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BSENDORFERThe magazine by Bsendorfer Austria N0. 9 | 2014/2015

Postage paid | Publishers post office: 1010 Vienna, AustriaL. Bsendorfer Klavierfabrik GmbH, Bsendorferstrae 12, 1010 Vienna, Austria, mail@boesendorfer.com, www.boesendorfer.com | If undeliverable, please return to sender

Interviews: Tori Amos and Eleanor Sokoloff

Viennese Sound

New Bsendorfer Artists

Stefan

Hd

erath

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B S E N D O R F E R The magazine by Bsendorfer Austria

An article by Monika Hildebrand, journalist for Piano News magazine

Bsendorfer Downtowns 100th Anniversary: A special celebration!

C e l e b r a t i o n

The Vienna Musikverein, a landmark in the heart of Vienna, contains not only the famous Golden Hall, it also is home to Bsendorfer Downtown, the Vienna salesroom for these wonderful pianos. The relationship with the Musikverein, the Gesellschaft der Musikfreunde (Society of the Friends of Mu-sic) was already very close when Bsendorfer moved in over 100 years ago. Ludwig Bsendorfer was an honorary member of the society up to his death.

Meanwhile, the salesroom can look back on 100 unfor-gettable, special years in the Musikverein building, where the good vibes no doubt synergize with one another. Equally unforgettable and special was the anniversary cel-ebration that took place the evening of November 13, 2014 in the superb HalleNsalon of the neighboring Hotel Imperial. There, a masterful Bsendorfer instrument Model 225 was waiting to be played in order to show what a Bsendorfer grand piano is capable of. Yet who was to play on this spe-cial evening? After all, many pianists love the highly personal sound of Bsendorfer pianos. There is hardly a pianist who performs in the Musikverein who fails to meet Anne-Sophie Desrez, the Sales Manager, at Bsendorfer Downtown in or-der to play on the grand pianos on display there. The beauti-ful atmosphere invites people to stay for a while it is a salon that provides these wonderful instruments with the environment they deserve.

Franz Liszt already played on a Bsendorfer grand piano, not least of all due to its stability, which held up to his virtuosic, tempestuous playing. Anton Rubinstein, Pablo Sarasate, Eugen dAlbert, Max Reger, Johannes Brahms, Ignaz Paderewski, Hugo Wolf, Bruno Walter, Bla Bartk, Edvard Grieg, Gustav Mahler, Richard Strauss, Arthur Rubinstein and numerous other famous pianists and musicians were Bsendorfer lovers. Today, too, the list of pianists who play a Bsendorfer piano is long. It was therefore not easy to de-cide who should play on this special evening in celebration of our anniversary. Many would have been worthy and every-one would have made the evening unforgettable in his or her own way.

In the end, Dr. Johannes Kropfitsch, Vice Dean of the Kon-servatorium Wien, pianist and composer, was chosen. His knowledge is immense and poured out of him during his lecture on Bsendorfer and the Viennese Sound, which he held to introduce the evening. Yet this was but the first part of Johannes Kropfitschs performance. Immediately there-after the audience was treated to a feast for the ears: the concert on the masterful piano. The programme contained a Schubert Impromptu, Liszts Mephisto Waltz, the Soire de Vienne by A. Grnfeld / Johann Strauss, and finally a compo-

sition written by the pianist himself, in which he once again showed his passion for virtuosity. During the performance, the piano revealed itself in all its facets and appeared to be content. The many pianists in the audience for the occasion visibly enjoyed the evening and felt properly entertained up to the final notes.

During his era, Ludwig Bsendorfer, the son of the com-pany founder Ignaz Bsendorfer, placed considerable emphasis on concert life in his company. This tradition lives on 100 years later. Bsendorfer Downtown is increasingly de-veloping a select concert culture under the auspices of Anne-Sophie Desrez. The pianos are pushed aside in order to give the audience room for small, fine concerts. Presentations of the latest models with their continually innovative develop-ments, all the way to the new SH Silent System version are every bit a part of the Bsendorfer Downtown scene as are concerts on exceptional instruments designed by architects or other artists. An example is the Klimt Grand Piano with its inspiring reproduction of The Kiss by Gustav Klimt on the inside lid.

