CollectionsPianist
IN THE NEWS

Pianist

FEATURED ARTICLES
NEWS
October 28, 1997 | By Lesley Valdes, INQUIRER MUSIC CRITIC
Vladimir "Billy" Sokoloff, pianist and senior member of the Curtis Institute faculty, died yesterday morning after a long illness. He was 84. Dr. Sokoloff was known for his artistry as a chamber music player. At the Curtis, he taught many hundreds the finer points of musical partnership. Beginning in his student days, he had partnered with the greats - violinist Efrem Zimbalist, soprano Marcella Sembrich, violist William Primrose and cellist Emanuel Feuermann He counted Philadelphia Orchestra principals as colleagues and chamber partners, including flutist William Kincaid and oboist Marcel Tabuteau.
NEWS
November 14, 2002 | By David Patrick Stearns INQUIRER MUSIC CRITIC
Don't look for Norwegian pianist Leif Ove Andsnes at tonight's Philadelphia Orchestra concert at the Kimmel Center for the Performing Arts. Due to illness, he canceled his Thursday-through-Saturday concerts, where he was to perform Bartok's Piano Concerto No. 2. Efforts were made to replace him with the 20-year-old Chinese pianist Yundi Li, who couldn't be released from concert commitments in Paris. However, the Philadelphia Orchestra is close to confirming what will be Li's U.S. orchestral debut, for July 2003 at the Mann Center for the Performing Arts.
NEWS
March 31, 2003 | By Kevin L. Carter FOR THE INQUIRER
When it comes to Peter Cincotti, the wunderkind who played Penn's Annenberg Hall with his quartet Saturday night, the biggest question is this: Can we believe the hype? The answer: Yes and no. The easy answer would be to say that Cincotti is everything we've been led to believe by the latter-day Tin Pan Alley publicity machine. Yes, he is, as a musician, mature beyond his years. He is a maddeningly exacting pianist, a true pro and craftsman who has mastered the styles of those who preceded him. As a vocalist, he is far less seasoned.
ENTERTAINMENT
December 6, 1994 | By Daniel Webster, INQUIRER MUSIC CRITIC
Soprano Benita Valente and pianist Cynthia Raim have been performing Spanish programs on tour, and they extracted four unusual samples from their repertoire for a recital Sunday at the Convention Center. The songs were from Cancionero de Pedrell by Roberto Gerhard, the Swiss- born composer who studied in Barcelona and pulled on Catalonian identity like a sweater. Three of the songs were in Catalan; one was in Spanish, and all featured the composer's approach of enlarging rhythms as the songs develop.
ENTERTAINMENT
May 24, 1994 | By Ken Keuffel Jr., FOR THE INQUIRER
A lot of hype surrounded pianist Sandrine Erdely-Sayo's American premiere of Juan-Carlos Sedero's Lyrical Suite on Sunday at the Ethical Society. Most of it was unjustified. The French-born Erdely-Sayo, who in 1990 came to Philadelphia to study at the University of the Arts, was one of several pianists who received the Argentine composer's seven-section score. The taped performance she sent back to the composer so impressed him that he chose her to give the world premiere last summer in France.
ENTERTAINMENT
February 14, 1995 | By Peter Dobrin, INQUIRER STAFF WRITER
In classical music, where a strong-willed personality is an asset, students don't always resemble their teachers in any discernible way. But in the case of Cecile Licad, the apple didn't fall very far from the tree. Licad's recital Sunday clearly revealed the influence of one of her three teachers at the Curtis Institute of Music, Rudolf Serkin. (Mieczyslaw Horszowski and Seymour Lipkin were the other two). Serkin's presence was especially apparent in Mozart's Fantasia (K. 475)
ENTERTAINMENT
March 18, 1998 | By Lesley Valdes, INQUIRER MUSIC CRITIC
Traditions thrive in Philadelphia, traditions such as the Academy Morning Musicales, a series created in 1905 by the enterprising members of the West Philadelphia Women's Committee of the Philadelphia Orchestra. At 93, it's still flourishing. Yesterday, a piano recital by Rieko Aizawa brought the 1997-98 series to a close. A capacity crowd demonstrated palpable enthusiasm. The pianist, a Curtis grad, is 23. She recently made her New York debut and soon heads for the St. Louis Symphony for a concerto.
