A Tribute To Sviatoslav Richter Moscow Conservatory as a student of heinrich neuhaus. Besides embarking on a closefriendship with fellow student Emil Gilels, another great pianist, he also http://web.singnet.com.sg/~lionelc/richter_tribute.htm
Extractions: Earth-shattering Passion on a Richter Scale This month, Lionel Choi pays tribute to Sviatoslav Richter (1915 - 1997) , one of the greatest pianists of the 20th century, who passed away on the 1st August. On August 1st, the music world mourned the loss of Russian pianist Sviatoslav Richter, who died of a heart attack in a Moscow hospital. He was 82. Richter was a great pianist. I don't think we even need to qualify that last statement. In a world that is dominated by countless young virtuosos who make better keyboard acrobats than musicians, the passing of Richter certainly marked the tragic end to an era of piano-playing of such a special stature and personality. He had a huge, formidable technique, and it is amazing how he used it to illuminate the musical aspects of the pieces before him, breathing life and passion into every note. Richter was a storyteller, a magician. He had a bold, vivid musical imagination, one that mirrored his profound and deep love for what he did. He spoke in a unique yet sensible and powerfully poetic language, hardly ever resorting to controversy to gain attention. Indeed, each time you hear a Richter record, you just have to sit up and listen. Given the legendary status that he had long acquired, it therefore comes as a surprise that he actually had a fairly late start to his professional piano career.
Classical Reissues, Feb. 2001 - AudAud as Solomon and Ashkenazy, finds a faithful follower in heinrich neuhaus, even if Bothpianist and harpsichord virtuoso, Jacobs became the official pianist of http://www.audaud.com/audaud/FEB01/REISSUES/recdsFEB01.html
Extractions: STRAVINSKY and PROKOFIEV Conduct Their Own Works: STRAVINSKY: Divertimento from Le Baiser de la Fee; Dumbarton Oaks Concerto; PROKOFIEV: Suite No. 2 from Romeo and Juliet, Op. 64b Igor Stravinsky conducts Symphony Orchestra of Mexico (Divertimento); Dumbarton Oaks Festival Orchestra/Serge Prokofiev conducts Moscow Philharmonic Parnassus PACD 96023 68:09 While Igor Stravinsky and Serge Prokofiev were excellent pianists, their abilities on the podium were limited; Ansermet used to tell the story of how Stravinsky led "Le Sacre du Printemps" at a slow tempo because of his deficiencies, then claimed everyone else's tempo was wrong! Prokofiev learned the conductor's craft from Nikolai Tcherepnin (and Nikolai Malko), and he gained a fairly adequate technique in leading his own music, as well as music by Verdi and Beethoven. Stravinsky left a considerable legacy as a conductor, not only in his own music, but in that of Tchaikovsky as well; the 1941 Divertimento with the Symphony Orchestra of Mexico fairly coincides with his Tchaikovsky Violin Concerto in New York with Erica Morini, which survives from a radio broadcast. -Gary Lemco SHOSTAKOVICH: Piano Quintet in G Minor, Op. 57; String Quartet No. 2 in A, Op. 68
Star Of Russia : An Interview With Nikolai Lugansky The pianist of tomorrow he is hailed as the continuation of a prestigious line ofpianists preferring interiority to virtuosity heinrich neuhaus, Emil Gilels http://lugansky.homestead.com/files/Star_of_Russia.htm
Extractions: A bright future assured at his young age, Nikolai Lugansky belongs to the prestigious tradition of Neuhaus or Richter, pianists who preferred interiority over virtuosity. The Great Hall of the Moscow Conservatory resembles an old dowager exhausted by former glory and left to herself. Nikolai Lugansky crosses its stage with a lightness that imparts elegance to his stage-fright. "I discovered this fear when I was nine years old, while playing the Schumann Arabesque . Before this age, I was less nervous when I performed." he later admits, with disarming simplicity. As soon as his long hands are poised over the keyboard, they not only take possession of the third concerto of Rachmaninov, but they seem to welcome into their protection a bit of the history of this hall... and the roughness of a chaotic orchestra, painfully typical of the musical Russia of today. "I thought of nothing other than the sonority. I wanted to 'sing' the melody at the piano and find for it an adequate accompaniment...Nothing more !" said Rachmaninov of this concerto. Hence, without effort or ostentation, Nikolai Lugansky rises to the occasion. Alone. Faced with an insecure orchestra, he launches his appeals to the brasses, to the strings, to the woodwinds and amplifies himself at their echo; question and answer are left to faith. The luminous velocity of his phrases makes a mockery of the technical failings raised in the storm. His power, of a density which is never aggressive, elevates the soul to a persistently human level : just above the heart.
