Thursday, November 21, 2013

Yuja: “Doing my own thing”


 

There are great performers who take you on a personal journey into the depths of a composer’s world, and then there is Yuja, who makes them come alive with her signature force-of-nature drive, both on and off stage. Her last Carnegie Hall recital in October 2013 was a perfect example; the concert was a feat of virtuosic repertoire, which she mastered with grandiose control. But beyond her sweeping performance style, there was something evanescent connecting her to the audience, a vitality that conveyed her very own truth through music.

Following up with the 26 year-old piano superstar for an interview, we met at ‘Indies,’ a small lounge we both frequent not far from her New York apartment near Lincoln Center. 

“I react a lot to the audience and feed off the energy I feel in the hall”, Yuja says. “I have always performed, from early on, and I get to know my repertoire through performance, by doing - and that has not really changed. I need to perform to feel alive. Every time it’s different, it’s organic. When I perform with different artists, they all bring out a particular side in me. Even with different friends, I can be a different person.”


There have been many comments about some of her outfits, and her unabashed, sexy appearance at her Hollywood Bowl performance has drawn a good amount of criticism. Yuja’s response to that? ” “I am like a chameleon, reacting and adapting to my surroundings.”  And: “Their criticism says much more about them than it says about my choice of dress.”

Her candor may have something to do with the fact that she does not really dwell on reviews: “I never read them - once it’s done, it’s done,” she says with the sunniest of smiles. She also displays an astounding indifference to the vast amount of publicity around her. Untainted by ‘all that jazz’, her self-assured personality conveys a fierce independence and an eccentric authenticity that might help to keep her vulnerable self hidden and protected.  “I don’t really like to reveal too much of myself in an interview,” she adds, “and somehow I am never really quoted correctly, anyhow.”

           
For Yuja, truth lies in music. “I play my best when I am sincere,” she explains. “That’s when I am able to move people. But the perception changes easily: for example, when I started recording, what I thought I was doing was very different from what I heard in the recording. Sometimes it had nothing to do with what I felt – it’s a whole butterfly effect.” She goes on to describe the process of finding the honesty she aims for in her playing, here for example during a recording session: “I play, then I go listen, I hate it. I think to myself, I can play so much better. Then I try three times, four times, five times and listen again and compare… only to find that the first time was the best.”

Another of her critics’ bones of contention is what they call the ‘flashy’ rather than ‘serious’ style of her interpretations, to which she answers: “I have learned Beethoven, I have learned Bach, but I just do not feel the same excitement that I feel when playing Rachmaninov.” Nevertheless, Yuja will perform Beethoven’s Concerto No.3 with the London Symphony Orchestra during her residency at the orchestra’s Artist Portrait series in February of 2014.

“Virtuosic scores are not necessarily about a flashy style”, she explains. “My presenters schedule all these romantic and post-romantic works two years in advance, and I want to bring my best to the stage. However, when I am excited about a piece, and the more it connects to my personality, the better I can play it and grip the audience. That does not mean I don’t sometimes tire of that much fire either; I do. And there is a lot to learn.”

In summer 2014, Yuja will collaborate again with violinist Leonidas Kavakos, this time featuring Brahms's sonatas for violin and piano. Through Kavakos, she also connected to the legendary Hungarian pedagogue Ferenc Rados (Andràs Schiff’s teacher) who she considers to be a genius. “He can change your musical insight of a piece, how to structure it best, based on its inherent harmony.”

Travelling all over the globe for over 80 concerts and recording engagements each year, Yuja doesn’t really get to spend much time in one place. “Someone asked me recently, ’Where are you at home?’ and I answered: ‘My living room is in New York, my studio is in Paris, and I record in Germany,’ but then, it isn’t really as much about the place as it is about the people.”

She enjoys being a citizen of the world, and there are lots of adventures away from the piano she would like to experience, like going to India and living there for a while without Internet. At the same time, she knows that it would take a lot of courage to detach herself from her rigorous performance schedule. “Separation anxiety,” she calls it. Which is very much what the 14 years old Yuja might have felt when she left her Beijing family 12 years ago.

Back then, her teacher at the Central Conservatory of Music in Beijing had recommended that she continue her studies at the Curtis Institute of Music in Philadelphia, hoping Yuja would be able to study with the eminent pedagogue, Claude Frank. But when Yuja finally arrived for an audition at Curtis, it was Gary Graffman who took her under his wings.         