NEWS
July 24, 1992 | By Daniel Webster, INQUIRER MUSIC CRITIC
Orchestral color was everything in the early years of this century, and the French - or French-inspired - came from the subtlest palettes. That was the message of the Philadelphia Orchestra's concert Wednesday at the Mann Music Center. Artistic director Charles Dutoit has made this final week of the season an essay on French orchestral invention and influence, and in his concert Wednesday shaped what was one of the most interesting programs of the season. With Spanish pianist Alicia de Larrocha as soloist, Dutoit made half a concert from Turina's Rhapsodia sinfonica and Falla's Noches en los jardines de Espana, and completed the essay by playing all of Ravel's Daphnis et Chloe ballet.
NEWS
May 1, 1987 | By Andrew Stiller, Special to The Inquirer
The extraordinary Roman pianist Fermo Roscigno drew repeated bravos from a capacity crowd at the Ethical Society last night. Roscigno, in his first Philadelphia appearance, was sponsored by the Consulate General of Italy and the America-Italy Society of Philadelphia. A dull-looking, all-19th-century program came to vivid life at his hands, starting with an unpromising Clementi sonata. Listeners sat up right away: Clementi, it seemed, was a better composer than we thought. As his Op. 26, No. 2 proceeded, it became clear that Roscino's strong dynamic contrasts and boldly outlined phrases had much to do with Clementi's unwonted shine.
NEWS
October 15, 1990 | By Lesley Valdes, Inquirer Music Critic
The second week of the ongoing Swarthmore Music and Dance Festival concluded yesterday with an afternoon recital by Cynthia Raim. The beauty of the autumn foliage, which one could view from the spectacular rear-stage window of Lang Concert Hall, likely discouraged attendance indoors. Only 200 of Lang's 600 seats appeared filled, but Raim was fortunate that her audience (which, sensitively, grouped itself in one seating area) was discriminating and attentive. This was as it should be, since Raim is a discriminating pianist, polished on every level of her art. Within an arsenal of poise and power lie strong ideas and intelligent perceptions.
1 | 2 | 3 | 4 | 5 | Next »
ARTICLES BY DATE
NEWS
July 25, 2014 | By David Patrick Stearns, Inquirer Music Critic
Though Philadelphia seems not to lack classical music concerts or educational opportunities for young artists, Taiwanese pianist Ching-Yun Hu came home to her Academy House apartment one recent summer, wanted to hear live music, and discovered there wasn't any. "I had just come back from my own festival in Taipei," she said. "People were so excited about it, and I thought, 'Why not do something similar here?' " Now, in these sweaty late-July weeks, the festival she founded, the Philadelphia Young Pianist Academy, is in its second year and occupies the Curtis Institute's Field Concert Hall with a series of five concerts Saturday through Aug. 2. They are the most prominent manifestations of an intensive program of master classes and lectures.
NEWS
May 23, 2014 | By A.D. Amorosi, For The Inquirer
In 2013, John Legend found intimacy. Along with marrying his longtime love, model Chrissy Teigen, Legend - one-time choir leader and University of Pennsylvania student - released the album Love in the Future . That quietly kinetic collection surprised some listeners with a new sensuality, a change from previous themes of romance and universal consciousness. On Tuesday, the Kimmel Center welcomed the well-dressed pianist and singer in a public homecoming that moved to an after-party at Bar Volvér in the Kimmel complex.
NEWS
May 2, 2014 | By David Patrick Stearns, Inquirer Music Critic
Sometimes, the greater the musician, the narrower the path as time goes on. So it seems with pianist Richard Goode, who is presented by the Philadelphia Chamber Music Society at least once every season. On Tuesday, he seemed to be cycling out of two of the three composers on the program, but connecting with the third in ways one normally wouldn't dare hope for. The 70-year-old pianist played from memory what was no doubt an old friend - Schumann's Davidsbundlertanze Op. 6 - though one less welcome than Debussy's Preludes Book I , not played from memory.