Nikolai Lugansky - Interview, March 2002 in the line of the great Russian tradition of heinrich neuhaus, Emil Gilels or musician,has conquered those very ears which Lugansky, the pianist, is bluffing http://lugansky.homestead.com/files/Lemonde_18_3_02.htm
Extractions: A tall young blond gentleman with regular features, his hair parted mathematically (one third, two thirds) to one side. He has the awkwardness of a young son as well as the silky politeness of the ideal son-in-law. At first glance, nothing unusual or remarkable about the pianist Nikolai Lugansky. Except, perhaps, for the look in his eyes, those blue eyes reminiscent of a sky full of rapidly drifting clouds. A look that comes and goes, a look which you can't get hold of, somewhat fleeting and somewhat worried. The look of "The Extraordinary Foreigner". Curie, Beauvoir... - whose pictures remain plastered onto the metal grillwork of this burial place of great men in celebration of "Women's Day". Nikolai Lugansky arrives, in fact, escorted by a charming squadron - his wife, his female agent, his female press agent, as well as the lady responsible for press relations for Warner Classics, his record company. "The flight from Moscow was delayed ... the conveyer belt delivering luggage was blocked for a long time, and then there were the traffic jams." One senses that he would like to cancel everything, that only his infinite delicacy and extreme correctness prevent him from even suggesting it. He sits down, looking like a doe held by the collar, his large pale hands placed carefully in front of him, a small bandage on his left index finger. We agree that we shall have to be brief, to cut things short. Because of these hands, in fact, which work such ineffable magic at the piano.
Archives Svliatoslav Richter By Alexander Coleman, Vol. 16 really had little serious intention of being a virtuoso pianist, since opera at theMoscow Conservatory under the renowned teacher heinrich neuhaus, who became http://www.newcriterion.com/archive/16/oct97/coleman.htm
Extractions: by Alexander Coleman T he Russian pianist Sviatoslav Richter died in his dacha Well-Tempered Clavier NKVD R dacha The Art of the Piano opened the program with the very daunting Pictures at an Exhibition , of Modest Mussorgsky, in its original version for piano. After the intermission, he played works of Schubert, Chopin, and Liszt. What makes these performances unusual is the physical condition of the audience: Sofia was plagued by a flu epidemic, and the coughing during the performance of Pictures is well nigh unbearable. As the work progresses, one senses Richter driving himself inward. The more they cough, it would seem, the more demonic and unsettling the performance. This recording, along with his hypnotic Schumann recital on Deutsche Grammophon (above all the Forest Scenes and the Fantasy Pieces Le Monde October, 1998 From The New Criterion Vol. 16, No. 2, Oct. 1997 Back to the top www.newcriterion.com
Extractions: Click here to read a Word for Windows version of this article The problems of a musician have many causes and many possible solutions. While working conditions, stress, and instrument and furniture design are all significant factors, the most important aspect of the life of all musicians remains not what is done to them, but what they does to themselves. The Alexander Technique offers a diagnosis as well as a remedy based upon this assumption. Frederick Matthias Alexander (1869-1955) saw the individual as a whole, and talked not of "the body," but of "the self"; not of "posture," but of "use." The aim of his technique is not to teach you to do what is right, but to help you stop doing what is wrong. The Alexander Technique consists of a series of practical procedures which increase Artur Rubinstein (1887 - 1982) Alfred Cortot (1877 - 1962) your total awareness and create the conditions for you to use yourself in a way that is natural, economical, elegant, and efficient. The principles and procedures of the Technique apply to all areas of musical activity, from technique, sound production, and interpretation, to daily practice, rehearsal routines, and the mitigating of stage fright and health problems.