Young artists then and now continue to be promoted by Bsendorfer. Already in 1889, Ludwig Bsendorfer do-nated a premium piano to the winner of the Bsendorfer Competition. It is good, that these traditions continue to be cultivated and fostered, that value continues to be placed on the quality of the instruments, and that they are handmade in Austria with considerable expertise. We wish these tradi-tions to experience many more beautiful and unforgettable anniversaries!

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Dr. Johannes Kropfitsch, Vice Dean of the Konservatorium Wien

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E D I T O R I A L

Contents

Dear Reader,

Editorial

2013 saw the 185th anniversary of the founding of our com-pany by Ignaz Bsendorfer. 2014 saw the 100th anniversary of our Vienna flagship Stadtsalon shop situated in Bsendorferstrasse in the world famous Musikverein building. Bsendorfer is a com-pany steeped in history. However, we do not believe in standing still and are constantly trying to per-fect on perfection. Not only do our craftsmen and engineers painstaking re-examine our processes precision through engineering, perfection through craftsmanship but we re-view product design and introduce new models on a regular basis. This year saw the introduction for Europe of a silent version of our 170 model, combining the best of two worlds, Bsendorfers world class acoustic instruments together with Yamahas superb digital silent system. It also saw the introduction of the second Marquetry edition piano the Schnbrunn model following the sell-out of the first two series.

Our magazine is a collaborative effort with stories con-tributed by staff members, distributors and friends. The highlight of this issue is an interview with Tori Amos, an art-ist with such close ties to Bsendorfer. There is also an inter-view with one of the most respected teaching professors in the USA and a passionate fan of Bsendorfer, Eleanor Sokolov. She celebrated, like our Stadtsalon shop, her 100th birthday this year. Professor Kropfitsch, Head of Keyboard Studies at the Konservatorium Wien (City of Vienna University for Mu-sic), has kindly written an article on Viennese sound from an artist and composers view.

Please enjoy these and the other interesting stories.

Brian Kemble, MBE MAManaging Director

Imprint Editor, media proprietor, publisher: L. Bsendorfer Klavierfabrik GmbH, Bsendorferstrae 12, 1010 Vienna, Austria, Tel. 01.504.66.51-0 Design and layout: FineStudios e. U., Vienna. Produced and printed in Austria. Distribution: self-distribution to Bsendorfer friends and interested parties. Editorial office address: L. Bsendorfer Klavierfabrik GmbH, Attn.: Marion Alex-ander, Gymelsdorfergasse 42, 2700 Wr. Neustadt, Austria. Senior editor: Marion Alexander. Authors: Marion Alexander, Anderson Museum, Mag. Sylvia Marz-Wagner, Forte and Piano Moskau, Monika Hildebrand, Brian Kemble, Prof. Johannes Kropfitsch, Simon Oss, Ritz Carlton Vienna, Emilio Rodriguez Drop Artist Management, Yamaha Artist Service Center NY, Yamaha Music Asia, Ya-maha Music China, Markus Walther, Klaus Wingensiefen General Management. Photos: Anderson Museum, Luca dAgostino Phocus Agency, Forte and Piano, Nancy Horowitz, Kunstuniversitt Graz Institut Oberschtzen, Montreux Jazz, National University of Singapore, NIJPC, Marialy Pacheco, David M. Peters, Richard Galassini, Gerhard Peyrer, Ritz Carlton Vienna, Sara Ruano/Drop Artist, Markus Sepperer, Wolfgang Simlinger, Jennifer Taylor, Yamaha Music China; Cover: Stefan Hderath. Translation: Albert Frantz. Primary direction and disclosure according to media law: Magazine for persons interested in music and friends of Bsendorfer in Austria. Errata and printing errors, etc., including price quotations, excepted. No liability is assumed for unsolicited pictures and manuscripts submitted. Reprints permitted exclusively upon written consent of the publisher. All rights reserved. Contributions marked by name present the authors opinion, not always that of the publisher. No legal action will be countenanced for sweepstakes.

