The Flury-Prinz Duo


The Flury-Prinz Duo brings together two of the finest soloists in Europe. As Duo partners, Vienna Philharmonic principal flutist, Dieter Flury, and acclaimed piano soloist, Maria Prinz, have been praised by the press as “deeply expressive” and “complete masters of their instruments.”

The Duo’s 2011-12 season includes a tour of New Zealand and Australia featuring a recital at St. John’s Cathedral in Brisbane; a performance of Ervin Schulhoff’s Concerto Dopio for flute, piano, and orchestra with the Baden-Baden Philharmonic (Germany) in January 2012; and a concert tour of the U.S. beginning in March 2012, with concerts at Weill Recital Hall at Carnegie Hall and the Austrian Embassy in Washington, D.C. In June, the Duo is scheduled to record Mozart flute sonatas for Naxos. The late Edith Eisler hailed the Duo’s 2011 performance at Weill Recital Hall, noting that “Mr. Flury played on a golden flute whose radiance was matched by its warm, round, shimmering tone,” and praising Ms. Prinz as “an exemplary collaborator leading and supporting with equal sensitivity.”

Flutist Dieter Flury has been called a “Flute Paganini” thanks to his phenomenal finger and breath-technique. Solo flutist of the Vienna Philharmonic since 1981 and general manager of the orchestra since 2005, he enjoys a multi-faceted career as a leading soloist, recitalist, chamber musician, teacher, and orchestral leader. He has performed as soloist with the Vienna Philharmonic on numerous occasions and made concerto appearances with the Vienna Symphony, Zurich Chamber Orchestra, and New Japan Philharmonic. This season he will perform the Ibert Flute Concerto as soloist with the Vienna Philharmonic under Daniel Barenboim in Vienna on May 19 and 20, and at the Festival “March Music Days” in Russe, Bulgaria, as soloist with the National Radio Orchestra of Romania. For the 2011-12 season, he is soloist-in-residence with the Baden-Baden Philharmonic. Originally from Zurich, Mr. Flury is a professor at the University of Music and Performing Arts in Graz, Austria. He previously served on the faculty of the Vienna Music Academy and the Vienna Conservatory, and leads master classes around the world.

Hailed as “brilliant” and “deeply sensitive” by Das Orchester magazine, pianist Maria Prinz is widely in demand as a soloist, recitalist, and chamber musician. She has performed with leading orchestras throughout the world, including the Vienna Philharmonic, collaborating with conductors Riccardo Muti at the Salzburg Festival and Seiji Ozawa in Vienna. She has also appeared in Sofia and at the “March Music Days” Festival in Russe, Bulgaria, under Sir Neville Marriner, and in the “Musikverein Hall” in Vienna. Additionally, she performed the Bulgarian première of “Oiseaux Exotiques” by Olivier Messiaen. Upcoming solo recitals include a performance of works by Mozart, Beethoven, and Schubert at the Pera International Piano Festival in Istanbul in May 2012. Maria Prinz, who was born in Sofia, Bulgaria, into a musical family, is on the faculty of the University of Music and Performing Arts in Vienna.

For more information, visit www.fluryprinzduo.com.

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Rutgers Pianists in Review

Rutgers Pianists in Review
Weill Recital Hall at Carnegie Hall
November 13, 2011

 

Twelve piano students from the Mason Gross School of the Arts at Rutgers University performed an all-Liszt program, one of so many tributes honoring the composer’s 200th birthday. The pianists hailed from many nations and represented several degree programs at the university. While the repertoire offered selections from Liszt’s more well-known works, the program exhibited his multi-faceted genius as a virtuoso pianist, an unparalleled transcriber, and a visionary composer.  The general level of playing was of an extremely high caliber; the students played with confidence, technical security and musical sensibility proving that the music department at Rutgers is on a par with the world’s most prestigious conservatories.

Most musicians cut their teeth in group recitals, whether in their suburban teacher’s living room or community music school recitals. This is an awkward and nerve-wracking experience; one waits in the wings unsure of when he will have to step onstage and face the specter of inevitable comparison. To relax and find one’s stride in just one or two pieces is extremely difficult and the performer must go through the same physical preparations (dressing for performance, arriving on time, trying the instrument, etc.) as he would for a full-length recital.  Often the most sensitive artists can be sabotaged by the endeavor, whereas the more arrogant temperaments barrel through their nerves. The brutal arena of competitions is even more grueling.  Paradoxically, the audience frequently comes away with a totally different impression; the listener appreciates the diversity of the performances and how an instrument can transform under each pair of hands. While one might have personal favorites, he is not consumed by the ego of a single soloist. 