Piano Pedagogy Forum Rotation is an indispensable technique for any pianist, yet it is also one of themost challenging for students with joint laxity. Notes. 1. neuhaus, heinrich. http://www.music.sc.edu/ea/Keyboard/PPF/PPFka.html
Extractions: hamptoke@mail.armstrong.edu by Kevin Hampton As many children progress into puberty, their joints tend to gain firmness, usually about the ages of ten or eleven. For some, however, this does not happen, and the joints of the fingers remain spongy. As such, my remarks from this point will be directed toward those students whose physical development and age would be about the age of twelve or older. However, their individual musical and technical development may be elementary, intermediate or advanced. There are various aural and visual indicators that can point to joint laxity, and we as teachers need to be more aware of them. As we listen to our students play in a lesson or performance, certain sounds can indicate physiological problems such as joint laxity: inappropriate accents that do not match the meter, pulse, or articulations indicated in a given composition; unevenly matched tones in scales, arpeggios, or chords; or a seeming inability to produce gradual dynamic changes. If we hear such inconsistencies, we should focus our attention on the physical approach by which the student is playing the keyboard. Visually, it may appear that a student is playing with the forearms, pushing them downward, most often on notes which are played by the thumbs, the fifth, and fourth fingers. Such a physical approach will produce false accents, and the tone of a melody, scalar pattern, arpeggio, or accompaniment pattern will be inconsistent: some tones will not sound or lack focus. Another visual clue is often found in the wrists: they may be hyperextended, taking on the appearance of being humped upward. When this occurs, the bridge of the hand will almost always be in a state of collapse, and frequently, the shape of the hand may look gnarled or twisted out of alignment.
Russian Pianist To Perform For Diehn Concert Series Russian pianist Alexei Lubimov will perform on campus in a solo recital of and MoscowConservatory, where he was one of the last students of heinrich neuhaus. http://www.odu.edu/ao/instadv/archive/vol29issue14/russia.htm
Extractions: for Diehn Concert Series Russian pianist Alexei Lubimov will perform on campus in a solo recital of classical period and 20th-century music at 8 p.m. Monday, March 20, as part of the F. Ludwig Diehn Concert Series. He will also jury the universitys Classical Period Piano Competition at 7 p.m. Saturday, March 18, and conduct a master class for winners of the competition at 3 p.m. Sunday, March 19. The concert, competition and master class will be held in Chandler Recital Hall of the Diehn Fine and Performing Arts Center and are free and open to the public. Seating is limited and on a first-come, first-served basis. Lubimov, born in Moscow in 1944, received his musical training at the Central Music School and Moscow Conservatory, where he was one of the last students of Heinrich Neuhaus. Unique in his extraordinary expertise in a wide variety of styles and periods, Lubimov made his first mark as a champion of contemporary composers in 1968 when he gave the Moscow debuts of works by John Cage and Terry Riley. He is the founder and artistic director of Alternativa, the Moscow festival of the musical avant-garde. For some years, Lubimov was denied permission to perform outside Russia. During this period he developed an interest in period instruments. In 1976 he formed the Moscow Baroque Quartet and gave the first performances on fortepiano in the USSR of works by Mozart and Haydn. Together with Tatiana Grindenko, he founded a baroque ensemble, the Moscow Chamber Academy.