Bsendorfer Downtowns 100th Anniversary .............................. 2Editorial Imprint ................................................................................... 3Happy Birthday Mrs. Sokoloff! .......................................................... 4Harriet Krijgh A Rising Star and Her Festival ........................ 6International Jen Takcs Piano Competition 2014 ................. 6 Parmigiani Montreux Jazz Piano Solo Competition ................ 7Nottingham International Jazz Piano Competition 2014 ...... 7 Marialena Fernandez Passionately Crossing Borders .......... 8Wien Modern six grand pianos in 12th-tone tuning .............. 9Tori Amos: Unrepentent and resonationg with the now . 10Viennese sound from an Artist and Composers perspective ............................................................................................... 12

Carlo Grante performing at Lincoln Center in New York ..... 14Viennese gala celebration at the AMoCA Museum in New Mexico ....................................................................................... 14Viennese Tradition meets Moscow ................................................ 15A night of the arts at the Ritz-Carlton in Vienna ..................... 15 Marialy Pacheco Welcome to the Bsendorfer Artist Family ........................................................................................... 16Ambrosio Valero Welcome to the Bsendorfer Artist Family ............................................................................................ 17The Music Hall in Harbins Old Synagogue (China) ............... 18Yong Siew Toh Conservatory of Music (Singapore) ................ 18Special Model Schnbrunn ........................................................... 19

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B S E N D O R F E R The magazine by Bsendorfer Austria

BSENDORFER: Congratulations on your 100th birthday. What is the secret to your good health?Eleanor Sokoloff: I eat, I sleep and I love my students. I think part of my health is the fact that I really love what I do.

BSENDORFER: How would you summarize your life as an educator?Eleanor Sokoloff: Well I came to the Curtis Institute in 1931. The Curtis was not that old at that time; but all my life, for 79 years Ive taught there. I started teaching supplementary piano at the school in 1936, even before I graduated. And then Rudolf Serkin took me out of the supplementary piano class and put me into major piano in 1940. So Ive been teaching all together 79 years. I cant believe it myself. Its a long time to hold a job. Ive never been anywhere else. I teach privately also, but mainly very young students.

BSENDORFER: I understand that with your husband, who had also been at Curtis, you often played as a duo. If I may ask, what is it like to play with ones spouse?Eleanor Sokoloff: Thats a good question. We had a lot of con-certs with 4 hands. In most cases, it is peaceful. The only con-flict we had was because there is always a discussion of who uses the pedal and who gets in the way and who gets the hand out of the way and so on. But thats just funny, its not at all important. Its the result that is important. I had only the greatest respect for my husband, who had a gorgeous tone and made many recordings. I learned a lot from him. He was very, very busy. If I wanted to see him I had to go to the concerts. He was a vital part of the Curtis Institute and if you look to the left in the hall, youll see my husbands portrait.

BSENDORFER: At Curtis, you met many legendary musicians including Josef Hoffmann.Eleanor Sokoloff: Yes, he was the Director when I came to Curtis; and, of course, he was a magnificent pianist. And I had Rachmaninoff once visiting Curtis. I met many great players like Piatigorsky and of course I know Yuja Wang and Lang Lang who both went to Curtis. And Leonard Bernstein who went to school with me. Then, there was Samuel Barber. And many of our students are magnificent. Kit Armstrong is, for example, a remarkable young man. He was eight years old when he became my student. He was adorable, just lovely. But for most of the young people its a hard business to get into and the only way is through the competition route. And that has become more difficult. The standard is growing higher and higher.

BSENDORFER: How has the environment of competitions changed over the years?Eleanor Sokoloff: I suppose there is change in everything. But I tell you quite frankly, in the beginning when I came to the school, we had mostly applicants from Korea, Russia and America. Now, I hate to say this, the Americans fail. I have no American students in my class but many Chinese are good now.

BSENDORFER: Why this change?Eleanor Sokoloff: Arts and Music are the first thing that are cut when there is a financial problem. And these children have nothing. So what do they hear? They hear rock. I mean there are a thousand different kinds of awful music that they can listen to and that they worship. Its very sad. That is what happens to the Americans. Well, the Chinese on the other hand, have separate schools for musicians, starting with lit-tle kids 5 years old. At the age of 10 they come to the Institute and they are so good that we take them in. I have 3 students that came to the Institute at 10 years old. And we take only the best. I dont know whether you know this, but it is harder to get into Curtis than it is to get into Harvard. Curtis is very selective. Im the only woman on the piano faculty, by the way.

