NPR : Performance Today For Wednesday, July 2, 1997 . pianist peter serkin PERFORMS. pianist peter serkin performs three Inventions by Johann Sebastian Bach the Fifth in Eflat, the http://www.npr.org/rundowns/rundown.php?prgId=4&prgDate=2-Jul-1997
Classical Net Review - The Ocean That Has No West And No East effort is nothing like the effort that serkin put into it peter Lieberson s The Ocean that has no West and no is hard to believe that one pianist is responsible http://www.classical.net/music/recs/reviews/k/kch37450a.html
Extractions: Koch International Classics 3-7450-2H1 DDD 78:00 Peter Serkin recorded these works over the course of more than three years, between 1994 and 1997. It seems that these recordings originally were intended for release on the BMG Classics label, for which Serkin has recorded extensively. However, Koch International has licensed them from BMG, leading me to wonder whether BMG was worried that a program such as this one could not be a big-seller. An earlier BMG CD with similarly challenging repertoire ( . . . in real time , BMG Classics 09026-68189-2) won kudos from the critics, but it goes without saying that these are not Three Tenors sorts of "classical" CDs, at least in terms of sales. Like its predecessor, the present disc demands active mental participation from its listeners. The effort is nothing like the effort that Serkin put into it, of course!
Extractions: Today's Globe Politics Opinion Education ... Living / Arts CLASSICAL NOTES By Richard Dyer, Globe Staff, 1/16/2004 The family that plays together stays together. ADVERTISEMENT This has been the welcome discovery of the Stoltzman clan. Richard Stoltzman, the world's busiest globe-hopping solo clarinetist, enjoys performing with his violinist wife, Lucy (coordinator of chamber music at the New England Conservatory), and with their children Peter John, a jazz pianist and singer-songwriter, and Margaret Anne ("Meggie"), a pianist and environmentalist. On Sunday afternoon Richard Stoltzman, 61, appears in recital in the Isabella Stewart Gardner Museum with his son, 26. Their program includes works by Debussy, Poulenc, and Leonard Bernstein, as well as by Dave Brubeck, Bill Douglas, and Peter John Stoltzman. In a phone interview this week, father and son talked about making music together. "In order to perform," Richard says, "we have to rehearse. And that means we get to see each other more often than otherwise." Peter John recalls a childhood filled with music. "My mother played the piano as well as the violin, and she would play and sing for me that's where the singer-songwriter in me must have come from. She connected music to other experiences. She would sit down with me at the piano and play different things and ask me, `Is this how you feel?' She led me into music through feelings."
Barenboim And Serkin Collaborate On Classics With Mixed Results peter serkin played more imaginatively, which led to at was one of the moments serkin and Barenboim The conductor and pianist created gorgeous buildups and http://maroon.uchicago.edu/voices/articles/2004/02/24/barenboim_and_serkin.php
Extractions: Advanced Search / Archives Preferences The concert by the Chicago Symphony OrchestraDaniel Barenboim conducting, Peter Serkin as piano soloiston the February 17 included Bachs Concerto for Two Harpsichords, BWV 1061 ; Schoenbergs Piano Concerto Op. 42; and Beethovens Fifth Symphony. Structurally and aesthetically, the Bach concerto seemed discongruous. One could perceive that it had been placed there to illustrate a historical progression, but the concerto as it was performed did not provide that sense of continuity. It did not explain or predict the Beethoven and Schoenberg. It fell into the category of core repertoire padding. That is, it was meant to ensure that the audience starting off listening to something they could identify with before being hit by the Schoenberg. The second piece, the Schoenberg piano concerto, was much more interesting. First, some background and context: Schoenberg initiatedsome would say instigatedthe so-called Second Viennese School of Composition. He made an entire break from tonal structures, creating a technique of composition and serialism, which approached harmony from a radical perspective. Serialism revolves around the dodecaphonic tone row, comprising the 12 chromatic notes, which functions as the main expressive unit. The work has no tonal center and is not based around traditional harmonic tension and resolution. The directional thrust and narrative ebb and flow are achieved through fundamentally different means, drawing upon aspects of rhythm, meter, expression, textures, range, and tonal combinatorics in order to achieve artistic expression.
Artists Behind The Desk @ Mit | Participating Artists Other artists with whom she has collaborated in recital and on recording include pianist peter serkin, organist Todd Wilson, and bassoonist David McGill. http://web.mit.edu/abd/performing_arts_2000_bios.html
Extractions: Peter holds a patent on a new piece of musical equipment called Pedal-Actuated Percussion Damper also known as Pedal-Actuated Damper (PAD). It is used with drums and percussion to allow musicians to alter the sound of any existing drum by means of foot-pedal-actuated-damper elements. The PAD can vary the sound of the drumheads from open sound to muted sound; it can vary the pitch of the drums and can be used either fixed or actively. Rosemary Candelario has been dancing for as long as she can remember. In addition to performing with Kelley Donovan and Dancers, she has recently performed with Boston choreographers Brian Crabtree, Aparna Sinhoor, Hillary Ross, and Abydos. Rosemary began studying Indian Classical Dance with Aparna Sindhoor a year ago, which she finds both challenging and exciting.