Sviatoslav Richter Biography, Discography, Obituary The Ukrainianborn pianist of German descent was one of the greatest musicians of 1937at the age of 22 with the eminent pedagogue heinrich neuhaus, who also http://www.culturekiosque.com/klassik/features/rherich.htm
Extractions: ARIS, 14 November 1997 - Pianist Sviatoslav Richter died in Moscow on 1 August after suffering a heart attack at the age of 82. The Ukrainian-born pianist of German descent was one of the greatest musicians of the Soviet era, and for many, one of the 20th century's greatest pianists. Richter came to the attention of western publics in the 1960s, preceded by Emil Gilels's accounts of his contemporary's legendary feats at the keyboard. Although Richter was a late developer (not beginning serious tuition until 1937 at the age of 22 with the eminent pedagogue Heinrich Neuhaus, who also taught Gilels) he still went on to become one of the most unusual artists the classical music world has ever known. In fact, Richter had that rarest of musical gifts: he kept you listening even after he had stopped playing. In Europe, Richter was positively lionized, notably in Germany and France where he had a second home and spent considerable time. Liturgical devotion to the text, an uncanny mixture of artistic genius, and iconoclastic behavior made Richter the leading draw in Paris. After all, the idea that a pianist will pack up his instrument in a van and set off for who knows where, stop because he likes the look of a wheat field in Touraine, then notifying a couple of locals and giving a legendary performance in a barn appeals to the strong individualistic streak in every Frenchman. Of such escapades, the Festival of La Grange de Meslay was born.
Sviatoslav Richter Biography - Film On Video, And Book its exclusive oncamera conversations with the iconoclast pianist, but also family,music, composers and colleagues such as heinrich neuhaus, Wagner, Prokofiev http://www.culturekiosque.com/klassik/features/rhericht.htm
Extractions: PARIS, 9 September 1998 - NVC Arts (a Warner Music Group company) has now released Bruno Monsaingeon's acclaimed biographical documentary about the pianist Sviatoslav Richter, who died of a heart attack just over a year ago at the age of 82. The Ukrainian-born pianist of German descent was one of the greatest musicians of the Soviet era, and for many, one of the 20th century's greatest pianists. The video is available in many markets, but not the United States where classical music buffs and net users are having difficulty acquiring the video or accurate information about it. Not surprising, since classical music videos for network TV, once thought to be the Lost Horizon , have turned out to be a mere mirage as ratings drop. Still, NVC Arts marketing executive Alexandra Law in London hopes the film will eventually reach America but said that no agreement has yet been reached with a US distributor. Moreover, according to a source at the Paris-based production company, American and British "cultural" television stations consider the film "too erudite" and have shied away from the film because of its length. The irony is that America greeted Richter with glowing headlines and a cover story in Life Magazine when he first toured the United States in 196O. However, times have changed. Has entertainment replaced culture? A single screening of the film is scheduled on 17 September 1998 at the Barbican Centre in London and on 22 January 1999 at the Walter Reade Theatre in New York.
Wauu.DE: Arts: Music: Instruments: Keyboard: Piano: Pianists: N Translate this page Links URL hinzufügen. neuhaus, heinrich (1888-1964) Associazione Musicaleheinrich neuhaus-Italia, is dedicated to this Russian pianist and teacher. http://www.wauu.de/Arts/Music/Instruments/Keyboard/Piano/Pianists/N/
Elisso WIrssaladze The granddaughter of a famous pianist, she studied and graduated from the Anotherglorious musical hero was heinrich neuhaus, a friend of Anastasia Wirssaladze http://www.live-classics.com/wirssaladze.htm
Extractions: A Piano Legend Many Russian musicians are known for having their special public, and in the case of Elisso Wirssaladze, she attracts an audience familiar with the Conservatory Hall, those entirely cognisant of what is going to happen that particular evening. One first sees her light step along the stage and her charming smile meant to conceal her person at the moment when the music begins. Then one hears everything in her playing: the technique of her fingers is perfect, she works with the color and strength of the sound. The very act of touching keys reveals her stylistic diversity and wide range of ideals and emotions. ...It is vain, however, to analyze this phenomenon in an attempt to discover a clear and vivid source of her art, for in delineating Elissos image we will end up with merely an ideal constellation of qualities. That which is vital will elude us. We see an introvert, a deeply interior person, but we hear music open to the whole world, striving for infinity. The first impression is light, pleasant and rapturous, a bit later it is solemn, deeply imprinted, unforgettable. ...Elissos exceptional inner ease is admirable. She has had numerous opportunities to perform, but has made no effort to launch a super career. She doesnt want to plan years ahead, get lists of her future programs from someone other than herself, and make recordings in a studio. She willingly tours former Soviet Union cities and enjoys close contact with the audiences. Besides the Moscow Conservatory, she also teaches in Munich, but she never intends to forsake her alma mater, nor her classes famous for their students.
