Name: Chaoyin Cai Age: 27 Teacher: Christopher Taylor School: UW-Madison School of Music Degree: DMA 2012 Etude: Op. 25 No. 6 Second Piece: Polonaise Fantaisie, Op. 61
Grand Prize: a 2011 recital at Symphony Space in New York and a weeklong trip to Poland for an international debut recital in Warsaw
Name: Drew Petersen Age: 16 Teacher: Miyoko Lotto School: Harvard Degree: BA 2012 Etude: Op. 10 No. 10 Second Piece: Andante Spianato et Grande Polonaise Brillante, Op. 22
Honorable Mention: A project at Symphony Space during the 2011-2012 season in collaboration with Artistic Director Laura Kaminsky
Name: Yunjie Chen Age: 29 Teacher: Antonio Pompa-Baldi School: Cleveland Institute of Music Degree: Artist Diploma 2011 Etude: Op. 10 No. 5 Second Piece: Prelude No.17-24
Some stats from Tuesday’s New York Frederic Chopin Piano Competition:
Youngest Contestant: 16 Oldest Contestant: 32
Degrees Represented: High School Diploma, Graduate Diploma, BA, DMA, BM, MM, PSD, Artist Diploma
Schools Represented: New England Conservatory, Peabody Conservatory, SUNY Purchase, University of Cincinnati, Harvard, University of Miami, Manhattan School of Music, The Brearly School, San Francisco Conservatory, UW-Madison School of Music, Juilliard, Cleveland Institute of Music
Countries Represented: United States, Israel, South Korea, Taiwan, Poland, Ukraine, China, Italy
Most frequent area code: (201) New Jersey
Most Popular Etudes: Op. 25 No. 10 and Op. 10 No. 4 (both played 3 times)
Most Popular Second Piece: Andante Spianato et Grande Polonaise Brillante, Op. 22 (played 5 times)
By Laura Kaminsky, Associate Artistic Director Published on May 4, 2010
As early as fall 2008, I began imagining Wall to Wall Behind the Wall: Music from the Soviet Era on May 15, 2010. I started with repertoire, the amazing wealth of music coming from Central and Eastern Europe that, to my mind, ear, and heart, comprises some of the most powerful, beautiful and important music composed in the past 75 years.
It was important to me to represent many different nationalities, musical aesthetics, and political viewpoints over the course of the day. Also critical was creating a nice flow – solo and chamber, vocal and orchestral, lyrical versus angular, consonant versus dissonant, overtly political versus subversive or apolitical, popular versus obscure, standard repertoire by great masters versus newer works by younger composers who came of age during a transitional period.
Questions I was often asked included “how did you choose who is performing” and “why did you decide on what is being performed?” The answer to these questions is, of course, all that is involved in the art of curating – making interesting choices as to artists and repertoire and then building a project – be it a series or a festival or a whole season, or in the case of Wall to Wall, a daylong marathon. Read More »
By Laura Kaminsky, Associate Artistic Director Published on April 27, 2010
I first met Sergei Slonimsky last August during my cultural research fellowship in St. Petersburg supported by the Likhachev Foundation. If his name sounds familiar, he is the nephew of the “Lexicon of Musical Invective” Nicholas Slonimsky. How perfect that the Likhachev offered these fellowships just as I was beginning to plan for the 2010 Wall to Wall. This was a unique and incredible opportunity to go to Russia to conduct research on some aspect of Russian culture to bring back to the U.S. for greater dissemination.
While in St. Petersburg, my goal was to find music and musicians for possible inclusion in Wall to Wall. I spent time at the National Library, the Rimsky Korsakov State Conservatory of Music Library, and with composers, presenters, publishers and performers. I came back to New York with a suitcase full of scores and recordings.
For those of you who know about Wall to Wall, please skip this paragraph, but for those of you who have found us for the first time, please read on. Wall to Wall is Symphony Space’s originating program – it started 32 years ago with an all-day celebration of the music of. Every year since, we have presented a differently themed Wall to Wall – from Beethoven to Miles Davis, Mozart to Sondheim, Gershwin to Stravinsky, and Duke Ellington to John Cage, with Wall to Wall Broadway and Wall to Wall Opera thrown in for good measure. Literally hundreds of New York’s finest musicians assemble each year to participate in that season’s themed program, and each year, thousands come, often standing in line waiting for the chance to hear a segment of the non-stop musical day.
Sergei Slonimsky, now 77 years old, is one of St. Petersburg’s pre-eminent composers coming directly from the Shostakovich lineage, and now a senior composer at the Rimsky Korsakov State Conservatory of Music. He is coming to New York to participate in Wall to Wall Behind the Wall, accompanying the St. Petersburg Chamber Philharmonic on its U.S. debut. The Philharmonic will be presenting the U.S. premiere of Slonimsky’s “Jewish Rhapsody for Piano, String, Flute and Percussion” with renowned soloists Gilbert Kalish on piano and Eugenia Zukerman on flute. The “Jewish Rhapsody” will be the grand finale to our 12 hour marathon of music from the Soviet Era. Mr. Slonimsky will speak briefly to the audience about his piece b efore the premiere. I’m also pleased to note that Gilbert Kalish will travel to St. Petersburg next season to perform the work there; it will be his first trip to Russia, and, in the spirit of cross-cultural dialogue, this is an important collaboration.
Sergi Slominsky’s Concerto Buffo for Chamber Orchestra performed by the Chamber Orchestra of St. Petersburg Philharmonic,
Edward Serov conductor
Also featured will be Slonimsky’s powerful and evocative “Violin Sonata” performed by Laurie Smukler (violin) and Margaret Kampmeier (piano). Other special programming surrounding Mr. Slonimsky’s participation includes the young composer, Timofey Buzina, a former student of Slonimsky’s, also coming from St. Petersburg for the occasion, was commissioned by Symphony Space to compose a dynamic short work to open the last segment of the day, “Rocking Shadows Overture,” featuring the Philharmonic and the Iktus Percussion Quartet.
Timofey Buzina’s Shaman Suite Movement I
performed by the St. Petersburg Philharmonic
Earlier in the day, the Poulenc Trio from Baltimore will be coming to New York to offer the New York premiere of Natalya Medvedoskaya’s “First Snow.” The pianist of the trio is a former student of the St. Petersburg Conservatory, as is the composer (she studied with Slonimsky). Their participation in Wall to Wall Behind the Wall will be a surprise reunion for Mr. Slonimsky.
I hope you will join me in welcoming Sergei and Raisa (his wife) Slonimsky to New York in May.