“He loves Chinese culture, and he is a big collector of Chinese art”, she says about Graffman who also mentored superstar pianist Lang Lang. “He taught me a lot about Chinese history and culture. Even though he belongs to a very different generation, we had this wonderful relationship.” And about his style of teaching she says: “Artistically he would leave me lots of freedom and just loved it when I found something unexpected in the music. His face would light up and I loved getting that reaction. I ‘worked’ that, and it inspired me to surprise him again.”  Graffman, at whose 85th birthday celebration in March 2014 Yuja will play, retired as President of Curtis after Yuja’s graduation in 2008. “Without him, my career would be nothing,” she says. “He inspired me deeply and through him I was connected to the whole of the European classical music culture. … When I was young, I dreamed of studying in Europe. But at Curtis, I got to play for everyone who connected me indirectly to the great tradition; finally I also played for Claude Frank, Pamela Frank and Leon Fleisher, among many other artists.”

 

Yuja also values the emphasis Curtis places on developing friendships over competition between students. “Curtis is an amazing environment altogether; it is a small school and super welcoming. It’s all about the discovery of music and about igniting curiosity. And they treat everybody like they are an exception. It has a special place in my heart.”  

What is it like not being part of a group of students anymore? Yuja smiles, and a little lost in thought she says: ”I am often lonely. But I am used to this. Even as a kid I did not really play with other children. I was not very social but not unhappy about it. I was practicing and doing my own thing.”
Which is what she is still doing. And very successfully so.

All photos courtesy of Yuja Wang.

Yuja’s fifth recording with Deutsche Grammophon: Piano Concertos/Rachmaninov, Prokofiev consists of recordings of Rachmaninov’s Piano Concerto No. 3 op. 30 and Prokofiev’s Concerto No. 2, Op. 16 with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra of Venezuela will be released in January 2014.


 

 

 

 

Friday, November 15, 2013

Concert announcement with a twist – Pianist Jonathan Levin’s take on PR-trivial pursuits



“He is so versatile, he will mow your lawn,” hails this hilarious concert announcement, created by the very talented pianist Jonathan Levin, whom I just had to meet after seeing this. Regrettably, I could not make it to his “very important concert,” but I checked out his playing via internet and definitely think this Manhattan School of Music alumnus warrants more attention than he claims to get!


Even though he has so far escaped discovery by record labels and management, he has – beyond a fine pianism – something quite viable to offer: humility and a self-effacing humor that keeps him down to earth, sporting an utmost unaffected air while steadfastly pursuing his dreams: And that is playing the piano, composing, teaching… and approaching its third season, he produces a piano festival in his hometown Clayton, in North Carolina.

To help his festival gain momentum he just finished a documentary which describes Jonathan’s vision and the festival’s goal: to make classical music approachable and accessible to all audiences.

“I think most people, regardless whether they are regular concert goers or not, approach ‘classical’ performances with something akin to apprehension,” explains Jonathan.” There’s a feeling that they may not understand or they may feel uncomfortably out of place. My goal is to relieve their fears a bit and let them feel they are ‘in on it’.”


Each of the performances of the two week long piano fest have specific themes and incorporate a narrative by the performers, giving insight about the composer’s life and his work. They also share their own feelings about performing these works, engaging the audience and enhancing the entire experience.

“There is no pressure to know a lot about the music in advance…and the audience can discover a new favorite piece or composer along the way. Live performance is a vital part of this art form …the shared experience can be nothing short of magical.”

For more information about the Clayton Piano Festival and Jonathan Levin http://www.claytonpianofestival.org    watch the documentary

Saturday, November 9, 2013

Esa-Pekka Salonen at SUBCULTURE's CONTACT! series

Monday night's event at SUBCULTURE featured the eminent Esa-Pekka Salonen, whose compositions were performed by musicians of the New York Philarmonic as part of their new-music series CONTACT!. In co-production with the 92nd Street Y, Salonen, worldwide renowned as a conductor, vividly emceed his own chamber works to an intrigued audience that evening.

all photo credits for this article: Chris Lee

The relatively new venue, (read article) which is quickly establishing its own identity within a small colective of 'to go to' downtown music hubs, offfered a great backdrop for Salonen's nonchalant yet highly charged, energetic and innovative personality that is reflected in his work.

