Piano Pedagogy Forum Salmon is also active as a jazz pianist, performs regularly with the jazz WilliamWestney, in the August/September 1999 issue of American Music Teacher, warns http://www.music.sc.edu/ea/keyboard/PPF/3.1/3.1.PPFka.html
Extractions: jcsalmon@uncg.edu by John Salmon Several battle cries for interpretive freedom have converged in my mind recently: John Perry, speaking to an audience at last year's Music Teachers National Association convention in Los Angeles, exhorted pianists to view the Urtext as only the beginning of the interpretive process; without creativity, Perry argued, no score, however "definitive," will ever come to life in performance. Robert Weirich, speaking to the same group in Los Angeles, urged us to consider "the spirit of improvisation" that caused such works as Beethoven's "Rage Over the Lost Penny" and Mozart's Adagio in B Minor, K. 540, to come to life, even accepting (if not demonstrating at that moment) the esthetic legitimacy of spontaneous note-changing. William Westney, in the August/September 1999 issue of American Music Teacher , warns against the perils of perfectionism, stressing beauty as the true goal of practice and performance. Robert Levin, at a 92nd Street Y gathering, defended ornamentation in Schubert.
Sleeve Notes - The Romantic Piano Concerto, Vol 28 - Stojowski of storm and stress; except in the hands of a great pianist it would In the USA, WilliamWestney, professor of music at Texas Tech University, briefly revived http://www.hyperion-records.co.uk/notes/67314.html
Extractions: Sigismond Stojowski Excerpts from the sleeve notes Hailed throughout Europe as one of Polands most outstanding composers at the fin de siècle, Zygmunt (Sigismond) Stojowski (1870-1946) has slipped into oblivion in todays musical world, even in his native Poland. As a young man Stojowski was recognised as one of the first Polish symphonists of great European calibre. His orchestral music was heard and played by the finest orchestras in Berlin, Hamburg, Leipzig, London, Manchester, Paris and St Petersburg in the 1890s, when the composer was only in his twenties. Tchaikovsky was scheduled to conduct Stojowskis Suite in E flat Op 9 in 1894, and in 1895, by command of Her Majesty Queen Victoria, Stojowskis cantata Le Printemps, Op 7, was premiered in English at a State Concert at Buckingham Palace. For two decades Stojowskis position as one of Polands most outstanding composers was unquestioned. Stojowskis decline in popularity was due to his die-hard Romanticism in a world on the brink of a musical revolution that dramatically changed styles, tastes and compositional techniques. Even though one can find some influences of Impressionism in his Second Piano Concerto, the composer basically refused to change. In fact, for all practical purposes he stopped composing around World War I and directed his energy into performance and teaching. Unfortunately, a century later his music is often considered old-fashioned, schmaltzy or as one British critic put it high tosh.
Extractions: 2004 State Conference at Duquesne University November 5-7, 2004 Mark your calendars now for the 2004 state conference to be held at Duquesne University in the wonderful city of Pittsburgh, PA. We have a great convention rate at the Marriott Hotel, which is conveniently located in close proximity to the university; shuttle busses will be provided for those who do not relish walking western Pennsylvania hills! (downhill to Duquesne, the return is the challenge!). Plans are underway for our usual exciting state competitions, master classes and expert workshops. The convention artist will be David Allen Wehr, who is the Hillman Professor and Artist-in-Residence at Duquesne University. David has issued 10 compact discs, and recently completed recording the entire Beethoven sonata cycle. He will present a varied program and do a master class or workshop on teaching the Beethoven sonatas. In addition to his recital, on Saturday morning, David Allen Wehr will talk about learning and programming all the Beethoven sonatas and will conduct a