The award-winning author, lecturer and pianist David Dubal acted as master of ceremonies for the evening, interspersing the musical selections with commentary which both enlightened the audience and inspired the performers.  His inimitable, spontaneous yet reverent manner infused a festive aura into this event. 

The program opened with Paul Conrad’s sensitive and lyrical rendition of “Au lac de Wallenstadt” from the “Annees de Pelerinage”.  Eva Shu-Yu Huang followed with “Gondeliera” from “Venezia e Napoli”, which after a slightly stiff beginning settled into an evocative barcarolle.  A full range of sonorities were present in Jahye Kim’s account of “St. Francis of Paola Walking on the Waves”.  Three etudes followed; “La Leggierezza”, one of Liszt’s most Chopinesque works, was played with feverish ardor by Mina Nourbakhsh, Zin Bang delivered a powerful, headlong Transcendental Etude No. 10 in F Minor, and Alexander Beridze demonstrated an easy, fluid technique and piquant rhythm in “La Campanella”.

The second half of the program began with Liszt’s song transcriptions.  Miao Hou presented “Gretchen am Spinnrade” and the ferociously difficult “Erlkonig”, demonstrating exceptional technical mastery and a strong connection with Schubert’s original songs and texts.  Schumann-Liszt’s “Widmung” was played with tenderness by Junko Ichikawa, conveying more of an inward dedication than an open declaration of love. Two transcriptions of Liszt’s own songs followed; “O pourquoi donc” was rendered with delicacy by Huizhon Shen, and “Am Rhein, im schonen Strome” was performed with haunting mystery by Chia-Shan Cheng.  These are lesser-known works which deserve more hearings.

Erickson Rojas, who arrived late as a result of untold travails in traveling, played a hypnotic, insightful “St. Francis of Assisi Preaches to the Birds”. He demonstrated superb tonal control over the filigree and trills in the upper register, and was able to create a truly declamatory, legato vocal line in single notes. The listener was drawn into the inner dialogue between saint and avian creatures. Mr. Rojas unfolded the narrative brilliantly in this work, which can seem amorphous in less capable hands.  The closing work on the program was the “Mephisto Waltz No. 1”, which seemed almost too easy for Yevgeny Morozov.  His performance was more of a romp than a dance, and one would have wanted a more ravishing, seductive middle section. But Mr. Morozov certainly has no shortage of mechanical facility and energy.

Min Kwon, director of the piano department and teacher for the majority of the evening’s performers, offered gracious acknowledgements at the conclusion of the concert. A notable pianist in her own right, she proved to be a skillful and enthusiastic organizer as well.  Anniversary tributes have become a tradition among the Rutgers pianists, and Ms. Kwon anticipates a recital next year celebrating the 150th birthday of Claude Debussy.

Alexandra Eames for New York Concert Review; New York, NY

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American Symphony Orchestra in Review

American Symphony Orchestra in Review
Leon Botstein, Conductor
Stern Auditorium at Carnegie Hall; New York, NY
October 21, 2011
American Symphony Orchestra

American Symphony Orchestra; Photo Credit: Jito Lee

  

One thing you can’t fault the American Symphony Orchestra for is lack of ambitious programming. The two hour long concert that they presented included virtuosic orchestrations of Bach chorales; preludes and fugues by Max Reger, Arnold Schoenberg and Wolfgang Gräser; as well as three fiendishly difficult fugues by Lyonel Feininger, and Schoenberg’s “Variations for Orchestra”, Op. 31.

However, once the concert began, it became clear that the ASO had bit off slightly more than they could chew. In much of the Bach, including O Mensch, Bewein’ dein’ Sünde gross, section entrances were timid and the beginnings and endings of phrases were scraggly and uncoordinated. Leon Botstein’s conducting did little to alleviate the ensemble’s problems; alternately vague and abrupt, his gestures often appeared ill-suited to the sweeping, legato character of the Bach. Intonation problems in the bass and viola sections abounded. There also appeared to be a discrepancy among the string players about the use of vibrato throughout the works by Bach, with some players employing lush, romantic vibrato and other players using none at all. In Bach’s Prelude and Fugue BWV 552, “St. Anne,” the principal cellist played out of tune and appeared to lose his place within the solo.  