Just that week, Salonen conducted the new York premiere of his Violin concerto with soloist Leila Josepfowitz performing with the New York Philharmonic Orchestra at Avery Fisher Hall.
At his 92nd Street Y debut at SUBCULTURE now, the smaller ensemble groups performed a selection of his not-that-short pieces and made them shine and sound as if they were meant to be played in an environment as this one.

The athmosphere was totally friendly and welcoming; the lighting and sound adapted adequately to the changing formations of musicians on stage. Despite the close quaters, Salonen, who seemed genuinely in his element, as he tenaciously kept sweeping his strands of hair away from his
forehead, managed to have a drink at the bar almost unbothered by admirers.

Except for the fact that the room was a bit too warm for people sitting with their coats on their laps, it was a captivating production, which surely won over some new fans for Salonen's work as well as some future collaboration opportunities for SUBCULTURE.

The next CONTACT! event planned at this venue is taking place on January 13, 2014. Pianist Yefim Bronfman, new York Philharmonic's Mary and James G. Wallach Artist-in -Residence, will perform with musicians from the Philharmonic.

Wednesday, November 6, 2013

Jerome Rose – A Man with a Pianistic Vision

This article has been published in its German version by the author, Ilona Oltuski, in PianoNews' November issue
Jerome Rose at home
For 15 years now, Jerome Rose’s piano recital has opened the annual International Keyboard Institute and Festival (IKIF), which he founded in 1999. Taking place at Mannes College The New School for Music, one of Rose’s alma maters, the intensive, two week-long celebration of the piano features lectures, master classes, and faculty recitals, as well as two guest artist performance series. That’s a lot of piano - even for New York City. The festival shines by its musical diversity and vast variety of different approaches to the instrument, and so promotes an open-minded and low-key atmosphere. It also sponsors a competition whose winner is honored with the Dorothy MacKenzie Competition prize ($10,000) and a recital at the next festival (this year’s first place prize winner was Kho Woon Kim). “With the sheer volume in organizational tasks, such an undertaking needs to be driven by two equally important entities: a fountainhead that creates the concept, and the person who executes the event,” says Rose, whose wife, Julie Kedersha, serves as the festival’s executive director.
During each of his opening concerts, which have been recorded by WFMT Chicago and NPR for worldwide radio broadcasts, Rose immerses himself in a selection of works by a single composer.  He records this repertoire on his own Medici Classics label at Yamaha’s Artists Services New York, which for seven years has featured a compilation of DVDs that reflect his concert programs and the composers he features in the “Jerome Rose plays: [featured composer] live in concert.” This year’s selection is devoted to Beethoven sonatas. In addition to his personable, verbal introduction on the DVD, in which he explains his own place within the pianistic tradition, he delivers a “Waldstein” live in concert that attests to his pianistic patina, gained through mature musicianship and fervent radiance at the piano.
A conversation with the now seventy-five year-old entrepreneurial pianist and educator reveals a consuming, highly energetic man with a vision that demands relentless pursuit, no matter how much effort, or how high the stakes.


Presenter Jerome Rose at IKIF
If it is true that pianists “play who they are,” which is Rose’s famous maxim, his reputation as “one of the last true romantics” fits the depiction perfectly. Rose understands romanticism as “playing on the edge…as if your life depends on it.”
‘The Romantics’ also happens to be the title of London’s First International Festival of the Romantic Movement in the Arts at London’s Royal Festival Hall in 1981, under Rose’s artistic direction and the auspices of H.R.H. Princess Alexandra. Combining scholarship and the performing arts, Rose was an early adapter to interdisciplinary arts festivals. An animated raconteur, he recalls how he managed to delve into this extraordinary undertaking: “I was challenged by the fact that I was told it could not be done,” says Rose, who refused to give up on his vision of bringing a broader perspective to the close connection he felt for the composers whose art he had studied and lived with intensely throughout his pianistic career.
While curating the festival, Rose never abandoned his attempts to convince the director of the UK’s Central Bureau for Educational Visits and Exchanges, James Platt, of his concept. Finally, Platt responded to Rose’s vision, ultimately even becoming the festival’s chairman. “In my heart I knew it could be done” he says about his decision to support the pianist’s project. What also helped to make it happen was that Rose had come prepared with an airtight budget that did not leave any wiggle room. He wanted to avoid repeating the mistakes he had made pursuing another great vision of his almost a decade earlier: In 1973, Rose had initiated a concept for a national festival of American symphony orchestras for international broadcast. With Emmy award-winning producer Curtis Davis and Channel 13 interested, Rose had already received acceptance letters from major symphony orchestras, yet finally saw his high-flying proposal shattered by politics and conflicting interests. “Who was I to tell everyone what to do?” he asks with a pinch of irony.
Emerging almost unfazed by this experience and still feeling the need to present music culture in an interrelated manner, he remained true to his powerful convictions. “You realize that all great composers were generally cultured individuals; it just transcends, being a pianist,” he says, and includes his own life experience in this statement. Undeterred, Rose went on to curate the Schubert and Brahms Festival at the Library of Congress in Washington, D.C., and a comprehensive Liszt celebration in 1986.