Boris Petrushansky original creativity and vivacious personality have earned him wide recognitionas a concert pianist. Among his teachers was the eminent heinrich neuhaus. http://accademiaducale.it/docenti/borispetrushansky.htm
Extractions: Boris Petrushansky `s highly original creativity and vivacious personality have earned him wide recognition as a concert pianist. Born in 1949 in Moscow, he started his piano studies at the age of five, supported by a strong musical family. Among his teachers was the eminent Heinrich Neuhaus. After studying with Lev Naumov, he graduated from the Moscow Conservatory in 1975, having already distinguished himself in several major international competitions, such as Leeds in 1969, Munich in 1971, and Terni in 1975, where he won first prize. Ever since the summer of 1975 when he gave two unforgettable recitals at the "Festival dei due Mondi" at Spoleto and the "Maggio Musicale Fiorentino" Festival (substituting Richter), Petrushansky has not looked back. His performances have taken him to Finland, Sweden, Great Britain, Germany, France, Belgium, Austria, Czecoslovakia, USA, Hungary, Japan, Israel, Egypt, Mexico, Taiwan, Australia, etc. He has made various recordings with Melodia (Russia), Art & Electronics (Russia - U.S.A.), Symposium (U.K.), Fone, Agora and Dynamic (Italy). The artist has played with many orchestras, including: The Petersburg Philarmonic Orchestra, The State Symphony Orchestra of Russia, The Moscow Philarmonic, The Czech Philarmonic, The Berlin Staatskapelle, The Orchestra of the Academy of Santa Cecilia, The "Maggio Musicale Fiorentino" Festival Orchestra, The Helsinki Philarmonic, The Moscow Chamber Orchestra, European Comunity Chamber Orchestra, The "New European Strings", The Lithuanian Chamber Orchestra, etc.
Alexander Lonquich Translate this page Der pianist Alexander Lonquich nennt unter seinen Klavier bei Astrid Schmid-neuhaus,Paul Badura Sabine Meyer, Boris Pergamenschikow, heinrich Schiff , das http://members.inode.at/batthyany/batthyany/Kuenstlerbios/lonquich.htm
Extractions: Alexander Lonquich gehört zu den gefragtesten Interpreten unserer Zeit. Er ist sowohl als Solist wie auch als Kammermusiker ist er regelmäßiger Gast bei internationalen Festivals wie Salzburger Festspiele, Mozartwoche Salzburg, Edinburgh Festival, Lockenhaus, Mondsee Tage, Schubertiade Schwarzenberg, Schleswig-Holstein Musik-Festival, dem Klavierfestival Ruhr, Lucerne Festival, Cheltenham Festival, Beethoven Fest Krakau, Kissinger Sommer u.v.a. Ferner konzertiert er in wichtigen Konzertzentren Europas, den USA, Japans und Australiens und trat als Solist unter der Leitung von Dirigenten wie Claudio Abbado, Yuri Bashmet, Ton Koopman, Emmanuel Krivine, Mark Minkowski , Kurt Sanderling, Sándor Végh, auf. Mit Frank Peter Zimmermann verband ihn eine langjährige künstlerische Zusammenarbeit, die durch zahlreiche CD-Produktionen dokumentiert ist. Seine Kammermusikpartner sind Joshua Bell, Maurice Bourgue, Thomas Demenga, Veronika Hagen, Heinz Holliger, Steven Isserlis, Isabelle van Keulen, Sabine Meyer, Boris Pergamenschikow, Heinrich Schiff , das Auryn Quartett , Ruth Ziesak u, v.a.. Seit einigen Jahren tritt er vermehrt als Dirigent/Solist auf. In dieser Doppelfunktion konzertierte er europaweit sehr erfolgreich mit Orchestern wie der Camerata Salzburg, dem Münchener Kammerorchester, dem Basler Kammerorchester, dem Orchestra da Camera di Mantova und dem Mahler Chamber Orchester, mit welchem ihn seit vielen Jahren eine enge Zusammenarbeit verbindet. Mit der Deutschen Kammerphilharmonie Bremen wird er 2005 zum ersten Mal als Solist und Dirigent innerhalb einer Tournee auftreten.
