The Festival for Creative Pianists
Program descriptions for:
PANEL DISCUSSION
Friday, April 6, 10:30 A.M. - Noon
$5 Voluntary Donation
Langroise Recital Hall
JUDGES' PRESENTATIONS
Free admission
Langroise Recital Hall
Friday, April 6: 10:30 A.M. to 12:00 P.M.
"BACH TO THE FUTURE: CREATIVE APPROACHES TO TEACHING."
Panel discussion by the judges and festival director.
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Judges:
Darryl Schoenborn
John Salmon
Ted Rosenthal
Festival Director and Discussion Moderator: Arthur Houle |
Questions and comments from the audience are encouraged.
Some possible topics for discussion:
What exactly do we mean by "creative teaching" (as opposed to "conventional")? Is creative teaching only for the gifted? How young or old should students be?
What can we do to help teachers understand and teach how to insert and creatively modify ornamentation in Bach and other composers? When is it appropriate and when is it not? How do we define "good taste?"
What advice would you give teachers concerning effective adjudicating? Is it possible to adjudicate creatively?
Won't students actually be disadvantaged in competitions and festivals if teachers go out on a limb by advocating individuality and spontaneity? If so, what can be done?
Why are piano recitals less frequent and popular than they used to be? And what can we do to revive them? (not everyone agrees, however, that the classical recital tradition is dying -- what do each of you think?)
(Related question to the previous, perhaps?): The media is increasingly "corporatized," "monopolized," and "commercialized." Is there anything that can be done to ensure that the arts are not marginalized?
(Again, possibly related to the previous question): Why has the repertoire of concertos actually performed gotten so narrow and what can we do to broaden it?
Is classical contemporary music an endangered species? If so, why? And what can we do about it?
Interesting fact: despite the high quality of musical training across the 50 states of the US, why have so few American-born pianists made it into the highest echelons of performing artists? Is there something about American training that encourages rule-following rather than creative thinking and love of music?
How can we help students develop a stronger, more appealing musical personality?
How can we help "legitimize" quality jazz and popular music playing and teaching? Why does the perception persist in some parts of academe that jazz is somehow inferior? How do we help students distinguish between good popular music and the fly-by-night "hits" that pollute the radio airwaves?
How enthusiastic are you all about the "performance practice" movement? Should the "composer's intentions" be the final arbiter of a performance?
What happens when you disagree with a composer's instructions (as John does in any number of pieces, such as Brahms's Op. 79 #1 Rhapsody, which he feels should have been marked "appassionato" rather than "agitato"; he also wishes that Chopin had marked his F Minor Etude, Op. 25 #2 "misteriosamente" or "delicatamente" rather than the totally inadequate and misleading "presto")? Should we be so terrorized by the concept of "Urtext," as if fidelity to a text will automatically render vibrant, engaging, persuasive interpretations?
Is it heretical for a Chick Corea to go beyond the bounds of "historical plausibility" by improvising on Mozart in a jazzy way that Mozart could not possibly have envisioned? Where does one draw the line with students? How do we balance taste and freedom?
You are cordially invited to visit our generous sponsors' showcase booths following the panel discussion. See rooms 101, 103, 104 106 & 107 near the foyer. Also, join us for refreshments in the foyer area and/or in room 124.
JUDGES' PRESENTATIONS
(Each approx. 20 to 25 minutes)
Friday, April 6, 7:00 P.M.
Note: Scott McBride Smith regrets that he cannot be here due to a family emergency. Albertson College is pleased and grateful that Darryl Schoenborn has agreed to perform and judge for this festival (on very short notice!).
1) Darryl Schoenborn will present a performance/lecture:
Short classical selection ("Hungarian Rhapsody," by Dvorak), motivational music science talk (circle of 5ths, importance of scales, chord progression, chord scales/modes), "Don't Get Around Much Anymore", and an original composition entitled "The Isles Of Spain".Schoenborn bio
Student of piano/music since 4 years of age.
Concert pianist at age 12 performing at several universities and colleges in southern California.
Began performing popular music in bars and nightclubs at age 12.
Performed with Lee Liberace at the Shrine Auditorium in Los Angeles, Ca. for annual Christmas shows 3 consecutive years 1967, 1968, 1969.
Performed with "Doc" Severenson and the NBC orchestra at 16. Was guest artist on the "Tonight" show 3 times following (1968-69).
Joined Marine Corps Band field January 1972 and was assigned as the West Coast Presidential pianist for Richard Nixon 1972-1974, and continued as presidential pianist through November 1977.
Created and led the first Marine Corps Rock Band 1978-1984.
Sarah Vaughn's accompanist anytime she appeared in New Orleans 1978-1984.
Assigned as a Marine Corps Bandleader 1984.
Assistant Director of Academics at the Armed Forces School of Music in Norfolk, Va. for 5 years.