NEWS
April 27, 2014 | By Peter Dobrin, Inquirer Music Critic
For the opening salvo of four different Mozart programs in three days, conductor Yannick Nézet-Séguin on Thursday night modulated his influence to various degrees. His jumpiness in the Overture to Così fan tutte left you wondering what happened to the gracefully rounded waves of Mozart's main theme. In parts of a symphony, he stepped back and let it flow. Presiding over a piano concerto, he left a personal stamp. By the end of this weekend of overtures, symphonies, and piano concertos - so much for new formats - listeners should have a firm idea of whether this Philadelphia Orchestra music director has any firm ideas about Mozart.
NEWS
April 25, 2014 | By David Patrick Stearns, Inquirer Music Critic
Great musicians often seem to come out of nowhere, but with 19-year-old Jan Lisiecki, it's almost true. That's not a comment on his hometown of Calgary, Alberta. The Canadian/Polish pianist probably could have grown up in almost any metropolitan area and still found his own way to his current artistic status - he plays with many of the world's great orchestras - with little outside guidance. "I'm not one to look up to heroes," he said backstage in Verizon Hall, where he performs with the Philadelphia Orchestra this weekend.
ENTERTAINMENT
April 2, 2014 | By Peter Dobrin, Inquirer Music Critic
When piano four-hand makes the jump from parlor to concert hall, expectations understandably rise. Sunday afternoon, though, the formality of the Perelman Theater brought that, plus the added subjectivity that surrounds any appearance of the lionized Leon Fleisher. The 85-year-old pianist inevitably pulls into his gravity field his entire considerable career, a blaze dimmed only after an injury made him, for about four decades, a left-hand-only pianist. Sunday's recital was for one hand and, with his wife, Katherine Jacobson, four.
NEWS
March 28, 2014
HE WAS BORN a generation after its demise, but singer-pianist Mark Nadler has a deep emotional connection to the days of the Weimar Republic. That connection inspired "I'm A Stranger Here Myself," Nadler's survey of music from that era. It runs Wednesday through April 12 at the Prince Music Theatre. The Weimar (pronounced VY-mar ) Republic, roughly 1919-33 in Germany, was famously portrayed in the stage and film versions of "Cabaret. " It began in the wake of World War I and ended with the ascension of Adolph Hitler . Knowledge of it has long given Nadler a sense of pride and identification that was absent earlier in his life.
ENTERTAINMENT
March 8, 2014 | By Shaun Brady, For The Inquirer
Anyone looking for a quick overview of jazz history could take a crash course simply by checking out a few performances in Philly this weekend. Around the city, modern jazz artists are paying homage to a groundbreaking festival and some of the music's most pioneering artists, glancing back while moving determinedly forward. Saturday night at the Painted Bride Art Center, Philadelphia saxophonist and bandleader Bobby Zankel kicks off his three-night "Still the New Thing" festival with a concert celebrating his mentor, Cecil Taylor.
NEWS
March 2, 2014 | By Daniel Webster, For The Inquirer
Bloody street riots changed the context of Lydia Artymiw's recital Thursday at the American Philosophical Society. The Philadelphia-born pianist submitted her program a year ago to showcase music by five Ukrainian composers as part of her own heritage. Events in Kiev transformed these works from a personal statement of cultural brotherhood to an elegy for a nation in pain. The five pieces, in minor keys and modal echoes written in the 19th and 20th centuries, etched a portrait of sorrow, frost, and snow.
NEWS
February 2, 2014 | By David Patrick Stearns, Inquirer Music Critic
In the classical world, great music can be the enemy of the excellent. Why schedule less-evolved Dvorak when later music is more accomplished? That probably is why the composer's Symphony No. 6 had scant performance history here upon arrival at Thursday's Philadelphia Orchestra concert under music director Yannick Nézet-Séguin. The rather well-received program (to be repeated Saturday at the Kimmel Center) wasn't just a blow against classical redundancy, but a reminder that artistic Darwinism - the elusive process that dictates what lasts - needs to be upended periodically.
1 | 2 | 3 | 4 | 5 | Next »
|
|
|
|
|