highest degree you can get, at least you get a job.
BÖSENDORFER: What are the core values that you want to
transmit to your students?
Eleanor Sokoloff: I want to prepare them pianistically, that’s
the first job. But at a same time I want them to have a roun­
ded education. It is important for students to have a broad
spectrum of culture. I want them to read and I want them to
be able to write well.
BÖSENDORFER: You once said that expression is the most important thing and not something that can be manufactured.
Eleanor Sokoloff: You hear that during the audition. This is
what we mainly look for. We are now at a point where we
hear wonderfully technically prepared people, but that technique is only one way to express. And if they don’t have anything, they don’t get it.
BÖSENDORFER: Speaking about expression, how important is
the instrument itself in these regards? You have a Bösendorfer
at home, how did you find your piano?
Eleanor Sokoloff: I had a Steinway in my house. And then a
friend of mine called me and she said, “We will send a limo
for you and Billy and you come and check out the new pianos that we received.” She sent a stretch limo, I never had
been in one before. And then we went to see these wonderful ­Bösendorfers including the one with the extra keys and
the player system, which is just an extraordinary piano. And
when I saw these pianos, I thought: why don’t I buy one myself. Well, my piano was so old, it was the piano I had when
I was a kid, and I said, “I think I’m getting rid of it. I’m going
to buy a ­Bösendorfer.” My husband was against it, but I did it
anyway. And then we got a wonderful dinner together in the
fanciest restaurant in Philadelphia. And this is my piano. I love
this piano. I think even to look at the workmanship is remarkable! I love this piano because it is responsive to tone color,
from the tiniest pianissimo to the greatest fortissimo. And
when I hear the kids perform in Curtis on the stage, I hear the
result of what they have done here on the ­Bösendorfer. That’s
about it. To be a pianist you must have that color expansion.
I love the sound of it. I love its responsiveness and I love the
beauty of the piano.
BÖSENDORFER: Do you think the young pianists of today will
be remembered in the future the same way as an Arthur Rubinstein or a Wilhelm Backhaus are?
Eleanor Sokoloff: I don’t know if we are in a kind of golden
era. I’ve a feeling that many of the young pianists will be remembered. But one development that I don’t like is that it
became, for some, a show and commercial! And it’s bad for
the music. They jump and they kick their feet, I don’t know
what that is? It’s because of people who go to see concerts.
They say: “I’m going to see a concert”. That “see” word is the
trap. They don’t go to hear, they go to see. And if they don’t
get their show, it doesn’t mean much to them. People who
love music really don’t like this, it’s very distracting.
BÖSENDORFER: Mrs. Sokoloff, thank you very much for the interview. One last question: Can you tell our readers something
about the “Wednesday tea” tradition at Curtis.
Eleanor Sokoloff: It is every Wednesday at 3 o’clock. I pour it,
it’s wonderful. It’s a big Samovar, full of hot water. And all the
kids gather. And there are occasions and everybody at the
school takes strong tea. And if a respected faculty member
is leaving the staff, special tea is given to him. I had tea for
me too, when I turned 100. And I told them, I’m not leaving.
Everybody who receives a special tea is leaving. Not me. I’m
still in.
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Harriet Krijgh – “A Rising Star” and
Her Festival
T
he 23-year-old Dutchwoman Harriet Krijgh is one of the
most exciting and promising cellists of our time. She was
selected as a “Rising Star” for the 2015–2016 season by the
European Concert Hall Organisation (ECHO). Her nomination was made via the Musikverein and the Vienna Konzert­
haus. In the 2014-2015 season, Harriet made her debut in the
Golden Hall of the Vienna Musikverein with the Vienna Radio Symphony Orchestra and in the Grand Hall of the Vienna
Konzerthaus with the Wiener Jeunesse Orchestra.
Photo: Nancy Horowitz
Miscellaneous
B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
T
Old horse-riding school at Burg Feistritz
Robert Schumann, Felix Mendelssohn-Bartholdy, Ludwig
van Beethoven, Edvard Grieg and Johannes Brahms in various chamber music instrumentations, with piano, string and
wind instruments, could all be heard. www.harrietkrijgh.com
3rd International Jenö Takács Piano
Competition 2014
T
he International Jenö Takács Piano Competition for young
pianists in Oberschützen in Burgenland, Austria was
founded in honour of this great composer, pianist and piano
pedagogue. The goal of this competition is to give young talents an opportunity to present their musical skills.
T
he Institute of Oberschützen in Burgenland, part of the
University of Music and Performing Arts, Graz, presented
this international competition together with the Jenö-Takács
Foundation for the third time. It is split into three age groups,
categories A through C, and caters to young talents born between 1996 and 2004. This year, 13 nations were represented.
The jury, headed by Eugen Jakab, consisted of international
piano professors Igor Cognolato, Pavel Egorov, Peter Jozsa,
Lucy Revers-Chin, Christoph Sischka and Yasuko Sugimoto.
A
ll works, including the required pieces, had to be performed from memory. The only exceptions were for contemporary works chosen by the performer. Bösendorfer has a
long tradition promoting young talents and made the latest
concert grand available to the young pianists. We sincerely
congratulate the winners of all three categories.
J
enö Takács was born in Siegendorf bei Eisenstadt in 1902
– in what is now Burgenland (Austria). He studied com-
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Photo: University of Music and Performing Arts,
Graz – Institute of Oberschützen
hree years ago, she launched a small yet fine chamber
music festival at Burg Feistritz, in the south of Lower Austria: Harriet & Friends. Each year, she invites friends and internationally famous musicians to turn the Alte Reitschule (Old
Riding School) and the Burg (castle) into a grand concert hall.
Chamber music from different epochs, from Classical to Romantic to Modern, can be heard. Well-known pianists including Magda Amara, Nino Gvetadze and Dora Deliyska and jazz
pianist Florian Nentwich all played on the latest Bösendorfer.