Since retiring from the Marine Corps in 1992 to Meridian, Idaho, Schoenborn has performed 5 years in the Boise River Festival. He has also created and performed with the Darryl Schoenborn Orchestra at many events -- e.g., Sun Valley Jazz Festival, Boise River Festival, Governor's Gala, Arts in The Park, Hyde Park Street Fair, Western Idaho Fair, and Puttin' On The Ritz (Idaho Children's Home fund-raiser), and appearances in Las Vegas and Reno, Nevada. The Schoenborn Orchestra performs primarily music from the 1955-1964 era of Las Vegas and the mood and memories of the great clubs like the Copa Room at the Sands Hotel and Casino.
2) 15-minute mini-recital of classical and jazz works by the Festival Director, Arthur Houle
• Mellow-dius Fancies (original jazz composition)• Mystery piece (some added notes are by the composer!)
• Cowboy Karen (original jazz composition)
One of Houle’s four "cowboy" pieces, written for fun and soon to be published. It took 90 minutes to compose and was inspired by Karen Wells, who liked to wear cowboy hats.
• Valse Brilliante in E-Flat Major, Op. 18 by Frédéric Chopin
Chopin was reported to have improvised discreetly, particularly in his nocturnes, mazurkas and waltzes. Some of the variants in the performance of today’s waltz offering are Chopin’s own, based on alternate sources (see "Chopin Waltz Manuscripts" by Carol Mont Parker, Clavier, October, 1979, Vol. 18, No. 7, pp. 8-13). Other variants are Houle’s own.
Houle bio
Founder and Artistic Director of the newly created Annual Albertson College International Festival for Creative Pianists of 7th through 12th grades (http://www.albertson.edu/music/pianofestival.htm).
Houle holds degrees from the University of Massachusetts-Lowell, New England Conservatory and the University of Iowa. An exponent of both classical and jazz improvising, Dr. Houle performed extensively with the Copley Chamber Players and was first guest artist to perform with the Langroise Trio. His affinity for string/piano repertoire has led to collaborations with artists such as Louis Lowenstein, Dennis Parker, Paul Olefsky, and Benny Kim. His Carnegie Weill Hall debut with Dennis Parker was critically acclaimed.
Houle was the only pianist to be invited to perform twice (to critical acclaim) for the 1995 International Chopin Music Festival. He has given coast-to-coast lecture/recitals and master classes on the music of Chopin at institutions such as Eastman School of Music, Dartmouth College, New England Conservatory, Longy School of Music and for various teacher organizations. He also gave a live, two-hour interview/performance on Chopin for "Eklektikos" on NPR's KUT-Austin. His "Chopin Nocturnes" CD features performances with authentic variants along with original variants as Chopin might have done. Another CD features jazz and classical music of contemporary composer Marjorie Burgess, performed by Houle in conjunction with colleagues at Albertson College and elsewhere. Both CD's have earned critical acclaim and are available from Caldwell Fine Arts (http://www.albertson.edu/music/cd.htm).
Houle has written for Clavier, Piano Quarterly, American Record Guide, North Dakota Music Educator, Arkansas Music Educator Journal ("Segue"), and the IMEA's Idaho Music Notes. He is currently a frequent contributor to Piano & Keyboard.
Houle studied piano with Maria Clodes Jaguaribe, Kenneth Amada and Leonard Shure. His chamber music coaches included Eugene Lehner, Colin Carr, Benjamin Zander and Victor Rosenbaum. Houle has taught at the New England and Boston Conservatories, the Dana Hall School of Music (MA), and the Universities of Iowa, North Dakota and Texas-Austin. He is currently associate professor of piano at the Albertson College of Idaho (http://www.albertson.edu/index.htm).
3) Ted Rosenthal will present a performance/lecture:
Improvisations on Beethoven (and other classical) themes -- discussion, demonstrations and questions from audienceRosenthal bio
Ted Rosenthal entered the international spotlight by winning first prize in the 2nd annual Thelonious Monk International Jazz Piano Competition. His career continued its rapid ascent while releasing 5 CDs as a leader. His most recent recording, Rosenthology, on Concord Jazz, is a trio outing, which explores standards, jazz classics and originals with an invigorating and free spirited approach. Rosenthal received great accolades for his solo piano CD recorded on the distinguished Live at Maybeck Hall series. Rosenthal's CDs include some of the top names in jazz including established veterans such as: Ron Carter, Billy Higgins, Eddie Gomez and Tom Harrell; and musicians of his generation: Brian Lynch, Marvin "Smitty" Smith, Michael Formanek and Billy Drummond.
