Two years ago, when I attended my first performance at the International Keyboard Institute and Festival, I spoke with a fellow attendee. The recital we were about to see was one of the last in the series, and she had made a point to attend every one. Looking back, which performer was her favorite? Her answer was Claire Huangci. On the second day of this year’s festival, Claire Huangci showed an abundance of the skill, style and emotion that made her an audience favorite in 2016. These also helped her win the Jury Discretionary Award at the 2013 Cliburn, first prize at last month’s Concours Géza Anda competition in Zurich, and all our hearts in her recordings and in the professionally produced videos featuring her, which can be found online. Continue reading
Every day from July 15 through 29, the International Keyboard Institute and Festival will be holding keyboard concerts, afternoon lectures and master classes at the Kaye Playhouse and Lang Recital Hall. Readers of PIANYC can find all of the events at this link.
The list of performers includes Jean-Efflam Bavouzet, Geoffrey Burleson, Akira Eguchi, Allan Evans, Vladimir Feltsman, Baron Fenwick, Massimiliano Ferrati, Alon Goldstein, Ivan Gusev, Claire Huangci, Dina Ivanova, Salome Jordania, Alyosha Jurinic, Yuri Kim, Emanuel Krasovsky, Nina Lelchuk, Wei Luo, Steven Mayer, Nils Neubert, Quynh Nguyen, Michael Oelbaum, Joseph Patrych, Drew Petersen, Fine Arts Quartet, Jerome Rose, Victor Rosenbaum, Pablo Rossi, Vladimir Rumyantsev, Tomoki Sakata, Yuan Sheng, Mykola Suk, Yekwon Sunwoo, Jeffrey Swann, Anastasya Terenkova, Reed Tetzloff, Nina Tichman, Matei Varga, Ilya Yakushev, Eduard Zilberkant and Asaf Zohar.
Recitals at the Kaye by the marquee performers are $20 each. But in addition there are concerts, lectures and masterclasses that are free and open to the public, including the competition rounds.
The Institute maintains a page with links to prior-years’ concerts.
At the conclusion of the Festival are the Distinguished Faculty Artists Gala Finale and the IKIF Awards semi-final and final rounds.
Are we at risk of betraying an infatuation with the playing of Christina and Michelle Naughton? After all, they provided our first interview and were the subjects of one of our first reviews. But how could we resist writing a note about so memorable a performance as last Wednesday’s at the Caspary Auditorium at the Rockefeller University, that edifice of scientific advancement. Continue reading
If we think of a musical performance as a work of art, how then can artistic satisfaction be achieved for the solo musician who longs to be as fully involved in the artwork as, say, a painter is in her canvas? Such a musician may feel in conflict with schools of thought, whole intellectual movements, epochs, which dictate that the proper role of the musician is in clear and faithful interpretation of the composer’s intent. If the artist is the composer, problem solved: each performance is in and of itself fulfilling both objectives. But that approach is limited to one artist, one career. For the artist who wishes to communicate a performance channeling the genius of multiple composers living and dead, spanning centuries, it is necessary to appropriate. And the composer must trust his reputation in the hands of the performer. That is the bargain made by composers with musicians in order to achieve fame and, with rare good fortune, immortality.