They were all thrilled by the concert grand and praised its
ability to translate musical ideas into sound, the tone colours,
transparency and fullness of sound. Works by Joseph Haydn,
The competition was capped off with a gala concert performed by all prizewinners.
position, piano and counterpoint at the University of Music
and Performing Arts in Vienna. As a pianist, he performed
in Europe, Japan, China, Hong Kong and elsewhere. He had
a lively exchange of ideas with Béla Bartók as well as with
Ernö Dohnanyi – the two of them were his most important
contemporaries. Jenö Takács considered educating young
pianists as one of his most significant duties. He wrote many
of his compositions for young pianists and in so doing underscored his life’s work. For more information, visit ­
www.kug.ac.at
2014 Parmigiani Montreux Jazz Piano
Solo Competition
T
he Montreux Jazz Festival is one of the largest international jazz festivals, taking place annually in Montreux, Switzerland. Claude Nobs, founder of the Montreux Jazz Festival,
started the first international piano competition for young
jazz pianists as part of this festival in 1999. Its goal is to create a professional springboard for an international career for
young jazz talents of different backgrounds and nationalities.
Moreover, contacts are made and possibilities ascertained for
the artists’ further development.
ince 2011, this competition has been supported by Parmigiani Fleurier (Swiss Watches) as its main sponsor. The
competition is held at the Montreux Palace each year on the
legendary Bösendorfer model 290 Imperial, the favorite piano
of Oscar Peterson as well as of Monty Alexander (president of
the competition).
Winner Lorenz Kellhuber
T
T
he finale of this year’s competition was particularly suspenseful. Thanks to the excellent performances by all finalists, the selection and points distribution was especially
difficult for the jury. Thus, not the usual three, but fully nine
finalists competed: Gill Scott Chapman (USA), Matyas Gayer
(Hungary), Jeremy Hababou (France), Alexey Ivannikov (Rus-
sia), Lorenz Kellhuber (Germany), Evgeny Lebedev (Russia),
Jorge Luis Pacheco Campos – brother of 2012 winner Marialy
Pacheco (Cuba), Mathis Picard (France) and Georgian Sorin
Zlat (Romania).
he winner of this tremendous finale was Lorenz Kellhuber of Germany. Second prize was shared by Jorge Luis
Pacheco Campos of Cuba – who also received the audience
prize – and Mathis Picard of France. Third prize went to Evgeny
Lebedev of Russia. We sincerely congratulate all winners!
www.montreuxjazzartistsfoundation.com
Nottingham International Jazz Piano
Competition 2014
T
welve amazing young pianists from all over the world
came to Nottingham to compete in the Nottingham International Jazz Piano Competition 2014 (NIJPC) during 3–5th
October, presented by Clement Pianos. The semi-finals were
held in the Old Library Room at Nottingham Trent University.
As solo pianists, their outstanding talents were further enhanced through performing on a superb Bösendorfer 280
concert grand piano.
T
he four Grand Finalists – Antonio Truyols (USA), Jakub
Pluzek (Poland), Krisztian Olah (Hungary) and Tom
Hewson (UK) performed at Nottingham’s Albert Hall on Sunday 5th October. Each pianist played solo for 25 minutes, their
programme comprising a mix of self-selected jazz standards and original compositions. A two minute improvisation
based on a previously unseen motif added to the competition challenge. At the end Tom Hewson was declared the
winner of the Nottingham International Jazz Piano Competition 2014.
W
inner, Tom Hewson, said that he greatly admires British pianist John Taylor and included John’s composition “Ambleside Days” as the first piece in his programme. His
Photo: NIJPC
S
Photo: Montreux Jazz
Competition
The four Grand Finalists: Antonio Truyols, Jakub Pluzek,
Krisztian Olah and Tom Hewson
prize includes opportunities to perform at Ronnie Scott’s and
the 606 Club in London, as well as at Jazzland in Vienna. Tom
has been based in London for a few years playing in various
ensembles including Treehouse, Quintet and Identity Parade
as well as doing his solo work.
C
ongratulations to Tom and all the other 11 pianists who
thrillingly entertained audiences. You can find more information on the competition website at www.nijpc.com
where they will be posting audio and video clips from the
competition.
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I n s i g h t s
B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
Passionately Crossing Borders
Marialena Fernandes, Professor at the Vienna University of Music, presented the 25th concert in
her successful cycle Uno.Due.Tre. For the occasion, she offered us a glimpse behind the scenes
and insight into her highly personal musical views.
C
rossing borders is her passion – for crossing borders
means moving. Marialena Fernandes loves movement,
even when she speaks. She speaks with her voice, her hands,
eyes and her heart. Everything about her is movement –
movement that allows new room to emerge, room for imagination and interesting encounters.
Uno.Due.Tre. Crossing Borders with a Touch of the Unknown
or seven years, this cycle’s concerts have taken place in
the Glass Hall of the Vienna Musikverein – to ongoing
success. In the meantime, a regular audience has formed,
one which enjoys crossing borders every bit as much as she
does: borders between musical genres, stylistic elements and
rhythms. Marialena Fernandes thereby creates possibilities
for new ways of seeing and hearing, for both the audience
and the musicians. This is only possible with considerable
room for movement.
M
arialena Fernandes moves – even during her concerts.
Sometime she sits at the piano and plays, sometimes
she stands in front of the audience and speaks, or she just
sits in the middle of the audience and listens. “I love experimenting with the tension between two poles so that I can
think and feel new things,” Marialena Fernandes explains
– like at her most recent concert, “Long-Distance Relationships.” Music that knows no borders connects what is in reality separated and transforms the old into the new. Classical
and jazzy worlds of sound confront one another and show
what intimate long-distance relationships are capable of.
Beginning and Meaning
no.Due.Tre came about while teaching chamber music
at the University of Music in Vienna. “After several hours
of demanding as well as fulfilling creativity, an idea germinated to make this common process of creation accessible to
a wide audience,” Marialena Fernandes recalled. The meaning of the concert cycle Uno.Due.Tre is multifaceted. It stands
for Uno, the theme; Due, the musicians, and Tre, the audience
– yet it also stands for Uno, the borders; Due, the movements
and Tre, crossing borders and fusion.
U
T
he cycle’s themes often ensue from everyday events. Once
these have been ascertained, the selection of musicians
follows. “Who can deal with spontaneity and risk? Who is personally strong enough to handle a potential failure? This is
actually a sort of initiation ritual for the young artists. It gives
them the opportunity to experience interaction with the audience in a manageable yet famous ambience,” ­Marialena
Fernandes explains. She sees the young artists as ambassadors and wishes to strengthen their skills so that they can
take something very precious into the world, with conviction
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Photo: Dipl.-Ing. Wolfgang Simlinger
F
Marialena Fernandes
and joy – and do so especially in today’s world, which cannot
have enough experienced commonality and peace.
