The Indy 5: American Pianists Association finalists, Part V

This Sunday, the last of the five finalists in this year's American Pianists Association competition performs with the Indianapolis Chamber Orchestra as the culmination of his residency week on the APA's Premiere Series.

If you were one of the other four APA finalists, you might be a little nervous about the goings-on in Indianapolis this week, because Eric Zuber has something of a reputation in the world of piano competitions.  

Eric holds an astonishing nine major prizes, won over the last four years from some of the world's most important international piano competitions: Honens, Cleveland, Arthur Rubinstein, Seoul, Sydney, Dublin, Minnesota, Bösendorfer (Gold Medal), and Hilton Head (Gold Medal).  He was also awarded Juilliard's much-coveted Arthur Rubinstein Prize. 

This consistency is unusual, and fascinating to me, as a pianist whose own experience of the competition circuit was less than idyllic. Such a triumphant sweep demands a special combination of unique strengths: tremendous pianism of course, but also some degree of strategic preparation, and a presumably innate sangfroid. It's this combination that can help a young artist navigate safely and surely through deep and hazardous (some might say cold, some might say shark-infested) waters. But, paradoxically, a young artist who is gifted with this combination of strengths has to be wary of too long a run on the competitions, no matter how successful, in order to avoid the weird trap of being branded a "competition pianist", with that stereotype's inherent danger to career potential. In effect, for the young pianist strong and fortunate enough to achieve consistent competition wins, the ultimate win might be knowing when not to win anymore!

But for now, Eric Zuber is riding his wave with both style and substance. He checked in with me from Indy to talk about the week to come.

Kathryn Stott: Playing Together

I love this photo of Kathryn Stott. It's chic and unexpected, and has a sense of wide possibilities. As does her very interesting career, as a soloist, chamber musician, artistic administrator and teacher.

I wanted to talk with Kathy during her current US tour with her long-term duo partner Yo-Yo Ma. The two have a long partnership, going back to the summer of 1978, when Kathy came back to her student flat in London to find that her roommate had, without mentioning it, sublet her half of the flat to a young cellist and his wife. From surprise roommates to international touring soloists, 35 years later... For six weeks, Yo-Yo, his wife Jill, and Kathy cohabitated in less than ideal circumstances. Kathy was practicing "around 7 hours a day" for the Leeds Competition (in which she would take the prize that would launch her career), her piano situated right up against the adjoining bedroom wall. Such close quarters can engender either intense dislike or intimate friendship. The latter resulted, and some years later, Jill suggested that the two try their hands at a duo concert.

These three decades later, playing together has developed into the best kind of shorthand, the rare long and deep musical friendship that allows "such great trust, the ability to take risks and know that you won't throw the other one off, the capacity to keep reinventing." As Kathy puts it: "Sometimes one tiny little change can lead to something totally different. If you understand how to keep the music alive, it doesn't matter how many times you play a piece - it's different every time." She laughs as she tries to calculate how many times the pair has played Saint-Saens' The Swan. "9 times out of 10, that's our encore, and I never, ever get sick of it."

In the frenetic reality of today's touring circuit, such long-term ensemble partnerships are becoming increasingly tricky to establish and maintain. We trade partners easily and frequently, a new morality maybe, with a potential for thrill and excitement, but without the the deepening and growth of a long and stable marriage. For two world-class soloists to look back over three decades, back before "anyone was anyone", to draw on all those years of a musical and personal relationship, must be something quite spectacularly comforting and comfortable.

I asked Kathy, joking, how she feels about playing with to the biggest household name in classical music, and, more seriously, how she deals with the perennial misnomer "accompanist" that continues to plague the collaborative pianist. Every chamber music pianist confronts this particularly obnoxious problem - the ongoing struggle for equal billing between instrumentalist and pianist always at issue. Some reach for extreme solutions, like  insisting on the technically authentic piano-first listing of the Classical duo sonata repertoire, or a sometimes-advantageous alphabetical billing. Still the problem persists. And when your duo partner is Yo-Yo Ma, the problem, presumably, gets a little bit worse. She's equanimous about the whole issue: "I'm a pianist and Yo-Yo's a cellist. That's what we do. I'm not stupid, I know why most people come to the concert! Of course he’s a huge name, but because we go back to a time when we knew each other before any of these things were happening, I don’t feel in the shadow. I know that he needs to be challenged by me, that we need to feed off each other If I went into some subservient role he'd be bored out of his mind!" 

Knowing the immense importance of the musical collaborations that have fueled Ma's musical life, it's clear that this partnership is in all ways a meeting of minds, a match between equals, and a duet between old and dear friends.

Yo-Yo Ma and Kathryn Stott perform at the Mondavi Center for the Performing Arts on Tuesday, January 29 at 8pm. Information 

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The Indy 5: American Pianists Association finalists, Part IV

Andrew Staupe appears to be an entirely normal guy. He appears to be laid-back, well-rounded, open-minded, midwestern, straightforward, and fun-loving. Which, in the music world, is not entirely normal.

Andrew, like Claire Huangci, Sean Chen, and Sara Daneshpour before him, takes center stage in the concert halls of Indianapolis this week as a finalist in the American Pianists Association competition.

Unlike his fellow finalists, and unlike many 28-year-old pianists with serious career ambitions, Andrew has not spent the last 5 years traveling the competition circuit. He didn't seriously start his piano studies until he was ten, he didn't go to Juilliard, and he has spent much of his life not locked into a practice studio for 6 hours a day. Before he got serious about piano, Andrew was a working actor and dancer in Minneapolis. He's a performance-level violinist, a jazz dabbler, the founder of a Medieval-Renaissance choral group, a history and archaeology buff, a competitive soccer and Ultimate Frisbee player, and an avid Packers fan.