BSENDORFER: What do you think is the reason for this?Eleanor Sokoloff: I wonder too. For women its like a glass ceiling. How many great women pianists do we have in the

Legendary piano pedagogue Eleanor Sokoloff is the oldest and longest-serving member at the Curtis Institute of Music. She has had more than 75 of her students perform with the Philadelphia Orchestra. Among her students are pianists such as Hugh Sung, Claire Huangci, Susan Starr, Kit Armstrong, Leon McCawley and Keith Jarrett. June 16, 2014 she celebrated her 100th birthday. Simon Oss had the honour to meet Mrs. Sokoloff for an interview about her life as a teacher and her love for the piano.

Happy Birthday Mrs. Sokoloff!I n t e r v i e w

Eleanor Sokoloff at her Bsendorfer model 200 during the interview with Simon Oss and Rich Galassini.

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world? Not many. At the top we have maybe two. Its a mans world. I think it takes something special to be on the top. It does. But there are those who could. Yuja Wang is, for exam-ple, wonderful. She sits like a princess. She is way up there. She has had a great start.

BSENDORFER: Do you feel it is changing nowadays and get-ting easier for women?Eleanor Sokoloff: I hope that it will get better. Perhaps I use my own position as an example, but I think its still hard for women in this field. Women are doing fine in medicine and other professions, at least better than they used to. But in music performance they are still a minority. I dont think were on an equal path with men, even in this country, which is perhaps more liberal than others. When I was young it was much worse. But I still think it is bad. Its a long struggle. If you think back about how hard it was for women to get a vote. It was a miracle that I was appointed to Curtis as a stu-dent. It was a very hard time. My first year was agony. But I survived. I started teaching in 36 and graduated in 37. In the early 30s, when a teacher became pregnant, she had to leave the school. One of the women who was teaching sup-plementary piano was in that position. And why they picked me, I still dont know. I was very young, in my early 20s.

BSENDORFER: How did your piano teaching change over the years?Eleanor Sokoloff: Experience. You know exactly what you hear, you understand what it takes. I learned from my own experience what it takes to become a pianist, and that there has to be a balance between technical training and musical training, so that the two advance together. I think you learn more when you teach than when you practice by yourself.

BSENDORFER: Is it true that your students are required to play, at almost every lesson, a piece of Bach?Eleanor Sokoloff: That is absolutely true. They go through all the Preludes and Fugues, both books and at every lesson. I think Bach is the greatest teacher of all because its not one hand doing the melody and the other playing the accompa-niment. They have to learn how to handle many voices at one time.

BSENDORFER: I understand many of your students have been chosen to perform with the Philadelphia Orchestra?Eleanor Sokoloff: Yes, at least 75 have. Ive lived so long. And many of my students have doctorates and are teaching at universities. Thats what I recommend to all women. Get the highest degree you can get, at least you get a job.

BSENDORFER: What are the core values that you want to transmit to your students?Eleanor Sokoloff: I want to prepare them pianistically, thats the first job. But at a same time I want them to have a roun-ded education. It is important for students to have a broad spectrum of culture. I want them to read and I want them to be able to write well.

BSENDORFER: You once said that expression is the most im-portant thing and not something that can be manufactured.Eleanor Sokoloff: You hear that during the audition. This is what we mainly look for. We are now at a point where we hear wonderfully technically prepared people, but that tech-nique is only one way to express. And if they dont have any-thing, they dont get it.

BSENDORFER: Speaking about expression, how important is the instrument itself in these regards? You have a Bsendorfer at home, how did you find your piano?Eleanor Sokoloff: I had a Steinway in my house. And then a friend of mine called me and she said, We will send a limo for you and Billy and you come and check out the new pi-anos that we received. She sent a stretch limo, I never had been in one before. And then we went to see these wonder-ful Bsendorfers including the one with the extra keys and the player system, which is just an extraordinary piano. And when I saw these pianos, I thought: why dont I buy one my-self. Well, my piano was so old, it was the piano I had when I was a kid, and I said, I think Im getting rid of it. Im going to buy a Bsendorfer. My husband was against it, but I did it anyway. And then we got a wonderful dinner together in the fanciest restaurant in Philadelphia. And this is my piano. I love this piano. I think even to look at the workmanship is remark-able! I love this piano because it is responsive to tone color, from the tiniest pianissimo to the greatest fortissimo. And when I hear the kids perform in Curtis on the stage, I hear the result of what they have done here on the Bsendorfer. Thats about it. To be a pianist you must have that color expansion. I love the sound of it. I love its responsiveness and I love the beauty of the piano.