T
his cycle has now existed for seven years. A Bösendorfer
Imperial grand piano is always at the concerts. Her enthusiasm for both is every bit as great as it was in the very
beginning. What has been added is the experience that every
concert was, is, and will be unique. And the deep knowledge
that borders exist first and foremost in our minds. We simply
have to muster the courage to cross them.
A Fascinating Mixture
arialena Fernandes was born in Bombay. Mumbai or
Bombay? The name of the capital city comes from the
Portuguese “Bom Bahia” – “good bay.” The Portuguese colonialists converted the Indian families to Christianity. This included Marialena’s family, who gave her a Portuguese name.
Indian mixed with Portuguese and later Austrian was added
– a fascinating mixture. Maybe that’s where her passion for
opposites and crossing borders comes from. Vienna is her
home of choice. As a dedicated pedagogue and Ph.D., Marialena Fernandes teaches chamber music at the University of
Vienna.
M
M
usic comes about only through moving and being
moved. Music wants to move. Marialena moves – in
concerts, among cultures and continents – a passionate ambassador of commonality and peace. For fixed borders would
be the end of art and of our development. For further information, visit: www.marialenafernandes.com
P r e m i e r e
Wien Modern – “limited approximations”
with six grand pianos in 12th-tone tuning
A special highlight took place in the Grand Hall of the Vienna Konzerthaus on November 2,
2014: the Austrian premiere of “limited approximations” for six grand pianos in 12th-tone tuning and orchestra. It was presented by the SWR Symphony Orchestra Baden-Baden and Freiburg conducted by François-Xavier Roth.
T
Photo: Markus Sepperer
his work is seldom performed due to the difficulty in
staging it. The enormous effort was received jubilantly
and enthusiastically by the audience and the press alike. This
evening was realized using six Bösendorfer concert grands
tuned – after many hours of work – to 12th-tone tuning, with
72 pitches per octave.
T
his interval is already small enough to trick our ears into
thinking a scale is actually a glissando: We no longer perceive neighboring one-twelfth microtones as distinct steps,
but rather as shades of a single tone. Here, too, Haas makes
use of the frictions between more and more finely differentiated scales and the exact frequencies of the overtone
series, which at some point drops out of all systems: Limits
are placed on the approximations – and the piece plays with
these very limits. Tremolos on individual pianos emerge now
and again out of the subtle blurring of the orchestral colours – and from time to time overtone chords stretch into
the treble; secretive hinges within the musical flow, auralike “phenomena” that reveal themselves to the ear, mightily roaring or mystically at peace with itself. The beauties of
the amorphous and contoured in an exciting interplay – nay,
rivalry – sensitively performed by the six soloists and the
SWR Symphony Orchestra Baden-Baden and Freiburg under
François-Xavier Roth, according to the Austrian newspaper
“Die Presse”.
T
he composer himself explains the special effect as follows: “The twelfth-tone interval is so small that it is no
longer heard as an interval, but rather as the shading of a single note. A single tone played by a Romantic orchestra has a
wider frequency. The aural effect of a scale in twelfth-tone intervals is thus similar to a glissando. The effect of a cluster of
twelfth-tones depends on the register: higher up, it is sharp,
abrasive, biting, lower down it is soft, melting, rich. Of course
it is also possible to build raw, dissonant chords with twelfthtone intervals – much more differentiated (also in the degree
of acuteness) than with the traditional 12 tones per octave.
But it is also possible to build much more ‘consonant’ chords
then in the traditional twelve-note scale: a close approximation of the twelve-tone scale can be produced in the overtone scale, accurate up to a twelfth of a tone,” as composer
Georg Friedrich Haas explains in the WIEN ­MODERN catalogue. Limited approximations do not tell a story. As with all
of his compositions, here too there is no formal development
or traditional formal design. Contrasting elements alternate
– moments of fusion and moments of friction. “Pseudoglissandi” by the pianos lead unexpectedly into an overtone
Orchestra with six Bösendorfer concert grand pianos at the
­Vienna Konzerthaus
chord. Apparently stable interval constellations begin to totter in twelfth-tones.
A
gain and again, the nearly spectral piano chords are taken up by the orchestra. “In earlier works, I had to limit
myself to a small number of basic tones for reasons of feasibility. “In vain” works with the twelve fundamental tones
of the traditional tempered scale. “Natures mortes” uses only
six different overtone chords, four of them based on fundamental tones of the traditional tempered system. In “limited
approximations”, thanks to the pianos, the whole world of
sound is open to me,” Georg Friedrich Haas explained.
T
he concert was most certainly one of the highlights of
this past WIEN MODERN festival. The composer and orchestra were acclaimed: “Haas’s artfully interlocked overtone
harmonies are not only meticulously constructed, they also
develop a maelstrom that can be immediately experienced
sensually. The musicians and the conductor François-Xavier
Roth reaped every bit as much enthusiastic applause as did
the author of the work,” the Wiener Zeitung wrote.
T
he WIEN MODERN festival is Austria’s largest festival of
contemporary music. In 2014 it centred around the composer Georg Friedrich Haas, one of the most important composers of our time. The festival was founded in 1988 by Claudio
Abbado and since 2010 has been under the artistic direction
of Matthias Lošek. In last year’s programme there were 63
events at 18 locations, and more than 500 artists contributed
to the success of the festival. WIEN MODERN #28 commences
on November 5, 2015. For further information, visit www.wienmodern.at and www.facebook.com/­wienmodern
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I n t e r v i e w
B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
“Unrepentent and resonating with the now”
In Interview: Tori Amos. With her poignant songs she deals with the major issues of our time.
Performing since the age of 13, Tori has evolved into one of the most respected and inspiring
live performers of today. The stage has always been one of the fundamentals of her career. In
an interview with Brian Kemble she speaks about her world-tour and new album, about being
unrepentant and resonating with the now.
BÖSENDORFER: You are currently touring your new album
“Unrepentant Geraldines” – a world tour with over 70 shows
that crossed Europe, South Africa, North America and Australia. Who motivated you to do this extraordinarily tour?