Rose with Rudolf Serkin at Marlboro (courtesy of the artist)
Rose readily acknowledges that it was Marlboro Music and its annual Vermont-based festival, which is devoted to artistic excellence, and development of new talent that gave him a true understanding of what music can do. Marlboro pioneered the concept of having master artists play together with exceptional young professionals. Says Rose: “My whole view of what it is to be an artist and a musician, a spokesman for the arts, was transformed when I came to Marlboro in 1956, under Rudolf Serkin and Leonard Shure. I have never been exposed to a richer way of inspiration.”
It is exactly this idea of learning and performing together that Rose has always intended to embed into his lifelong pianistic career. The high standard of musicianship and the diverse and immensely cultured personalities of his fellow artists at Marlboro made Rose want to carry the flame: “Being placed in a setting with many of the greatest talents of our time - James Levine, Van Cliburn, Claude Frank, Alexander Schneider of the Budapest Quartet, and so many others … and then the production of ‘Cosi fan Tutte’ in the cafeteria … the camaraderie … it was exhilarating,” he recalls. It was at Marlboro where he had the cathartic experience of how the love for music can become eternally transcendent, something he also aspired to impart onto the younger generation. Beyond the cultural impact of his festivals, Rose certainly achieved this through his influence as a pedagogue.
Among the students the 1961 International Busoni Competition Gold Medalist ever took on is Polish pianist Magdalena Stern-Baczeswska who he first met at a 1996 master class in Warsaw. Stern-Baczeswska describes Rose as an invaluable mentor and father figure: “The moments spent with Mr. Rose at the piano are among my most vivid memories. Above all he has helped me find my identity as an artist, and expanded my personality and emotional range.”
And about his methodology as a teacher she says: “No two lessons were the same; Mr. Rose always knew what was on our minds, just by listening how we played. Sometimes a long discussion on a seemingly unrelated theme was the best approach; another time he would sit at the piano and break into a passage without saying a word. It was then when I understood another message of his: ‘the music will be only as important to your audience as it is to you.’ “
She also comments on Jerome Rose, the performer: “When he played, music was the only thing on earth that seemed to truly matter. For a man who can easily intimidate, Mr. Rose has been always humble when it comes to music. Once, before his Salle Cortot debut in Paris, he asked me into the hall for his dress rehearsal and made it my task to let him know when he was rushing. The master became the student when the music required it.”
Stern-Baczeswska concludes: “There are many pianists whose fingers never slip, and whose memory never fails. Yet one leaves the concert hall with a feeling of void. It is in Mr. Rose’s recitals when unforgettable moments take place … he plays who he is.”
The Iowa-born and San Francisco-raised Rose began his international career in his early twenties. By the time his career was abruptly interrupted by the U.S. military draft during the missile crisis in October 1962, he had already performed in many major concert halls around the world. Thanks to an educational deferment he became an artist-in-residence at Bowling Green State University in Ohio, which gave him limited travel opportunities to perform and give master classes for three weeks at a time.
Rose still contemplates his decision to opt out of an intense touring and concertizing career: “I asked myself many times if I sold out for security or if I was really smart. I got married and had four children and a university position with all the benefits of an institution. Everyone who has performed realizes that we are all victims of our own standards, and of the public’s and our own expectations. I did not like the insecurities of a performance career, and the dependency on critics, managers, and conductors.”