The concertmaster’s solos, in contrast, were effortlessly brilliant. Her understated style of leadership also deserves recognition. Unlike many concertmasters that overplay and spoil the homogeneity of the orchestral texture in their zeal to lead, she gave an excellent, assertive example for her section to follow while always respecting the character of the music.

Quite strangely, when the ASO played Feininger’s Three Fugues, arguably more demanding both technically and interpretively than any of the Bach, the ensemble suddenly sparkled. Their sound came alive, their intonation improved remarkably and Botstein’s conducting seemed perfectly attuned to the repertoire and the needs of his ensemble. Feininger’s musical architecture was intelligently presented, with sensitive dynamic interplay that allowed each line to be heard clearly. Fugue III- Gigue opened beautifully with a gossamer pizzicato motif and ethereal quality which recalled the Scherzo from Mendelssohn’s Midsummer Night’s Dream.

Schoenberg’s Variations for Orchestra, Op. 31, was similarly spellbinding and well performed. Although it was written during the height of his 12-tone period, the piece is still somewhat lyrical. The program, which seemed designed for the conservatory student with a penchant for atonal or complex music, was daring in its ambitiousness and cleverly-found continuity by utilizing many fugues or fugue-like pieces such as the Variations, which even incorporates the Bach motif (a succession of notes that quotes his name). However, the evening was far too long and dense for most audience members to digest. By the middle of the second half, many eyes appeared glazed-over. “No more Schoenberg, please!”, a lady muttered as she left. Perhaps the American Symphony Orchestra should take pity on their audiences (and musicians!) and intersperse their next concert with some lighter fare.

 –Holly Nelson for New York Concert Review; New York, NY

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The New York Philharmonic in Review

The New York Philharmonic in Review
Alan Gilbert, Conductor
Lisa Batiashvili, Violinist
Avery Fisher Hall; New York, NY
May 6, 2011

Alan Gilbert conducting the New York Philharmonic; Photo by Chris Lee.

 From the moment she began, the audience was gripped by soloist Lisa Batiashvili’s bravura interpretation of Bartok’s Second Violin Concerto. The audacity and sheer technical brilliance of her playing were truly stunning.  Completely at ease, Batiashvili powered through blisteringly fast string crossings and finger-crippling passages with effortless finesse. So strong was the spell she cast that at the conclusion of her delicate second movement, the theater erupted with coughing: out of respect, the audience had strained not to make a sound until the pause.

 Batiashvili confidently attacked the thorny elements of Bartok’s concerto, but at times lyrical motifs lacked warmth and some solos felt ever so slightly rushed. Nevertheless, her flawless intonation, unshakeable sense of rhythm, and mega-watt stage presence proved that Batiashvili is truly an extraordinary artist.

 After intermission, the New York Philharmonic presented Beethoven’s Symphony No. 3 in E-flat major, Op. 55, “Eroica”. Conductor Alan Gilbert coaxed a warm, round tone out of the Phil, and ensured that Beethoven’s symphony retained a sparkling sense of transparency even in its stormiest moments.

 Careful not to allow the brass to overcome the rest of the orchestra, (as Zubin Mehta was often criticized of during his conducting tenure), Gilbert conjured a sensitive balance, which allowed all of the solo lines to soar above the cushion of sound generated by the rest of the orchestra. Beethoven’s idiosyncratic accents were also brought out beautifully by intelligent bowing choices in the violin sections owing to the fact that Gilbert is himself an accomplished violinist.

 The “Marcia Funebre” was the most gripping movement– at the same time devastatingly bleak and sublime. It was perhaps the most moving live interpretation of this movement that I have ever witnessed.

 When Beethoven’s “Eroica” first debuted, it was criticized for being too long. At the conclusion of the Philharmonic’s performance, however, the audience at Avery Fisher Hall was left wishing the heroic strains of Beethoven’s melodies would never cease.