Tori Amos: It was my daughter Tash. Because I was turning
50, she felt that I needed to prove to myself that I can go
out there and do a one woman show with the power that it
needs to have. She said: “Look, you are not Grandma Mary’s
age, you are not in your 80s”. And so it became a goal that
I needed to have: being able to do a two hours, one woman
show with only me and my Bösendorfer on stage. If we are
honest with each other, it takes a lot of power and energy
to do this. I did not want people walking away feeling “you
know that was good but when she was 30 she was killing it“.
My goal was, having people walk away and say: “she is killing
it as much or more than she was when she was 30“.
BÖSENDORFER: What is it like touring after nearly a break two
years break? Is it like riding a bicycle – once you have done it
you just pick it up and go?
Tori Amos: For this tour I had to train, to prepare myself physically to do 63 shows – Australia not included. It is a different
demand physically, to be out there on your own. I had to work
on my breath, to not get tired – not lose breath.
BÖSENDORFER: Why did you name your new album “Unrepentant Geraldines”?
Tori Amos: It all started with an etching. I was in Ireland, visiting the old Georgian house there, which is in the photographs of the CD booklet “Night of Hunters“. My husband
Mark and I have had that since 1995 in the family. There is a
painter, Vincent, who often visits and who collects etchings.
There was an etching of Geraldine on the wall in a pose that
was very much like those old repentant Magdalene paintings.
However, she was actually connected to an Irish story from
the 19th century. I started looking at this repentant Geraldine
and I realized: no, Geraldine is not repentant, because she has
been up to no good with some sailor captain and that is why
she had to run away from Ireland and hide with friends. Then
I started thinking, as a women turning 50, I need to be unrepentant, not apologizing about my beliefs.
BÖSENDORFER: In the “making of” you say “every song of the
album has to resonate with the now”. Is there one that resonates the most or represents best the “now”?
Tori Amos: Well, I guess “America” does. The song “America” is
a synonym for every place. It is about “do we choose to bury
our head and sleep through the now because there are so
many things in the world that are difficult to handle, that
| 10
are happening right now.” Maybe every time feels that way
when you are in that time. Like the terrorist threats in London
where all the kids, like Tash, are warned about it in the schools.
Now she is very aware of what is happening in the world. Or
Mark’s mother telling us being aware of the raids and about
the potential things that could have happened during World
War II. Having been in New York City during 9/11 I understand
that feeling. We were shocked when it happened and it seems
there is a constant potential threat. That seems to be now in
many places in the world. “America” is about being awake in
order to deal with what is happening in the world and making decisions and being part of it. Or just thinking “this is too
overwhelming, I cannot deal with it.” So the song is a reflector
of how people are feeling at this time.
BÖSENDORFER: When you work on your songs, what comes
first – the words or the music?
Tori Amos: It’s different every time. There is no formula. That
is because a lot of times I hear something from the Muses.
They are not always singing to me – sometimes they whisper
words. And it does not all come at once, usually. It normally
comes in fragments and it can take a song months, even years to come. Like the song “Oysters”, that one took years.
BÖSENDORFER: Do you compose at your Bösendorfer?
Tori Amos: I always take it to the Bösendorfer, but I could also
be on a plane. So I write music in books. I have a weird kind of
notation system. Only I know what it means, anyone else reading it would not know. Tash always says:“Never just take one of
Mum’s books and give it away. There might be a song in there”.
BÖSENDORFER: Is there a time you are at the most creative?
Tori Amos: Well, this time does not exist that is the trouble
with it all. You cannot predict it. I cannot flip a switch and say:
I need to be productive now so let’s be productive. The Muses
really do not respond to that. Sometimes, when we are out to
dinner, somewhere in the world, at a nice and magical place,
like looking at Sydney harbour, suddenly it is just there. Then
I need paper serviettes to write on. Sometimes I feel bad for
the restaurant and I say to Mark: “Please give them an extra
tip because I took so many serviettes”.
BÖSENDORFER: How do you decide when a song is finished?
Tori Amos: I do not decide this, the songs won’t let themselves
get let go until they are ready. It is strange how things happen, just weird, I cannot explain it. Sometimes it is as if I could
feel them dig their heels and say: “No we are not going to get
recorded yet. We are not ready“. Writing can be a very lonely
thing. I take myself off and do a kind of pilgrimage because I
Tori Amos playing the new Silent Piano at the Bösendorfer shop in Vienna
have to allow myself to play things out mentally and emotionally and go to places that I do not want, as a mother, to put
Tash through. As she gets older, she understands it more and
more, but that is a side to myself that I do not show anybody.
So I need that space to allow the music to take over my whole
being. Usually I go into the studio in Cornwall with a collection
of finished songs that I have written over the last couple of
years travelling the world. Recording in the studio in Cornwall
is a totally different process than the writing of the songs.
BÖSENDORFER: Can you tell us about your relationship with
Bösendorfer? You describe it as “special” and you call the piano
“she”.
Tori Amos: The Bösendorfers I play are definitely female, they
have a female spirit, but that does not mean that they cannot think of stories that are about men. In calling her ‘she’ I
avoid a tiring or outgrowing of a name. This way, ‘she’ can be
who ever she wants to be on any given day. I appreciate more
and more that she can take the personality of the songs on.
For me, she is a friend that has without question never let
me down, never. I might have let her down, but she has never
disappointed me. She is a friend to scheme and dream with.
BÖSENDORFER: You recently visited the Bösendorfer shop in
Vienna and tried out the new Silent piano. What do you think
about it?
Tori Amos: A few things crossed my mind at the time. You can
have a secret, a music secret you can share with the silent
piano. Sometimes music is not ready yet to be shared. The silent piano allows you to create your piece of music like a master chef preparing a meal. You can add all the spices and balance them out. And then, only when you are ready, you serve
it. Songs are not meant to be affected by everybody walking
through, and everybody has a comment – everybody – believe
me. I noticed that my whole life. People in big cities like New
York work different hours, have different schedules, so you do
not know when the best time is to play. It is also great for families when you do not have a lot of space. Kids can practise,
people can play music, whilst others are working. I have an
empty space in my apartment in New York that I am holding
for a Bösendorfer Silent Piano: it is the perfect solution for
urban and family living.
BÖSENDORFER: Do you always tour with your Bösendorfer piano and how does it travel?