BSENDORFER: Do you think the young pianists of today will be remembered in the future the same way as an Arthur Ru-binstein or a Wilhelm Backhaus are?Eleanor Sokoloff: I dont know if we are in a kind of golden era. Ive a feeling that many of the young pianists will be re-membered. But one development that I dont like is that it became, for some, a show and commercial! And its bad for the music. They jump and they kick their feet, I dont know what that is? Its because of people who go to see concerts. They say: Im going to see a concert. That see word is the trap. They dont go to hear, they go to see. And if they dont get their show, it doesnt mean much to them. People who love music really dont like this, its very distracting.

BSENDORFER: Mrs. Sokoloff, thank you very much for the in-terview. One last question: Can you tell our readers something about the Wednesday tea tradition at Curtis. Eleanor Sokoloff: It is every Wednesday at 3 oclock. I pour it, its wonderful. Its a big Samovar, full of hot water. And all the kids gather. And there are occasions and everybody at the school takes strong tea. And if a respected faculty member is leaving the staff, special tea is given to him. I had tea for me too, when I turned 100. And I told them, Im not leaving. Everybody who receives a special tea is leaving. Not me. Im still in.

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B S E N D O R F E R The magazine by Bsendorfer Austria

The 23-year-old Dutchwoman Harriet Krijgh is one of the most exciting and promising cellists of our time. She was selected as a Rising Star for the 20152016 season by the European Concert Hall Organisation (ECHO). Her nomina-tion was made via the Musikverein and the Vienna Konzert-haus. In the 2014-2015 season, Harriet made her debut in the Golden Hall of the Vienna Musikverein with the Vienna Ra-dio Symphony Orchestra and in the Grand Hall of the Vienna Konzerthaus with the Wiener Jeunesse Orchestra.

Three years ago, she launched a small yet fine chamber music festival at Burg Feistritz, in the south of Lower Aus-tria: Harriet & Friends. Each year, she invites friends and inter-nationally famous musicians to turn the Alte Reitschule (Old Riding School) and the Burg (castle) into a grand concert hall. Chamber music from different epochs, from Classical to Ro-mantic to Modern, can be heard. Well-known pianists includ-ing Magda Amara, Nino Gvetadze and Dora Deliyska and jazz pianist Florian Nentwich all played on the latest Bsendorfer. They were all thrilled by the concert grand and praised its ability to translate musical ideas into sound, the tone colours, transparency and fullness of sound. Works by Joseph Haydn,

Robert Schumann, Felix Mendelssohn-Bartholdy, Ludwig van Beethoven, Edvard Grieg and Johannes Brahms in vari-ous chamber music instrumentations, with piano, string and wind instruments, could all be heard. www.harrietkrijgh.com

Harriet Krijgh A Rising Star and Her Festival

M i s c e l l an e ou s

The International Jen Takcs Piano Competition for young pianists in Oberschtzen in Burgenland, Austria was founded in honour of this great composer, pianist and piano pedagogue. The goal of this competition is to give young tal-ents an opportunity to present their musical skills.

The Institute of Oberschtzen in Burgenland, part of the University of Music and Performing Arts, Graz, presented this international competition together with the Jen-Takcs Foundation for the third time. It is split into three age groups, categories A through C, and caters to young talents born be-tween 1996 and 2004. This year, 13 nations were represented. The jury, headed by Eugen Jakab, consisted of international piano professors Igor Cognolato, Pavel Egorov, Peter Jozsa, Lucy Revers-Chin, Christoph Sischka and Yasuko Sugimoto.

All works, including the required pieces, had to be per-formed from memory. The only exceptions were for con-temporary works chosen by the performer. Bsendorfer has a long tradition promoting young talents and made the latest concert grand available to the young pianists. We sincerely congratulate the winners of all three categories.