What a laid-back, well-rounded, open-minded, midwestern, straightforward, fun-loving guy brings to his pass through one of the most rigorous and rewarding piano competitions in the world is surprising, refreshing, and honest. We spoke by Skype from Toronto to Houston, a few days before Andrew left for his Premiere Series week in Indy.

Chopsticks to Chopin with Charlie Albright

Charlie Albright is a very, very nice young man. He's also an absolutely extraordinary young pianist with a busy schedule and a bright future.
The way he thinks about that future is refreshing in its intelligence and pragmatism, with a sense of responsibility and respect that is informing his choices in interesting ways.

However he chooses, somehow I think he's going to do very, very well!

Listen to our conversation here:

Then watch him improvise on Chopsticks - quite fabulous!

Charlie plays a light little program that includes the complete Chopin Op. 25 Etudes on Sunday, January 13, at the Mondavi Center for the Performing Arts, UC Davis. INFO

Charlie Albright tour schedule

Getting Happy with Jenny Lin

When I first heard that Jenny Lin was releasing an album of show tunes, my response wasn't far from the kind of slapstick double-take you might see in, say, an old movie musical.

 Because Jenny is the kind of pianist that other pianists admire for her gravitas, a certain steeliness of mind and fingers that has explored many of the thornier corners of the repertoire.
Jenny plays Messiaen, Cage, Boulez, Pärt, Ligeti, Stockhausen...
Jenny has recorded (superlatively) the complete Shostakovich Preludes and Fugues.

So, show tunes?

You see, I know my show tunes. I was raised on the stuff. The stringent TV-deprivation of my childhood was waived for the annual viewings of Sound of Music and Mary Poppins. When I was a baby, MGM released That's Entertainment, a 50th anniversary compilation of the greatest moments out of its movie musical vault. I cannot tell you how many times, during the first 15 years of my life, my sisters and I watched those videos. Not to mention that a significant number of my childhood afternoons took place at double-feature matinees of old '40s musicals at the beautiful art deco Castro Theater in San Francisco, complete with a live organ show at intermission. In the extremely sheltered environment of my family's alternative reality, Gene Kelley and Judy Garland were superstars in the 1980s. Madonna who?

I also know what I love about show tunes. The gorgeous improbability that surrounds their very existence, the device of exploding a trivial conversation into a virtuoso song-and-dance number. The magic of lyrics and melodies that can express any silly thought at all with an elegance and eloquence that makes your heart soar. The genius of rhyming "bromofizz" with "trouble is" (Guys and Dolls).

I couldn't imagine that Jenny Lin would share my slightly unhealthy fascination with the American musical theater. But clearly there was something about these songs that had compelled her to venture, with her usual musical intensity and commitment, away from her usual musical haunts and down to Tin Pan Alley.

Jenny and I have been ships in the night in recent months. Her new album, Get Happy, has just come out on the Steinway & Sons label, and my new project, Exiles' Cafe, is next in the label's pipeline. So she has been warming the bench for me, in the Sono Luminus studio where we both recorded our projects (giant shout-out to Sono Luminus for their GRAMMY nominations!), and on a promotional circuit of CD release events around the country. But we hadn't met in person until a couple of weeks ago, at a holiday party thrown by Arkiv Music and Listen Magazine. It was a lovely evening, a chance for the Steinway family of pianists to get together and drink too many Manhattans, a sweet launch to the holiday party season.

And I found out that Jenny is not only brainy and sort of intimidatingly profound. She's also very funny, in a dry-witted way, and that she does in fact have her own very compelling reasons for making this record. And the record is, happily, really good!

CLICK TO LISTEN

The Indy 5: American Pianists Association finalists, Part III

Last in this space, I spoke with Sean Chen as he was preparing for his Premiere Series week in Indianapolis as a finalist in this year's American Pianists Association competition. A week of "dazzling" performances (with some cadenza controversy for excitement) now behind him, Sean is presumably back in classes at Yale, while Sara Daneshpour is taking a break from her classes at Juilliard to take her own turn on the Indianapolis stage this week.

Sara is 25, Washington DC-born and raised, and currently based in NY where she is working on her Master’s degree at Juilliard with Yoheved Kaplinsky. Already a presence on the concert circuit since taking a second prize in the 2007 William Kapell International Piano Competition, she comes to Indianapolis with a reputation for poetic, intense playing, as well as a humility and integrity that comes through in both her thoughts and her music.

We took a few moments during the Thanksgiving break for a quick On the Bench questionnaire:

The Indy 5: American Pianists Association finalists, Part II

A few weeks ago, I wrote about the final round American Pianists Association competition and Claire Huangci, the first of this year's finalists to be showcased on the annual Premiere Series in Indianapolis. From all reports and evidence, Claire's week in town revealed sparkling, sensitive performances (great dress too).

 

Next up on the Indianapolis stage is Sean Chen, a 24 year old Californian currently working on his Artist Diploma in piano at Yale - a competition veteran, self-described tech geek, and composer as well. He plays Beethoven 4th with the ICO this Sunday, November 11. I chatted with Sean by Skype about his far-reaching interests, the prospect of a career in music, and his upcoming visit to Indianapolis:

 

Sean Chen plays with the Indianapolis Chamber Orchestra on Sunday November 11 at 3:30pm. TICKETS

http://www.americanpianists.org