Rosenthal toured for three and a half years with the last Gerry Mulligan Quartet until Mulligan's untimely death in January 1996. He recorded three CDs with Mulligan and performed in major jazz festivals throughout the world. Rosenthal is musical director of The Gerry Mulligan All-Star Tribute Band, featuring Bob Brookmeyer, Randy Brecker and Nick Brignola. The group has performed in major venues and recorded the Grammy nominated, Thank You Gerry, on Arkadia Jazz.
As a sideman, Rosenthal was a member of the Art Farmer Quintet and has performed with Jon Faddis, Benny Golson and James Moody Quartets. As a busy New York freelancer, he has also performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra, The Carnegie Hall Jazz Band and the Village Vanguard Jazz Orchestra. Rosenthal has appeared on Marian McPartland's Piano Jazz on National Public Radio and performed with David Sanborn on NBC's Night Music.
A recipient of three performance grants from the National Endowment for the Arts, Rosenthal regularly performs and records his compositions, which include jazz tunes and large-scale works. "The Survivor," a concerto for piano and orchestra, was premiered by the Rockland Symphony Orchestra with Rosenthal at the piano. This piece combines written and improvised sections for the piano soloist, reflecting his interest in improvisation within jazz and classical styles. Rosenthal also performs Gershwin's works for piano and orchestra with improvisations adding an extra dimension of vitality and spontaneity to the music.
Other classical performances include solo and featured appearances with The Greater Palm Beach Symphony, The Tulsa Philharmonic, The North Carolina Symphony, and chamber and new music concerts at Carnegie's Weil Recital hall, Alice Tully Hall, and Merkin Concert Hall. Rosenthal received his Bachelors and Masters degrees from the Manhattan School of Music and subsequently continued his piano studies with Phillip Kawin.
A faculty member of the Manhattan School of Music, and The New School Jazz Program, Rosenthal is also active in the educational arena. He teaches courses on a variety of jazz topics and presents jazz clinics throughout the country. Rosenthal is a contributing editor for Piano and Keyboard magazine and has published piano arrangements and feature articles for Piano Today, and The Piano Stylist.
Rosenthal's website can be reached at http://www.onpointpub.com/rosenthal. The page features sound clips from Rosenthal's CDs, an upcoming performance itinerary, an interactive jazz education page and original compositional "charts" which are downloadable to a PC.
***** SHORT (5-MINUTE) INTERMISSION *****
4) John Salmon will present a performance/lecture:
"Bringing Bach Back to the Future" – demonstrations & discussion.As a final treat – some Dave Brubeck, too!
Salmon bio
John Salmon holds B.M. and B.A. (philosophy) degrees from Texas Christian University, the "Solistendiplom" from the Freiburg Hochschule für Musik, the M.M. degree from the Juilliard School, and the D.M.A. from the University of Texas at Austin. His awards include a fellowship from The Beethoven Foundation, the Premio Jaén, the Loren Eiseley Memorial Award from the University of Maryland Piano Competition, and the Gina Bachauer Memorial Award from the Juilliard School. Salmon has performed in solo and orchestral appearances in the United States, Central America, and Europe. He has recorded for Radio Suisse Romande, RAI Italian Radio, Spanish National Radio, the Canadian Broadcasting Corporation, WFMT Radio in Chicago, and C-Span and PBS television. Salmon is also active as a jazz pianist, performs regularly with the jazz quintet Spectrum, and recently released a new CD titled "John Salmon Plays Brubeck". He is founder and director of the annual "Focus on Piano Literature" symposium at UNCG.
You are cordially invited to join the judges for refreshments in the foyer following the presentations.
Generous sponsors of the First International Festival for Creative Pianists are showcasing some of their finest pianos all day Friday, April 6 and Saturday, April 7, (9 A.M. to evening both days) in the Langroise Center of the Albertson College. Contestants are welcome to visit each sponsor booth and practice their festival pieces. Music teachers, parents and the general public are also encouraged to try out these superb instruments.
Albertson College is most appreciative of all our sponsors and contributors for their support of the piano festival
Caldwell Fine Arts, Caldwell Thursday Musicale, Dianne Goolkasian-Rahbee, Dunkley Music, Kawai America, The Miles & Virginia Willard Foundation, Marjorie Burgess, Schimmel Pianos, Treasure Valley Music, Welch Music, Winther Music, Yamaha Corporation, Young Chang America, and anonymous donors.
COMING ATTRACTIONS
• The Second Annual International Festival for Creative Pianists is slated for Friday through Sunday, April 26-28, 2002.• Our motto is “double everything.” We hope to double the prizes and double the participation.
• We will have a new category: “BEST DEMONSTRATION OF PROFICIENCY ON A DIGITAL PIANO.”
• New eligibility rule in 2002: open to any pianist of age 12 through 18 inclusive (regardless of grade level in school). [As of April 26, 2002 you must have reached your 12th birthday and not yet reached your 19th birthday.]