Jen Takcs was born in Siegendorf bei Eisenstadt in 1902 in what is now Burgenland (Austria). He studied com-

position, piano and counterpoint at the University of Music and Performing Arts in Vienna. As a pianist, he performed in Europe, Japan, China, Hong Kong and elsewhere. He had a lively exchange of ideas with Bla Bartk as well as with Ern Dohnanyi the two of them were his most important contemporaries. Jen Takcs considered educating young pianists as one of his most significant duties. He wrote many of his compositions for young pianists and in so doing under-scored his lifes work. For more information, visit www.kug.ac.at

3rd International Jen Takcs Piano Competition 2014

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Old horse-riding school at Burg Feistritz

The competition was capped off with a gala concert perfor-med by all prizewinners.

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Twelve amazing young pianists from all over the world came to Nottingham to compete in the Nottingham In-ternational Jazz Piano Competition 2014 (NIJPC) during 35th October, presented by Clement Pianos. The semi-finals were held in the Old Library Room at Nottingham Trent University. As solo pianists, their outstanding talents were further en-hanced through performing on a superb Bsendorfer 280 concert grand piano.

The four Grand Finalists Antonio Truyols (USA), Jakub Pluzek (Poland), Krisztian Olah (Hungary) and Tom Hewson (UK) performed at Nottinghams Albert Hall on Sun-day 5th October. Each pianist played solo for 25 minutes, their programme comprising a mix of self-selected jazz stand-ards and original compositions. A two minute improvisation based on a previously unseen motif added to the competi-tion challenge. At the end Tom Hewson was declared the winner of the Nottingham International Jazz Piano Competi-tion 2014.

Winner, Tom Hewson, said that he greatly admires Brit-ish pianist John Taylor and included Johns composi-tion Ambleside Days as the first piece in his programme. His

prize includes opportunities to perform at Ronnie Scotts and the 606 Club in London, as well as at Jazzland in Vienna. Tom has been based in London for a few years playing in various ensembles including Treehouse, Quintet and Identity Parade as well as doing his solo work.

Congratulations to Tom and all the other 11 pianists who thrillingly entertained audiences. You can find more in-formation on the competition website at www.nijpc.com where they will be posting audio and video clips from the competition.

Nottingham International Jazz Piano Competition 2014

Photo: NIJPC

The four Grand Finalists: Antonio Truyols, Jakub Pluzek, Krisztian Olah and Tom Hewson

C o m p e t i t i o n

The Montreux Jazz Festival is one of the largest internation-al jazz festivals, taking place annually in Montreux, Swit-zerland. Claude Nobs, founder of the Montreux Jazz Festival, started the first international piano competition for young jazz pianists as part of this festival in 1999. Its goal is to cre-ate a professional springboard for an international career for young jazz talents of different backgrounds and nationalities. Moreover, contacts are made and possibilities ascertained for the artists further development.

Since 2011, this competition has been supported by Par-migiani Fleurier (Swiss Watches) as its main sponsor. The competition is held at the Montreux Palace each year on the legendary Bsendorfer model 290 Imperial, the favorite piano of Oscar Peterson as well as of Monty Alexander (president of the competition).

The finale of this years competition was particularly sus-penseful. Thanks to the excellent performances by all fi-nalists, the selection and points distribution was especially difficult for the jury. Thus, not the usual three, but fully nine finalists competed: Gill Scott Chapman (USA), Matyas Gayer (Hungary), Jeremy Hababou (France), Alexey Ivannikov (Rus-

sia), Lorenz Kellhuber (Germany), Evgeny Lebedev (Russia), Jorge Luis Pacheco Campos brother of 2012 winner Marialy Pacheco (Cuba), Mathis Picard (France) and Georgian Sorin Zlat (Romania).

The winner of this tremendous finale was Lorenz Kellhu-ber of Germany. Second prize was shared by Jorge Luis Pacheco Campos of Cuba who also received the audience prize and Mathis Picard of France. Third prize went to Evgeny Lebedev of Russia. We sincerely congratulate all winners! www.montreuxjazzartistsfoundation.com

2014 Parmigiani Montreux Jazz Piano Solo Competition

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Winner Lorenz Kellhuber

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B S E N D O R F E R The magazine by Bsendorfer Austria

Crossing borders is her passion for crossing borders means moving. Marialena Fernandes loves movement, even when she speaks. She speaks with her voice, her hands, eyes and her heart. Everything about her is movement movement that allows new room to emerge, room for imagi-nation and interesting encounters.