Tori Amos: Actually I tour with two, I have to because of logistics. For example Australia: we have a show in Adelaide and
in Perth, which is across the country. So we go from Adelaide
to Perth back to Sydney where we do three shows and then
we go to Brisbane. Sometimes you cannot get the piano from
one place to the other in time for the next show. That is why
we always travel with two Bösendorfers. The goal is that they
go by boat but sometimes they have to go by plane.
BÖSENDORFER: In your musical “Light Princess” there was a
Bösendorfer in the pit even though you were not performing.
Why did you want one for your musical?
Tori Amos: Because a Bösendorfer was used in the recording
as well. We had a Bösendorfer in the pit for every show. It’s
one of the ones that I tour with and that has all the energy.
Actually she is the one where a lot of music for “Light Princess” was written on with my partner Samuel Adamson. The
next step is the album which we are excited about. It will be
out on Universal Records next year. And of course the dream
is to take the “Light Princess” to America.
BÖSENDORFER: On your web page you say “when you stop putting yourself on the line and you do not touch your own heart,
how do you expect to touch other people.” Is this your philosophy in life and music?
Tori Amos: Well, that’s a good question. I think that listening
is very important: listening to the world, to the things that
happen. I listen to people, their reactions and feelings and I listen to nature. My philosophy is that to be a good musician is
that I have to be a good listener. It is not about the making of
the music, it is about what happens before I make the music.
It is all about listening and resonating with the now.
BÖSENDORFER: Thank you so much for being such a wonderful
ambassador for Bösendorfer.
To learn more about Tori Amos visit: www.toriamos.com
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B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
“Viennese sound” from an Artist and
Composer’s perspective
An article from Prof. Johannes Kropfitsch, Head of Keyboard Studies and Vice-Dean at the
Konservatorium Wien.
I
n our age of globalized standards it is becoming more and
more difficult to define special qualities using places of
origin as parameters of exclusivity. For example: The names
of orchestras often refer to only one individual city, but
their members have been educated in many different cities, schools, many different traditions. In fact music business
as such can be regarded as the first truly globalized market,
music itself being an internationally understood “language”.
Even more, music defines itself as being a tool to overcome
borders, not only physically, but also mentally!
W
hy should it make sense therefore to define a typically
“Viennese” sound, especially in respect to a specialized
way of building pianos?
F
irst of all let me state that such a definition should be
good for every musician – “amateur” or “professional” – regardless of locality. It should be useful to promote pianos all
over the world. Therefore the parameters should be defined
in terms of the general musical language.
| 12
I
n these terms a BÖSENDORFER piano should have a clear,
bright sound, which is mellow at the same time. It should
be heard easily against a big orchestra, and at the same time
be subtle enough not to cover a single violin or cello whilst
playing chamber music; the instrument’s construction being
light, though solid enough to stay in tune even in the most
demanding parts of a recital. Its sound being at one time similar to a “Hammerklavier” for historic music and at the same
time meeting the expectations of a contemporary composer
using it partly like percussion. The piano should sing like an
opera singer and accompany itself decently at the same time,
in the same piece…
N
ow a view back to the history of making music in Vienna, especially in the nineteenth century, can be helpful
indeed: Ignaz Bösendorfer, who had founded the factory in
1828, became famous for having built a piano that resisted
the physical powers of the then young virtuoso Franz Liszt
in his first legendary Viennese concert in 1838, when he had
“defeated” three grand pianos that had given in with broken
Johannes Kropfitsch
Photo: Luca d‘Agostino Phocus Agency
strings and damaged other parts. Thus stability became a
brand quality, resulting in the fact that a BÖSENDORFER can
last “forever” unless damaged by fire or water, or its wooden
parts being used as heating material, as happened to some
poor grand pianos exhibited in the Stadtsalon in the immediate post war period (1945). But the BÖSENDORFER was (and
still is) also the central instrument of the private living rooms
and “Salons” of music loving aristocrats and bourgeoisie. It
was (and still sometimes is) also the central part of many
Coffee houses in the city. For many years the special “Viennese action” had to guarantee stability in castles and houses
in regions far from access to piano tuners. Here it was (and
still is) used not only as a solo- but much more as a reliable
“accompany”-instrument, with a considerable percentage of
“wood” components in its parts (making it possible to repair
almost everything) and thus also create a sound similar to
the string instrument and at the same time NOT overwhelm
singers, string- and wind instruments. It is especially that latter quality that makes a “Bösendorfer” a unique alternative
to other pianos, covering a special lightness for the soloist
as well as a beautifully clear but decent sound for chamber
musicians.
I
n this sense “Viennese” sound can be defined as a wooden,
handmade, individual, “celestial” sound full of historical associations, and influencing modern times’ PIANISTS’ musical
thoughts in the direction of pure humanity: BÖSENDORFER.
Johannes Kropfitsch (born 1960 in Graz, Austria) studied
piano with Prof. Hans Graf at the University for Music
and Performing Arts in Vienna. He received his diploma
in 1985 with unanimous distinction. Further studies with
Prof. Alexander Jenner, Stanislav Neuhaus and Wilhelm
Kempff. He simultaneously studied law at the University
of Vienna and was awarded his Doctorate in Law in 1987.
During his studies he won many prizes and diplomas in
piano competitions such as Viotti (1974) in Vercelli (Italy),
Busoni (1976), Marguerite Long (1981) in Paris, Cittá di
Senigallia (1975) and the Bösendorfer Competition in Vienna, where the first prize was a new grand piano (1985).
Since then Kropfitsch has had a remarkable career performing all over the world both as a soloist and chamber
musician with his two siblings Elisabeth and Stefan, with
whom he forms the world famous JESS-TRIO-WIEN, having its own concert series in the famous Mozart hall at
the Konzerthaus in Vienna.
In addition to the standard repertory he has played recitals including all 24 Studies by Frédéric Chopin, the entire
Well Tempered Piano by Johannes Sebastian Bach and all
the 32 Piano Sonatas by Beethoven.
He is a specialist in the works of the 2nd Viennese School
(Schoenberg, Webern, Berg) and a well known composer,
his works being strongly influenced by both Viennese
and Jazz elements.