Cape Town Concert Series - Programme: Recital No. 4 The eminent Russian pianist BORIS PETRUSHANSKY, who began playing the piano atthe age of five, counts the legendary heinrich neuhaus among his teachers. http://www.ctconcerts.co.za/petrushansky.html
Extractions: RECITAL NO. 4 The eminent Russian pianist BORIS PETRUSHANSKY , who began playing the piano at the age of five, counts the legendary Heinrich Neuhaus among his teachers. After studying principally with Lev Naumov, he graduated from the Moscow Conservatoire in 1975, having distinguished himself in several major international competitions Leeds in 1969, Munich in 1971 and Terni in 1975. That year, when he gave two unforgettable recitals - at the Festival of Two Worlds at Spoleto and the Maggio Musicale Fiorentino Accademia Pianistica 'Incontri col Maestro' at Imola. MOZART Variations on 'Ah, vous dirai-je, Maman', K.265 SCHUBERT Drei Klavierstücke, D.946 BRAHMS Sonata No.3 in F minor, Op.5 Click here to book online through Computicket. Go to Recital No. 5 Return to Programme page Programme About the CTCS The Venue Artists ... Home
¥286/05/News Richter first studied piano with his father, a pianist and organist Odessa for theMoscow Conservatory, where he studied with famed professor heinrich neuhaus. http://www.sptimes.ru/archive/times/286-287/pianist.html
Extractions: THE ST PETERSBURG TIMES By Suzanne Thompson STAFF WRITER MOSCOW - Pianist Svyatoslav Richter, renowned for the human depth of his playing and a vast repertoire, was buried at Moscow's Novodevichy Cemetery on Monday. He died Friday at Moscow's Central Clinical Hospital after suffering a heart attack, the Culture Ministry said. Richter, 82, was one of the last in a long line of brilliant Russian pianists of the old school who included Sergei Rachmaninoff, Artur Rubinstein and Vladimir Horowitz. "The death of Richter is a last great loss for the musical world," fellow concert pianist Nikolai Petrov said Friday. "He is the last in a pleiad of great Russian musicians ... I do not know that Richter's equal has been born yet." Born in 1915 in Zhitomir, Ukraine, Richter first studied piano with his father, a pianist and organist, and originally planned a career as a conductor. He gave his first solo piano concert in 1934 in Odessa. In 1937, Richter left Odessa for the Moscow Conservatory, where he studied with famed professor Heinrich Neuhaus. After winning the U.S.S.R. Music Competition in 1945 and the Stalin Prize in 1949, Richter quickly established a name for himself. He was known for a brilliant technique and a vast repertoire that covered cerebral Bach suites, weighty Beethoven sonatas, torturous Liszt etudes and 20th-century knuckle-crunchers by Prokofiev and Shostakovich.
Untitled Translate this page Nelson, Leonard, Philosoph. Nelson, Rudolf, pianist, Kabarett- u. Operettenkomponist. Neuerburg,heinrich, Zigarettenfabr. neuhaus, Agnes, geb. Morsbach, kath. http://www.ndb.badw-muenchen.de/ndb19_artikel.htm
Extractions: Name Beruf Nauwach, Johann Komponist Naves, Johann v. Reichsvizekanzler Karls V. Naville-Neher, Gustave Ingenieur, Industrieller Nawatzki, Viktor Schiffs- und Maschinenbauingenieur, Werftdirektor Nawiasky, Hans Jurist Nay, Ernst Wilhelm Maler Nay, Joe Schlagzeuger, Jazzkomponist Naz (Naso), Johannes (IV.) Bischof von Chur Neander baltische Familie ev. Theologe Neander, Joachim Dichter geistlicher Lieder Nebbien, Heinrich Landschaftsarchitekt, Agrarreformer Nebe, Arthur Leiter des Reichskriminalpolizeiamtes Nebel, Christoph Weihbischof von Mainz Nebel, Otto Maler, Zeichner, Schriftsteller Nebel, Rudolf Erfinder, Raketenpionier Nebenius, Carl Friedrich badischer Minister Tibetologe Necheles, Heinrich Physiologe Neckel, Gustav Germanist, Nordist Necker (Necheles), Moritz Literaturhistoriker, Journalist Neckermann, Josef Neef, Ernst Neefe, Christian Gottlob Komponist Neeff, Theodor Neergaard, Kurt v. Mediziner Nees v. Esenbeck, Christian Gottfried Naturforscher, Naturphilosoph Nees (von Esenbeck), Friedrich