Naropa University - BA Music a bassoonist, he has played with the Toronto and New Haven Symphonies and has recorded three RCA albums with peter serkin and Tashi. As a jazz pianist, he has http://www.naropa.edu/bamusic/faculty.html
Extractions: Mark directs Music Studies at Naropa University. He has toured and recorded with Art Lande, Paul McCandless, Peter Kater, R. Carlos Nakai, David Friesen, Tom Grant, and Bill Douglas. With jazz pianist Art Lande he has recorded three albums of improvised duets, The Story of Ba-Ku, Prayers, Germs and Obsessions, and World Without Cars, as well as two award-winning children's albums featuring Meg Ryan and Holly Hunter. With pianist Peter Kater, he has recorded seven albums including Migration, Honorable Sky, and Rooftops, as well as sound tracks for television and Off-Broadway. Courses: Improvisation, Ear Training, Jazz History, Jazz Ensemble A bassoonist-pianist-composer who has toured and recorded for thirty years with clarinetist Richard Stoltzman. As a bassoonist, he has played with the Toronto and New Haven Symphonies and has recorded three RCA albums with Peter Serkin and Tashi. As a jazz pianist, he has toured and recorded with vibraphonist Gary Burton and bassist Eddie Gomez. In 1994, SOCAN, the Canadian equivalent of ASCAP and BMI, presented him with their classical composer of the year award. His compositions have been performed by major orchestras and chamber groups around the world. He has been teaching at Naropa University in Boulder, Colorado for twenty-four years. He has recorded ten albums of his music on the Hearts of Space label, the latest of which is entitled '
ArkivMusic Beethoven Piano Sonatas Op 27 No 1-2, Op 57 / Peter hearing you might unfairly label peter serkin s softspoken yet serkin s slower-than-usual basic tempo for the disappear by way of the pianist s freshly minted http://www.arkivmusic.com/classical/album.jsp?album_id=2258
Steve Brady, Head Piano Technician He recalls one occasion when pianist peter serkin checked the tuning and regulation of the piano before a performance, testing each key with painstaking care http://www.artsci.washington.edu/newsletter/Summer02/Brady.htm
Extractions: Forget the BMW, Try the Bösendorfer [This is one section of the article, " Behind the Scenes in Arts and Sciences." Steve Brady maintains a UW collection of a different sort. As head piano technician for the School of Music , he keeps the schools 130 keyboard instrumentspianos, harpsichords, and fortepianosin working order. Brady shares the job with Susan Cady, each working half time. They are constantly kept busy with everything from simple piano tunings to rebuilding pianos that have deteriorated through heavy use. His office has the appearance of a piano operating room, with a half-assembled keyboard on a table, strings on the counter, and a gutted piano frame hovering nearby. Using traditional methods and materials, Steve Brady bolsters a wippen heel cushionpart of a worn pad on a School of Music piano. Photo by Mary Levin. Pianos are extremely complex instruments, says Brady. They have about 12,000 parts. A BMW, in comparison, has about 4,000 parts. To complicate things, pianos are made of materialswood, felt, leatherthat react to humidity, so they are always in a state of flux. People think of them as inanimate objects, like rocks or tables, but they do wear out. Especially in the School of Music. The schools classroom and studio pianos are frequently in use, and the practice room pianos are played up to 12 hours a day. Thats a punishing schedule for such a delicate instrument.