He has been sharing his knowledge with his students as
a Professor for piano since 1998. In 2008 he became Head
of Keyboard Studies and since 2014 Vice-Dean at the Konservatorium Wien (City of Vienna University for Music)
Franz Liszt playing for Emperor Franz Joseph and
Empress Elisabeth
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steemed Italian pianist Carlo Grante presented a threeconcert series on a Bösendorfer concert grand piano model 280 entitled “Masters of High Romanticism” at Lincoln
Center’s Alice Tully Hall in New York City during the 2014/2015
concert season. Each program was devoted to a single Romantic-era composer: Frédéric Chopin, Robert Schumann
and Johannes Brahms. “The composers featured in ‘Masters
of High Romanticism’ are piano giants,” Carlo Grante said,
“embodying the core of romantic music at its most expressive.” Each concert was devoted to works by a single composer,
to highlight the unique contribution of each to the evolution of form: the narrative, dancing, dreaming sound-world
of Chopin, who virtually invented the Ballade as a musical
genre and emancipated the Scherzo from its origins in dance;
Schumann’s creative expansion of sonata-form into a journey of heroic proportions; and the inventiveness of Brahms’s
variation style, revitalizing an old form with the quintessence
of his instrumental genius. “While each program provides a
full musical experience,” he continued, “the three-concert
series intends to present a kind of guided tour through the
mind of the Romantic musical creative artist, whose goal
Carlo Grante at Lincoln Center in New York
was the most direct, intimate communication involving
three parties: the composer, the performer and the listener.” “Masters of High Romanticism” was also presented in
­Vienna at the Musikverein’s Brahms-Saal and in Berlin at the
Philharmonie’s Kammermusiksaal.
www.carlogrante.com
Viennese gala celebration at the AMoCA
Museum in New Mexico
T
he Anderson Museum of Contemporary Art (AMoCA)
located in Roswell, New Mexico, is home to a new
­Bösendorfer model 280 (9’ 2”) concert grand. The piano’s
journey to Roswell started with a conversation between museum founder Donald B. Anderson and musician/composer
Ted Schooley. Anderson had expressed his long time fascination with the sound and quality of Bösendorfer instruments.
He felt that a new concert grand would enrich AMoCA’s music programming and complement the 24,000 square foot
museum’s extensive collection of art by artists who have participated in the Roswell Artist-in-Residence program which
Anderson founded in 1967.
T
ed Schooley contacted Neal Hickson from PianoWerkes in
Albuquerque, New Mexico who provided expert counsel
and arranged travel for Ted to visit the Bösendorfer factory
in Vienna. “The piano I selected for AMoCA was chosen for
its distinct Viennese sound, dark and intense,” Schooley said.
O
n September 20th, brilliant Canadian concert pianist
Dr. Christine Yoshikawa showcased the deep-rich tonal
palette of AMoCA’s new Bösendorfer during a gala Viennese
Celebration for members only. Dr. Yoshikawa created a program of both classical and contemporary works revealing the
Model 280’s sweet, yet powerful, dynamic range.
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Photo: Jennifer Taylor
Carlo Grante performing at Lincoln Center
in New York
E
Dr. Christine Yoshikawa playing the new Bösendorfer model 280
Photo: Courtesy of the Anderson Museum
I n t e r n at i o n a l
B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
T
he new Bösendorfer was made possible through a generous gift from Donald and Sally Anderson. “It has proven
to be a bonus for the Anderson Museum of Contemporary
Art and the cultural vitality of the Roswell area,” Don Anderson said. Sally Anderson added that coordinating the piano
purchase through Neal Hickson at PianoWerkes was a “wonderful experience… they were very accommodating and extremely professional.”
T
he Anderson Museum of Contemporary Art opened its
doors in Roswell, New Mexico, in 1994 to showcase works
of art produced by former fellows of the Roswell Artist-inResidence Program (RAiR).
For more information please visit www.roswellamoca.org
I n t e r n at i o n a l
Viennese Tradition meets Moscow
A
Photo: Forte and Piano, Moscow
unique selection of traditional Viennese companies
represented their products ranging from grand pianos,
jewelry, lamps and finest bed linen to silverware: all made in
Austria.
O
ne of the outstanding examples of Viennese luxury at
the exhibition was presented by the world´s oldest premium piano manufacturer Bösendorfer, in close cooperation
with the authorised Bösendorfer dealer in Moscow, Forte &
Piano. The factory presented one of its masterpieces, traditionally handcrafted in Austria – a grand piano designed in
close cooperation with the world-famous Porsche Design
Company. The vocal repertoire of the well-known Austrian
opera singer Daniel Serafin accompanied by the Boesendorfer grand piano “Design by F. A. Porsche” perfectly complemented the cozy Viennese atmosphere during the evening.
A
ccording the motto “Viennese Tradition meets Moscow”,
the WIEN PRODUCTS group presented traditional Viennese handcraft for the third time in Moscow. For one evening, the Heritage International Art Gallery in the historical
center of Moscow was turned into a “small Vienna” with its
relaxed atmosphere, luxury art and interior pieces as well as
Daniel Serafin accompanied by Bösendorfer model Porsche
the elegant guests from politics, economy, and highest levels
of society and culture, as well as media representatives.
T
he exhibition was opened with words by the Austrian
ambassador Margot Klestil-Löffler: “These are not just Viennese traditions but a perfect mixture of elegance, intellectuality and savoir de vivre, all of which are a symbol of Vienna
and its life style”. Most of the companies presented manufacture art and interior objects by hand and do not try to establish local production facilities in other cities of the world.