Interview with David Dubal at IKIF
But perhaps he’s too much of a people’s person to solely contribute as a performer to classical music. “It is my job to know a lot of people,” he says. And he has certainly touched a lot of people’s lives during his long and distinguished career. He has also inspired countless others with the activism and boundless enthusiasm he brings to music, both through his presentations and his performances.
Bonnie Barret at Yamaha Artist Services
One such person is New York’s Yamaha Artist Services director Bonnie Barret: “He is the reason I came to Yamaha,” she says. Having previously been involved with Steinway and later, with an artist management business, Barret attended Rose’s Schubert recital at IKIF, at which he played on a Yamaha CFX that had just come onto the market. “There was a brochure on each seat and I got curious. It prompted me to do some research about the new product and I contacted Yamaha to offer my services.” Beyond that, she was impressed by Rose’s great projection. For his DVD recordings at Yamaha Artists Services since 2007, Rose used both the predecessor of the Yamaha CFX, the Yamaha CF3, and the CFX, thus adding a visual connection to his already existing catalogue of classical repertoire recorded for Monarch Classics, Sony, Newport Classics and Vox on CD. His Liszt recordings for Vox were awarded the Grand Prix du Disque. “I am concerned with the tradition of the great masters and what these performances represent”, Rose says. “I want to put on record what I really believe in.”
Which might be why Jerome Rose has not only prevailed in his creative approach towards classical music in the widest sense, but he himself has transcended the expected model for success at the piano.

Pianists Marc-André Hamelin, Jerome Rose

Friday, November 1, 2013

Daniele Rinaldo - distinctly conceived pianism

                
Presented by the esteemed Keyboard Trust on October 10th, the Italian pianist Daniele Rinaldo impressed with a thoughtfully programmed performance, one of the last ones to be held at historic Steinway & Sons Hall, which is soon to be demolished.
The audience’s stormy applause was asked to be held back until the end of each part of the program, so as not to interrupt the special harmonic interrelation and correspondence of mood revealed through the progression of Rinaldo’s chosen works, which alternated between Claude Debussy (Etude No.8, “Pour les agreements,” Etude No. 5, ”Pour les Octaves,” and Etude No.10, “Pour les sonoritiès opposeés”) and Domenico Scarlatti (Sonata in C-major, K.132 and Sonata in G-minor, K.105).
With this unusual combination, Rinaldo deliberately created a unique correlative flow, which is again pointed out through his decision to link Liszt’s Verdi Transcription of “Misèrere” from Il Trovatore, Olivier Messiaen’s Prelude No.2, “Chant d’Extase dans un Paysage Triste,” and Robert Schumann’s Sonata in F-sharp minor, No.1, Op. 11, in the ambitious second half of his program. At the core of this pianist’s edifying program choices lies the motivation to make musical context audibly accessible to his audiences.




Rinaldo, who also studied mathematics and is currently entering a doctorial program in Geneva, feels compelled to guide his listeners toward a comprehensive understanding of music. “I enjoy learning,” he says, and this translates into something he likes to share with his audience. “The main misconception of presenting classical music today may be based on the assumption that classical music is for everybody. But indeed, it may be universal only in its message. But one can educate one’s audience,” says the pianist, “which means one has to guide the audience in a very comprehensive understanding of music.”
Another factor is the presentation of classical music: “Today, classical music needs to be offered in a way it appeals to its audiences. It can be channeled in an interesting way, away from its old-fashioned image and with a taste for its contemporary application and relevance. I don’t believe that anybody who is listening to Björk would not enjoy listening to Bartók or Stravinsky.  No wonder classical music today, aims to be heard in buzzing scenes and new venues internationally, like the warehouse concerts in Berlin, Paris and London. As long as one does not take away classical music’s substance, it’s natural to realize that there may be different criteria of promoting it today….”