Calendar - The University News - Classifieds and pianist Jennifer Blythe perform in White Recital Hall, 730 pm Kansas City Symphony and pianist peter serkin live at the Music Hall, 8 pm - Stagefight at http://www.unews.com/news/2002/09/30/Classifieds/Calendar-285691.shtml
"Brahms Without Reserve" The Violin Sonatas, Performed By Pamela Frank And Peter November 21, 1999. The New York Times ( reprinted by permission) modified January 2001. RECORDINGS. Brahms Without the Usual Comfort. BRAHMS THE VIOLIN SONATAS Pamela Frank, violinist; peter serkin http://homepages.kdsi.net/~sherman/serkinfrank.htm
Extractions: RECORDINGS BRAHMS: THE VIOLIN SONATAS Pamela Frank, violinist; Peter Serkin, pianist. London 289 455-643; CD. R eviewed by Bernard D. Sherman "Most current Brahms performances," complains the pianist Stephen Kovacevich, "suggest a comfortable, overweight bank manager reluctantly refusing an overdraft." Not these ones. To Pamela Frank and Peter Serkin, the operative word for Brahms seems to be "intense." The intensity manifests itself in various ways, including a few extreme tempos. For example, the artists begin the Third Sonata's Adagio as slowly as can be done without losing the pulse. But their noble phrasing makes the tempo work. And when the opening theme returns later, differentiated from its initial appearance by a flowing new bass line and by the instruments' singing it together, the artists play it somewhat faster. The increase in tempo sounds natural and adds urgency to what may be the most heart-rending passage in all the sonatas. For all their intensity, the pair knows how to shape movements, holding back in one place so as to build toward something more passionate later. In only one movement - the opening of the First Sonata - does this approach leave me unsatisfied. While the pair builds to an exceptionally rhapsodic second thematic group, they make the opening theme sound a bit matter of fact. The problem is that their fast tempo suits the second group perfectly but is too fast for the gentle lyricism of the opening. A more flexible tempo, starting more slowly and speeding up gradually
Peter Serkin Two years ago I heard peter serkin begin a recital serkin s concert, as a whole, was an example of the sort of stimulating programming that pianists and other http://www.thomasschultzpianist.com/Links_/Takahashi_Essay/Articles/Article_Five
Extractions: By Thomas Schultz Two years ago I heard Peter Serkin begin a recital with Mozart's B-minor Adagio. To me, it seemed a courageous thing to do and I was filled with admiration when he played the piece so well that the audience remained in motionless silence from beginning to end. On Tuesday evening at Herbst Theater, Serkin again chose an uncompromising beginning for his recital, this time Schoenberg's Three Piano Pieces, Op. 11 and again, the audience's attention remained riveted to the music. Serkin's concert, as a whole, was an example of the sort of stimulating programming that pianists and other recitalists might emulate. Not only was a good half of the concert devoted to substantial 20th-century music, but every work played was a challenge to the listener. The presence on the program of both Op. 11 and the Op. 25 Suite of Schoenberg afforded an opportunity to trace changes and stabilities in this composer's music over the span of years from 1909 to 1923. In these two works, as in all of Schoenberg's music, melody is central. Serkin's playing of melodic lines took the form of an intense cantabile, subtle and various in its inflection particularly in the Minuet of Op. 25 and of a finely-controlled, richly-detailed polyphony. He brought out many details in Op. 11 with great clarity, and obscured others with a wash of sound, making evident the work's closeness to the music of both Brahms and Debussy. Conversely, the gracefulness, edge, and humor of Serkin's playing of Op. 25 connected its dance rhythms and dissonances to Webern and Stravinsky.
The Buffalo News peter serkin is an undeniable giant among pianists. But hes not, at least initially, easy to love. He. peter serkin is an undeniable giant among pianists. http://www.buffalonews.com/editorial/20040520/1055571.asp
Extractions: Pianists András Schiff and Peter Serkin are both well-known for their devotion to the fugue and Bach in particular. Both master interpreters of the "Goldberg Variations," they nonetheless have widely divergent styles with the Hungarian Schiff noted for his cerebral approach that stresses sound clarity over beauty of tone and American-born Serkin (the son of legendary pianist Rudolf Serkin) acclaimed for his poetic touch. So, it's of major musical interest to find these two prodigious talents combining their efforts on the new collection of pieces for two pianos, Music for Two Pianos It would be too obvious to approach the fugue with Bach, so instead they tackle pieces by Mozart and two twentieth century composers, Max Reger and Ferruccio Busoni. Rather than presenting two like musical minds whose sound blends seamlessly together, Music For Two Pianos is fascinating precisely because of the "debate" between the differing musical approaches that Schiff and Serkin employ. It makes for a wonderful dramatic tension, all the more palatable as a result of the contrapuntal textures of the fugue that weave in and out. This wouldn't necessarily work with a composer like Beethoven, where dominant melodies are supported by a harmonic structure that rarely intervenes or interferes with the primary melody.