The demand for such exclusive goods is increasing rapidly
and supports the companies’ philosophy of traditional local
craftsmanship.
n 4th December 2014 The Ritz-Carlton, Vienna hosted “A
Night of the Arts” exclusively for members of The RitzCarlton Rewards® programme. This unique occasion featured
a one-of-a-kind look at the works of 19th century Austrian
painters Gustav Klimt and Egon Schiele in partnership with
international fine arts resource MasterArt Society. A private
performance by Star pianist Marialena Fernandes was held
on a Bösendorfer piano model Klimt which showed the famous painting “The Kiss” inside the piano lid. The evening
was complemented by an intimate four-course dinner and
luxury overnight accommodations with a view over the Ring
Boulevard. MasterArt Society (www.masterart.com) brings
together renowned art professionals, affluent collectors
and investors, as well as the world’s leading entrepreneurs
– bound together by a passion for beauty, an interest in prestigious cultural events, and an unrelenting desire to acquire
the very finest in art. E
xclusively available to members of The Ritz-Carlton
Rewards® programme, a unique art exhibition of the
works of Austrian painters Gustav Klimt, most famous for
painting The Kiss, and Egon Schiele, provided by Wienerroither & Kohlbacher Fine Art Gallery of Vienna was available
for private viewing. During the four-course epicurean expe-
Foto: The Ritz-Carlton, Vienna
A night of the arts at the Ritz-Carlton in
Vienna
O
Bösendorfer model Klimt with the famous painting “The Kiss“
rience by Executive Chef Andreas Mahl, Andrea GlanningerLeitner, a renowned art historian, specialized in Pre-Raphaelite works, Symbolism and Secession Art focusing on Klimt and
Schiele, addressed the attendees.
For further event details, please visit
www.ritzcarlton.com/en/Rewards/promotions/vienna.htm
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Marialy Pacheco – Welcome to the
Bösendorfer Artist Family
“I was so incredibly happy – this is like a ‘musical knighthood’ for me! To play on a Bösendorfer
and now also as an official Bösendorfer Artist to get to be an ambassador of this fantastic
manufacturer inspires me immensely – the perfect sound for my way of playing.”
M
arialy Pacheco, born in Havana, Cuba, grew up in a musical environment: singing and piano, Bach and Bartok
– both of her parents are classically trained musicians – her
mother is a choir director and her father is an opera singer. At
her own request, she received piano instruction at the Conservatorio Alejandro García Caturla in Havana at the age of
seven. At 15, she attended the Escuela Nacional de Artes in
Havana. Studying music in Cuba is geared entirely towards
classical music; Latin jazz and salsa only existed between
classes and during semester breaks. The turning point came
in the form of a CD – The Köln Concert by Keith Jarrett, which
opened up a whole new world to Marialy. Yet she first completed the Conservatorio with honors and commenced a
three-year study of composition with Tulio Peramo Cabrera
at the Instituto Superior de Arte in Havana.
©: Marialy Pacheco
A
B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
M
arialy became the piano accompanist for her mother’s
choir, VocaLeo, which is also known outside her country. A period of travel followed. In the meantime – 2002 –
Marialy participated in the Cuban “Jo Jazz Competition” for
up-and-coming artists in Havana, with Grammy winner Chucho Valdes as head of the jury. For the first time, she was able
to share her passion for jazz with an audience. She won first
prize and with it her first solo CD recording. In 2004, she once
again toured with her mother’s choir – this time to the Choir
Olympics in Bremen, Germany – and won two gold medals
together with the choir.
S
econd prize for the composition of her work “Güajira para
Tulio” for string orchestra, by the Choral Gables Congregational Church in Florida, USA, followed. She became the
first woman to win the solo piano competition at the Montreux Jazz Festival in Switzerland in 2012, and that same year
she won the Jazz Award from the Queensland Music Awards
in Australia for her works for the Jazz Trio Dresden.
Marialy Pacheco
ways unique and unmistakable.” (Rhani Krija – Percussionist,
STING, October 2014)
A
s a guest soloist, Marialy Pacheco has played with the
Australian guitar virtuoso Tommy Emmanuel, trumpeters James Morrison and Joo Kraus, percussionist Rhani Krija
and the Cuban pianist Ramon Valle.
s a jazz pianist, Marialy Pacheco has made guest appearances in Tokyo, Milan, St. Moritz, Poland, the Czech
Republic and Australia, where she also performed J. S. Bach’s
Concerto No. 7 in D minor as a classical pianist with the
Queensland Symphony Orchestra conducted by Gustavo Gimeno. She was the only jazz pianist to share the stage with
international classical music stars, including Paul BaduraSkoda, Valentina Lisitsa and Maria Mazo, in a gala concert at
the Vienna Musikverein for Bösendorfer’s 185 anniversary.
“W
M
A
hen you meet Marialy, you feel a balance, deep spirituality, joy, clarity, a strong identity, as well as fragile moments, simple and unquestioning… all this is reflected
in Marialy’s playing – a tree whose roots are deeply anchored
in the Cuban tradition – yet the branches have found their
place throughout the world…. Regardless of whether she
plays Bach, contemporary jazz or Latin American music – she
is able to fuse all styles into her own sound – the result is al| 16
arialy Pacheco was trained for a career as a classical
pianist up to the age of 17, yet she eventually found her
calling in another musical genre: “Jazz gives me the freedom
to play from the heart and to be creative. My music comes
from the heart; it’s the only way I can really express myself.
The only thing I can do in life is play piano.”
For further information, visit: www.marialypacheco.com
A
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Ambrosio Valero – Welcome to the
Bösendorfer Artist Family
“I have a special relation with Bösendorfer pianos. I am passionate about the brand and consider the “Imperial” as an extension of my musical thoughts. It’s a great honour for me to be
now a part of this family of artists. The official nomination as Bösendorfer artist in Vienna was
one of the best days in my life.”
A
Photo: Sara Ruano/Drop Artist
mbrosio Valero was born in Granada coming from a family of musicians. At the age of four he began playing the
piano. He was introduced to his music studies and also to the
special qualities of Bösendorfer grand pianos by his father.
At the University of Music in Granada he studied with José
Luis Hidalgo. He has been given advice by many Maestros
including Joaquín Achucarro, Daniel Barenboim, Vladimir
Ovchinnikov, Jean Phillippe Collard, Ramón Coll, Christopher
Elton, Bruno Canino, Pascal Rogé, Jorge Luis Prats, Manuel
­Carra, Antonio Iglesias, Xenia Knorre, Daniel Blumenthal,
Krystyna Makowska, among others.
V
alero received a scholarship from International Course
“Música de Compostela” which is dedicated entirely to
Spanish music. Valero studied at the “International University
of Andalusia”. He passed his concert exam with the highest
rating of “summa cum laude”. He finished the superior grade
of music at the “Royal Conservatory of Music Victoria Eugenia”
in Granada with distinction under the supervision of Antonio
Sánchez Lucena.