Rinaldo makes sure that the music’s substance does not suffer in his presentations, whether he is performing in one of the grand international concert halls, or at a venue that caters to a “special scene,” as he describes the Chelsea Music Festival (now in its fourth season), where he performed a Britten program this summer. It was held at the Dillon Gallery, one of the Chelsea Festival’s Venue Partners, owned by the artistic directors of the festival, Ken-David Masur (Kurt Masur’s son) and Melinda Lee Masur. The “spiced up” theme of the festival, according to Rinaldo, was showcasing a mix of musical genres fused with a neighborhood experience of local art and cuisine. “Music itself creates interesting connections,” says Rinaldo, whose career did not start out meteoric, but rather developed “[in] its own time,” as he says. “I always knew music [was] going to play an important part in my life, but I did not give concerts [at] 8. I rather found myself into music.”
Rinaldo connected with Keyboard Trust in 2011 through a coincidence that was brought about through a mutual friend and led to his performing for the eminent piano pedagogue, Noretta Leech. “I play regularly for Noretta,” whose sound advice he appreciates. “She is always straight to the point, and has great ideas for new fingering suggestions. And she encourages great, free playing that conveys everything that’s in your mind and projects through performing without tension,” Rinaldo says. It was not long before he got taken under the wings of Keyboard Trust, who boosted his performance opportunities.
Rinaldo indicates that his mentors have given him many gifts over the years.  His deep understanding and appreciation of a broad spectrum of repertoire goes back to many important influences to which he was exposed. Among his teachers are Sergej Schepkin and Sergio Perticalori, both renowned for their Bach interpretations, Ines Scarlino at the Conservatory Pollini, an enthusiast of the modern repertoire, and Christopher Elton at the London Royal Academy of Music, also a great chamber musician.  Elton, who has been declared a huge influence by his student, the prodigious Benjamin Grosvenor, a younger classmate of Rinaldo at the Academy, and especially Claudio Martinez have been singled out as Rinaldo’s most inspiring teachers. For seven years now, Martinez has taught Rinaldo in Basel, Switzerland, having served for three years as the pianist’s main mentor. “I owe everything to him,” Rinaldo says of Martinez, beginning to get excited. “I met him at the Dino CIani Festival in Madrid; he was Dmitry Bashkirov’s assistant. When he invited me to come to his house, I was blown away. When he points out the nature of the music at hand, its world just starts to open up for me. He teaches you how to look at music, what’s missing. And you know when it’s true, when the musical substance is there. Many accomplished musicians in their own right come to see him and to reconnect. He considers Ferenc Rados (also András Schiff’s teacher) his musical don,” shares Rinaldo. “You need someone to give you this honest feedback, someone you trust and whose judgment counts for you. I have my own take of performance, as a consequence of what goes on in your brain and ears. You present what is happening if you have a clear idea and emotional connection, passing it on.”
Partly because of his relationships with both Elton and Martinez, Rinaldo has inherited a poignant enthusiasm for chamber music. “I especially enjoy chamber music, the best emotions I have ever had were playing together, with the right guys, of course. The connection with your partner(s), enjoying myself on stage…that reveals something to the audience, as well. Sometimes the rehearsal is already exciting, and I like to share that intense experience with partners, I already made a good team with.”  One such partner is violinist Lisa Ueda, with whom Rinaldo received the British Tunnel Trust award; another is his compatriot violinist Davide de Ascaniis, with whom he has performed regularly since 2008 as the Duo De Ascaniis-Rinaldo.
In performance, Rinaldo projects his ideas with great enthusiasm and consistent virtuosity. The many interesting facets of the stylistic nuances in his presentation of Debussy and Scarlatti represent an intellectual tour de force, expressed with the most sensitive pianistic touch, artistically differentiating the sound worlds of both composers.

“The chronological ritual of presenting composers according to their stylistic area from earliest to latest seems a bit outdated,” Rinaldo comments. “I rather highlight a certain influence: one composer – despite the stylistic differences—connecting to another.” The reason behind the Scarlatti–Debussy connection, according to Rinaldo, is that, “Scarlatti highlights the baroque influence in Debussy, especially in the late Debussy, in his works dedicated to the harpsichord player Couperin… They both start with some of the same gesture of vocal ornamentation: the cantabile in these pieces really can show a strong reference. In the Schumann and Messiaen, there is no stylistic reference, but rather a mutually strong, tonal structure. I find the match successful, which shows itself in the same leap of fourth….”
I personally found his performance even more enjoyable when he was not concentrating on following these precise correlations, and instead expressing purely indulgent submission to his refined virtuosity, which came to its fullest realization in Liszt’s paraphrase of “Misere.” The piece impressed with its enormously rich palette of sound and sustained phrasing.  Listen to music performed by Daniele Rinaldo’s at the 2012 Santander Competition here: listen to Daniele Rinaldo playing:
Leoš Janáček - Piano Sonata 1
Robert Schumann – Fantasiestücke, Op. 111
Domenico Scarlatti – Sonata K.135, in C-major;
Claude Debussy Etude No.8 ‘Pour les agréments’ ;
Domenico Scarlatti – Sonata K.105, in C-major;
Claude Debussy Etude No.5’Pour les octaves’ ;
Claude Debussy Etude No.10 ‘Pour les sonorités opposèes’ ;
Guiseppe Verdi/Franz Liszt ‘Miserere, Il Trouvatore‘