 –Holly Nelson for New York Concert Review; New York, NY

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The Park Avenue Chamber Symphony in Review

The Park Avenue Chamber Symphony in Review
David Bernard, Music Director and Conductor
Ted Rosenthal, Piano
Bernstein, Beethoven, Rosenthal (World Premiere), and Gershwin
All Saints Church; New York, NY
May 15, 2011
David Bernard conducting the Park Avenue Chamber Symphony.  Photo: Jennifer Taylor

David Bernard conducting the Park Avenue Chamber Symphony. Photo: Jennifer Taylor

 

The Park Avenue Chamber Symphony’s performance of Beethoven’s Eighth Symphony was captivating throughout; the clarity of rhythm and the musical conviction of the players were superb in what was a sparkling account. Music Director and Conductor David Bernard made the most of Beethoven’s melodic material by emphasizing the shape of the musical line, and Beethoven’s trademark sforzandos (heavy accents) were punctuated with tremendous vigor. All dynamics were presented with great contrast, but Bernard also brought out the nuanced, Haydnesque elements in the music: the humor, the grace, the lightness of touch in the orchestration, and he emphasized the Viennese dance music that permeates the score.

Bernstein’s “Candide Overture” was given a vibrant account, as this tricky piece–with all its contrapuntal elements–was appropriately feisty and comical. In Ted Rosenthal’s “Jazz Fantasy” for Piano and Orchestra (world premiere), the soloist, Rosenthal himself–who is better known as a jazz pianist–played the improvised sections with panache and enthusiasm. When he was playing the written-out parts, he seemed a bit stifled–which is odd because he composed the piece himself.  Then again, Rachmaninoff was not always at home when he played his own music. In the “Jazz Fantasy,” Bernard was–despite all the difficulties of a new piece–relaxed and precise. The cello section had some difficulties with intonation and ensemble, but the violins and woodwinds were accurate and had a nicely blended sound–although not always audible. When they were heard, the solo flute and clarinet were wonderful. The brass section was sometimes excessively loud or unreliable; the trumpet soloist, for example, made a noticeable fumble at the very opening of the piece. On a side note, there was a cute moment when the jazz drum set player glanced over in the direction of the classical percussionists, with a thinly veiled look of disapproval as they played a rather bland, orchestrated version of a Latin clavé rhythm. A few moments later, the clavé motif shifted to the drum set player, who played it with a natural affinity, and had a slightly smug look on his face as he did.

The “Jazz Fantasy” certainly had overtones of “Rhapsody in Blue,” although it pales in comparison to Gershwin’s masterpiece. (What wouldn’t?) It seemed to be a big crowd pleaser anyway; both Mr. Rosenthal’s piece and “Rhapsody in Blue” received standing ovations. In the Gershwin, the conductor and soloist communicated exceptionally well, the clarinetist played an excellent opening solo, and the strings seemed more secure and enthusiastic in this piece, without question due to the work’s familiarity. In the Gershwin, Rosenthal took many refreshing liberties in fantastic solo playing, adding some rather long improvised sections to the piano cadenzas. In a delicate scherzando passage near the end, Rosenthal and the orchestra were at odds rhythmically, but this appeared to be the fault of the first violinists, as their eyes were glued to their music here. Overall, “Rhapsody in Blue” was very moving, and in summation, this was an immensely enjoyable concert. 

Holly Nelson for New York Concert Review; New York, NY

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Jourdan Urbach, Violinist in Review

Jourdan Urbach, Violinist in Review
Karen Beluso, Piano
Le Poisson Rouge; New York, NY
April 1, 2011

 

April 1st was host to a Children Helping Children benefit concert held at Le Poisson Rouge, a popular music venue and bar in downtown Greenwich Village. CHC’s young, exuberant founder and director, Jourdan Urbach, delivered a vibrant, virtuosic violin performance with the help of his much-appreciated pianist Karen Beluso. (Joining the dynamic duo later in the program was mezzo-soprano Gabrielle Lowell.) The evening featured arrangements of jazz-age golden oldies, as well as a number of Urbach’s original compositions.

Urbach started out the night strong with a lighthearted rendition of George Gershwin’s “Porgy & Bess”, arranged by “3 nice, Jewish boys” (Gershwin, Heifetz, and Urbach), as comically noted in the program. Evident the moment he picked up his bow, the 19-year-old’s playing was superlative in every way. Urbach exhibited both impeccable technique and exquisite artistry in each piece that graced the room, reveling in the jazz and country undertones that flowed throughout the concert. Glimmers of a smile could be seen on the Yale student’s face whenever he executed a graceful portamento or flawless up-bow spiccato. In his difficult arrangements and compositions, Urbach is a violinist that dares to challenge himself and thrives. Beluso followed him perfectly, although the level of some of the compositions and arrangements would have been raised that extra notch had she been more featured.