Extractions: You know those ancient legends where people fervently wish for something, then up pops a genie and they wind up with far more than they can handle? I once lamented that while we had fine historical CD surveys of the violin, cello, viola and even the harpsichord, sorely missing was the most popular instrument of all, the piano. Well, a genie at Philips must have heard my call. I was soon reveling in their massive "Great Pianists of the 20th Century" edition. Would you believe two hundred discs ? And you thought Bear Family boxes were huge? Fortunately, the Edition isn't as unwieldy as it might sound. It comes in 100 mid-priced 2-CD units, each devoted to a single artist. Sheer size apart, this is a hugely impressive project. Here's the stats: 72 pianists, of whom seven giants (Arrau, Brendel, Gilels, Horowitz, Kempff, Richter and Rubinstein) are honored with three volumes each; sixteen more artists get two. (OK, wise guys - the math is correct, since two of the volumes feature pairs of pianists.) The total running time is over 250 hours, with most discs very full (some approach 81 minutes!). Much of the music is new to CD. Although Philips' own material (and that of their Decca and Deutsche Grammophon affiliates) figures prominently, recordings were licensed from the other majors (EMI, RCA and Sony) and some smaller labels as well. Any project of this scope reflects the taste of its producer, in this case life-long piano enthusiast Tom Deacon, whose credentials and culture I wouldn't dare challenge. Even so, a few overall quibbles still seem fair, as my frustrations with this edition go beyond questions of personal taste and in fact seem fueled by the
Extractions: The Serkins, Rudolf and Peter, pianist father and pianist son, constitute something special in the music world today. Since their technical proficiency has been demonstrated time and again, more purely musical matters engross their listeners. It is in the areas of intellectual questioning, emotional attraction, and stylistic stance that both Serkins provide exceptional - though contrasting - stimulation. A fortunate coincidence brought both Serkins to New York's Carnegie Hall this past April. On April 3, Peter made his Carnegie Hall recital debut. Despite the fact that his name is widely known among musicians, he has until this year chosen to perform in other New York venues, such as the 92nd Street "Y" and the Metropolitan Museum of Art. Perhaps because Peter will turn forty this year he has chosen to mark the occasion by claiming full artistic recognition at Carnegie Hall.
Three Goldbergs 2. Maria Yudina Great Pianists. Goldberg Variations BWV 988. Maria Yudina (Piano). Philips. Goldberg Variations BWV 988. peter serkin (Piano). RCA. June 1994. http://www.bach-cantatas.com/NonVocal/Klavier-Goldberg-X3.htm
Extractions: Goldberg Variations BWV 988 Sergey Schepkin, Maria Yudina, Peter Serkin (Piano) Three Goldbergs The Goldberg Variations Goldberg Variations BWV 988 Sergey Schepkin (Piano) Ongaku Jan 1995 CD / TT: 71:53 Maria Yudina Great Pianists Goldberg Variations BWV 988 Maria Yudina (Piano) Philips Jan 1968 CD / TT: 70:55 Goldberg Variations Italian Concerto Goldberg Variations BWV 988 Peter Serkin (Piano) RCA June 1994 CD / TT: 44:30 Donald Satz wrote (June 19, 1999): Largely through coincidence, I had three piano versions of the Goldberg Variations in my hands last night: Sergey Schepkin on Ongaku, Maria Yudina on Philips, and Peter Serkin on RCA. The most obvious note I made to myself before listening was that the Serkin was only 44 minutes long; that means "forget the repeats." I also figured that I would not be agreeable to the lack of repeats. After listening to the three versions, my conclusions are: a. Yudina's aria and the other "slow" variations are superb. She presents them beautifully with a high level of emotion and even a sense of urgency which I found compelling. However, the faster variations were very routine. The sound has some hiss and breaks now and then. That's no problem when her interpretation is excellent, but it was bothersome in the fast variations. b. Based on Schepkin's excellent discs of the partitas, I expected much from him in the Goldbergs. Expectations were dashed as Schepkin was on an embellishment kick which annoyed me significantly. His recording is not recommended.
Opera World: Distance Learning clarinetist Richard Stoltzman; and pianists Emanuel Ax, Leon Fleisher, David Golub, Richard Goode, Seymour Lipkin, Lee Luvisi, Cynthia Raim, and peter serkin. http://www.operaworld.com/prompter/bios/benita.shtml
Extractions: Search OperaWorld.com Opera Broadcasts and News Education Live Opera Shopping Membership Travel More Information Return to The distinguished American soprano Benita Valente is one of this era's most cherished musical artists. An internationally celebrated interpreter of lieder, chamber music, and oratorio, she is equally acclaimed for her performances on the operatic stage. Her keen musicianship encompasses an astounding array of styles, from the Baroque of Bach and Handel to the varied idioms of today's leading composers. In 1999, Chamber Music America honored Benita Valente with their highest award, the Richard J. Bogomolny National Service Award, for her contribution to the chamber music genre. As the first vocalist so honored, she joins a distinguished list of previous recipients including pianist Rudolf Serkin, with whom she collaborated for many years as a participant at the prestigious Marlboro Festival. Their now legendary, recording of The Shepherd on the Rock serves as a beacon for performers of vocal chamber music. Other major instrumental collaborators have included the Guarneri, Juilliard and Orion String Quartets; cellist Yo-Yo Ma; clarinetist Richard Stoltzman; and pianists Emanuel Ax, Leon Fleisher, David Golub, Richard Goode, Seymour Lipkin, Lee Luvisi, Cynthia Raim, and Peter Serkin.
Alexandria Symphony 2002-2003 Season Concerto for Violin. Concert Conversations, 7 pm, Hosted by peter Fay. Woogie Bugle Boy. Concert Conversations, 7 pm, Hosted by peter Fay. http://www.alexsym.org/nov2002.html