London Shostakovich Orchestra - Marina Primachenko a quadruple diploma as concert soloist, chamber pianist, teacher and Boris Petruschansky(graduate of Lev Naoumov and heinrich neuhaus), currently Professor of http://www.shostakovich.com/marina.html
Extractions: London Shostakovich Orchestra -Home -Next concert -Last concert -Publicity -Marina Primachenko -Practice Notes -About us -Get in touch -Links ... -Programme Notes Marina Primachenko was born in what is now St. Petersburg, Russia. A prodigious child talent, she made her first public appearance at the age of four from which time she studied with Elena Gougel, the noted Russian teacher and pupil of the famous Heinrich Neuhaus. At seven she entered the Special School for Gifted Children (affiliated to the St. Petersburg Conservatoire) and began to appear regularly in local concert venues as a `child prodigy'. She gave her first full concert at the age of thirteen in Moscow. A year later, she won First Prize at the St.Petersburg Young Virtuoso Competition playing Rachmaninov's First Piano Concerto (in its original version), marking her d�ut performance in the city's Philharmonic Hall. On the completion of her academic studies, she entered the St. Petersburg (Rimsky-Korsakov) Conservatoire, studying in the class of Galina Fedorova (solo piano) and Felicia Fondaminskaya followed by Elena Shafran (chamber music). She completed her studies in 1981 with a First Prize in piano and a quadruple diploma as concert soloist, chamber pianist, teacher and accompanist. Finally, she obtained her Higher Senior Diploma in Performing and Teaching obtaining an `excellent' credit mention throughout. She then pursued further courses lasting six years based at Moscow (Tchaikovsky) Conservatoire with Lyubov Timofeyeva (pupil of Yakov Zak) and Boris Petruschansky (graduate of Lev Naoumov and Heinrich Neuhaus), currently Professor of the Imola Piano Academy in Italy. Also in Moscow she received coaching from Dmitri Bachkyrov.
International Piano-e-competition great heinrich neuhaus (Moscow Conservatory), Vladimir Leyetchkiss emigrated tothe United States in 1974. He has become known as a concert pianist, teacher http://www.piano-e-competition.com/screeningjury.htm
Extractions: The Screening Jury reviewed 53 Disklavier Audition competitors, narrowing the field to 24 contestants, who have been invited to Minneapolis and St. Paul for the 2004 International Piano-e-Competition. Screening rounds took place at Sundin Hall at Hamline University, St. Paul, Minnesota during the dates of Sunday, January 11 - Tuesday, January 13, 2004. Rees Allison Accomplished performer and academic Rees Allison is Professor of Piano and Chair of the Music Department at Hamline University. Allison came to the United States in 1965 as a Fulbright Commission and English Speaking Union scholarship recipient after completing his undergraduate study at London's Royal Academy of Music. Since attaining a Ph.D. at Washington University, St. Louis, in 1970, Allison has continued to perform as well as teach. Currently, Allison performs with The Musical Offering and with The Hill House Chamber Players, and has performed as a soloist with the Minnesota Orchestra and the St. Louis Symphony Orchestra. Edmund Battersby Edmund Battersby, American born and trained, is a pianist of international reputation. He has performed with many of the country's top orchestras including Pittsburgh, Indianapolis, New Jersey Symphonies and has played recitals in major capitols around the world. He has recorded for Musical Heritage Society, Koch International, Marco Polo and most recently Naxos. A versatile chamber musician also, he has played with groups such as the Tokyo Quartet, Orion Quartet and at festivals including Library of Congress, Santa Fe, La Jolla, Mostly Mozart (NY) and the Seattle Chamber Music Festival.