“Originality and perfection techniques are qualities that characterise Ambrosio Valero. […] With a pianissimo full of lyricism
and poetry. […] Ambrosio is a pianist with a deep perception
of music and with an unmistakable and personal sound. […]
One of the most important values of piano playing actually”.
(Julia Alonso, Ritmo)
H
is activity as a soloist already has taken him to four
continents. He performs in recitals, orchestras and as a
soloist. Several recordings have been made for Spanish Television, Spanish National Radio and Bulgarian National Television. Ambrosio Valero won many national and international
awards including the first prize in the soloist competition of
the “Professional Conservatory of Music Angel Barrios” and piano solo competition of the “Royal Conservatory of Music Victoria Eugenia” in Granada. He received the “National Award
Manuel de Falla” and the “National Piano Competition Ciudad
de Albacete”, in which he obtained every possible award: first
prize for the best interpretation of Beethoven’s music and
best interpretation of Chopin’s music as well as best interpretation of Spanish music.
V
alero has been well regarded by the Cervantes Institute.
He participated in several national and international
competitions, such as the “National Piano Competition Marisa Montiel”, the “International Piano Competition Ciudad de
Campillos”, the “International Piano Competition Delia Steimberg”, the “International Piano Competition of Ibiza”, the
Ambrosio Valero
“Rotaract Rotary International Piano Competition” and the
“International Piano Competition Frechilla-Zuloaga”. He also
received a medal as a special prize for the best interpretation
of the music of the Spanish composer Mompou and a special
prize for the best Spanish pianists at the “Maria Canals International Piano Competition” in Barcelona.
A
mbrosio Valero is a founding member of the “Andalusian
Contemporary Ensemble”. It was formed with the aim to
introduce the contemporary Andalusian music worldwide.
“I dedicate my day studying always to try to improve. But
when I close the lid of my piano I enjoy a normal life. I am a
fan of Real Madrid and love to play football with my friends.
Riding my Vespa and playing with my dog, a beautiful German shepherd, are great passions of mine.”
For more information please visit: www.ambrosiovalero.com.
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I n t e r n at i o n a l
B Ö S E N D O R F E R – The magazine by Bösendorfer Austria
The Music Hall in Harbin’s Old
Synagogue (China)
T
change with the support of the Mayor of Wiener Neustadt,
representatives of the Bösendorfer Piano Company and the
local dealer.
Photo: Yamaha Music China
his June, The Music Hall of Harbin’s Old Synagogue ordered a Bösendorfer grand piano model 225. The first
classic concert with this grand piano was held on July 1st. The
historical Synagogue was established in 1907 and is now one
of the heritages of China. In the early 20th century there lived
around 3.000 Jewish persons in Harbin-city. Their business
had flourished and they contributed to the development of
this city.
I
n the late 20th century a new Synagogue was built. The old
Synagogue remained and was used for cultural events or
for wedding celebrations for the citizens. In 2013 Harbin-city
renovated it and opened the music hall for Harbin’s citizens.
The Hall holds top class concerts by top pianists and orchestras 4 times a week (around 200 concerts per year) and make
the Viennese sound and charm accessible to the musical
public here in China.
I
n addition, Harbin-city in China and Wiener Neustadt in
Austria (manufacture location of Bösendorfer) are partnercities. Both of them hold events to strengthen cultural ex-
Old Synagogue in Harbin
Yong Siew Toh Conservatory of Music
(Singapore)
I
n June, Yamaha Music (Asia) delivered a Bösendorfer Model
290 Imperial to the Yong Siew Toh Conservatory of Music.
The Yong Siew Toh Conservatory of Music, National University
of Singapore (YSTCM) is the largest music Institution in Singapore. It offers a unique and adventurous 21st century Asian
environment in which it trains and educates performers,
composers and recording engineers. For 10 years, it has enabled over 280 students of YSTCM to take advantage of future
professional and artistic opportunities worldwide.
Photo: National University of Singapore
C
urrently, 220 of Asia-Pacific region’s most talented young
musicians come to the Conservatory from twenty-two
countries. The Conservatory offers a four-year, full-time undergraduate Bachelor of Music degree programme, with a strong
focus on music performance, composition, and recording arts
and science, supported by a well-balanced and integrated academic curriculum. This year, the Conservatory will also offer
the Master of Music programme. Classes are conducted by a
distinguished faculty drawn from over 10 countries.
T
he Conservatory also holds regular concerts (sometimes
with International artists) for the public and now with the
Imperial grand piano being available, we trust that more music lovers in Singapore will get to enjoy the beautiful Viennese
sound of Bösendorfer.
| 18
The Yong Siew toh Conservatory of Music, National University
of Singapore (YSTCM)
COLLECTORS‘ ITEM
Bösendorfer Special Model “Schönbrunn”
E
mpress Maria Theresa used Schönbrunn Palace as her
Imperial summer residence and it became a glamorous
focus of court life. Leading statesmen and great personalities
from the arts and culture were amongst the many guests.
Even the six-year-old Mozart performed in this select atmosphere. The buildings, gardens and internal decorations
were all part of the overall baroque design. Perhaps inspired
by the magnificent gardens of Schönbrunn, the famous 18th
century Bohemian ornamentalist painter, Johann Wenzel
Bergl, covered several ceilings and walls of the palace with
detailed scenes of nature. Later these were also enjoyed by
the nature-loving Empress Elisabeth (Sissi). Furniture and pianos were often richly decorated with ornamental designs,
plant and animal motifs created with various types of inlaid
wood veneer.
Photo: David M. Peters
Imperial splendour, music and magnificent gardens
O
ur model “Schönbrunn” is the second in our limited
edition “Marquetry Series”. It is a tribute to the palace’s magnificent gardens and murals and a dazzling
snapshot of nature. The edition is limited to nine instruments and each will have an individually numbered solid
brass plate.
W
e are very pleased that our Model Schönbrunn was
received so well at its Namm Show launch in the
US that it was sold out at the end of the show. Orders
were taken from the USA, Canada, Hong Kong, Japan and
China.
Top: A special feature of our marquetry
work is its three dimensional effect. This
is created by using the traditional sand
shading technique on the
coloured wood.
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SENDER: L. Bösendorfer Klavierfabrik GmbH · Bösendorferstrasse 12 · A-1010 Vienna
Postage paid. Publisher’s post office: 1010 Vienna