The casual nature of the evening continued despite a few short interludes, concluding with the New York premiere of “Hope”, an operatic song cycle by Urbach. Gabrielle Lowell’s delivery of Emily Dickinson poems in English, Spanish, and Yiddish was appealing, but the work was not particularly memorable. Understandably, Urbach’s strength was manifested in the beginning and middle portions of the program, during which he made use of his classical education and signature blues style. The public should keep an eye on this up-and-coming philanthropist-musician. He is apt to go far on his own ambition, delighting audiences every step of the way.

Chelsea Blakeburn for New York Concert Review; New York, NY

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International Keyboard Institute & Festival by Founder/Director Jerome Rose

L to R: Allen Yueh, I-Hsiang Chao, Jerome Rose, Ai Hattori, Michelle Yelin Nam

On Sunday, August 1 the results of the Dorothy MacKenzie Scholarship Awards were announced at the International Keyboard Institute & Festival by Founder/Director Jerome Rose.  The prizewinners performed a one hour recital in the final round of the competition which was open to those attending the full session of IKIF 2010.  The winners were awarded a total of $10,000 distributed as follows:

Michelle Yelin Nam $3,000; Anastasia Gromoglasova $2,000; Ai Hattori $2,000; Allen Yueh $2,000; I-Hsiang Chao $1,000

Next year’s Festival will take place from July 17-31, 2011.  Applications will be available online starting January 2011.  For further information about IKIF, please see our website at:  www.ikif.org

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George Li, a 14-year-old pianist from Lexington, Massachusetts, is the first-prize winner of the inaugural Thomas and Evon Cooper International Competition.

George Li, a 14-year-old pianist from Lexington, Massachusetts, is the first-prize winner of the inaugural Thomas and Evon Cooper International Competition

Pianist George Li with members of the Cleveland Orchestra and conductor Jahja. Photo Credit – Roger Mastroianni.

Pianist George Li, 14, performs Chopin’s Piano Concerto No. 1 in E minor, Op. 11 with the Cooper International Competition in Severance Hall. Photo Credit – Roger Mastroianni.

His stellar performance of Chopin’s Piano Concerto No. 1 in E minor, Op. 11, with Jahja Ling conducting The Cleveland Orchestrain Severance Hall on Friday, July 30, brought the week-long piano competition, held at Oberlin, to an exciting climax. It also brought Li the top prize of $10,000, one of the largest awards offered by an international youth competition. The prize includes concert engagements with orchestras in Beijing and Shanghai, China, and a full, four-year scholarship to the conservatory.

(L-R): Dean of the Oberlin Conservatory David H. Stull; Thomas Cooper,who, with his wife Evon, is the sponsor of the competition; first-prize winner George Li, second-prize winner John Chen; and third-prize winner Kate Liu. Photo Credit – Roger Mastroianni

The Cooper Competition is presented by the Oberlin Conservatory of Music and The Cleveland Orchestra. Full Oberlin scholarships are also awarded to the second- and third-place winners. John Chen, 14, of Leesburg, Virginia, won second prize and $6,000 for his performance of Tchaikovsky’s Piano Concerto No. 1 in B-flat minor, Op. 23. Kate Liu, 16, of Chicago, won third prize and $3,000 for her performance of Prokofiev’s Piano Concerto No. 3 in C Major, Op. 26. The enthusiastic audience in Severance Hall gave each pianist a standing ovation. Dean of the Oberlin Conservatory of Music David H. Stull and Thomas Cooper presented the awards. Mr. Cooper is the sponsor, with his wife Evon, of the competition. The concert was broadcast live on Cleveland’s classical radio station, 104.9-FM WCLV, and simulcast on www.wclv.com.

Evon Cooper was also one of the evening’s adjudicators, along with Gregory Allen ’70 of the University of Texas at Austin; Malcolm Bilson of Cornell University; Alan Chow of Northwestern University; Christopher Elton of the Royal Academy of Music; Stanislav Ioudenitch of the International Center for Music in Kansas; Matti Raekallio of the Juilliard School in New York and the Hochschule für Musik in Hanover, Germany; and Oberlin faculty members Angela Cheng, Sanford Margolis, Robert Shannon, director of the competition, and Haewon Song.

Listeners of National Public Radio can look forward to a feature about the Cooper Competition in the days to come. Noah Adams, senior correspondent for NPR’s national desk and veteran co-host of “All Things Considered,” spent time on the Oberlin campus this past week documenting the experiences of the participants, their parents, and the judges.

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