Uno.Due.Tre. Crossing Borders with a Touch of the Unknown

For seven years, this cycles concerts have taken place in the Glass Hall of the Vienna Musikverein to ongoing success. In the meantime, a regular audience has formed, one which enjoys crossing borders every bit as much as she does: borders between musical genres, stylistic elements and rhythms. Marialena Fernandes thereby creates possibilities for new ways of seeing and hearing, for both the audience and the musicians. This is only possible with considerable room for movement.

Marialena Fernandes moves even during her concerts. Sometime she sits at the piano and plays, sometimes she stands in front of the audience and speaks, or she just sits in the middle of the audience and listens. I love experi-menting with the tension between two poles so that I can think and feel new things, Marialena Fernandes explains like at her most recent concert, Long-Distance Relation-ships. Music that knows no borders connects what is in real-ity separated and transforms the old into the new. Classical and jazzy worlds of sound confront one another and show what intimate long-distance relationships are capable of.

Beginning and Meaning

Uno.Due.Tre came about while teaching chamber music at the University of Music in Vienna. After several hours of demanding as well as fulfilling creativity, an idea germi-nated to make this common process of creation accessible to a wide audience, Marialena Fernandes recalled. The mean-ing of the concert cycle Uno.Due.Tre is multifaceted. It stands for Uno, the theme; Due, the musicians, and Tre, the audience yet it also stands for Uno, the borders; Due, the movements and Tre, crossing borders and fusion.

The cycles themes often ensue from everyday events. Once these have been ascertained, the selection of musicians follows. Who can deal with spontaneity and risk? Who is per-sonally strong enough to handle a potential failure? This is actually a sort of initiation ritual for the young artists. It gives them the opportunity to experience interaction with the au-dience in a manageable yet famous ambience, Marialena Fernandes explains. She sees the young artists as ambassa-dors and wishes to strengthen their skills so that they can take something very precious into the world, with conviction

and joy and do so especially in todays world, which cannot have enough experienced commonality and peace.

This cycle has now existed for seven years. A Bsendorfer Imperial grand piano is always at the concerts. Her en-thusiasm for both is every bit as great as it was in the very beginning. What has been added is the experience that every concert was, is, and will be unique. And the deep knowledge that borders exist first and foremost in our minds. We simply have to muster the courage to cross them.

A Fascinating Mixture

Marialena Fernandes was born in Bombay. Mumbai or Bombay? The name of the capital city comes from the Portuguese Bom Bahia good bay. The Portuguese colo-nialists converted the Indian families to Christianity. This in-cluded Marialenas family, who gave her a Portuguese name. Indian mixed with Portuguese and later Austrian was added a fascinating mixture. Maybe thats where her passion for opposites and crossing borders comes from. Vienna is her home of choice. As a dedicated pedagogue and Ph.D., Mari-alena Fernandes teaches chamber music at the University of Vienna.

Music comes about only through moving and being moved. Music wants to move. Marialena moves in concerts, among cultures and continents a passionate am-bassador of commonality and peace. For fixed borders would be the end of art and of our development. For further infor-mation, visit: www.marialenafernandes.com

Passionately Crossing BordersMarialena Fernandes, Professor at the Vienna University of Music, presented the 25th concert in her successful cycle Uno.Due.Tre. For the occasion, she offered us a glimpse behind the scenes and insight into her highly personal musical views.

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Marialena Fernandes

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P r e m i e r e

This work is seldom performed due to the difficulty in staging it. The enormous effort was received jubilantly and enthusiastically by the audience and the press alike. This evening was realized using six Bsendorfer concert grands tuned after many hours of work to 12th-tone tuning, with 72 pitches per octave.

This interval is already small enough to trick our ears into thinking a scale is actually a glissando: We no longer per-ceive neighboring one-twelfth microtones as distinct steps, but rather as shades of a single tone. Here, too, Haas makes use of the frictions between more and more finely differ-entiated scales and the exact frequencies of the overtone series, which at some point drops out of all systems: Limits are placed on the approximations and the piece plays with these very limits. Tremolos on individual pianos emerge now and again out of the subtle blurring of the orchestral col-ours and from time to time overtone chords stretch into the treble; secretive hinges within the musical flow, aura-like phenomena that reveal themselves to the ear, might-ily roaring or mystically at peace with itself. The beauties of the amorphous and contoured in an exciting interplay nay, rivalry sensitively performed by the six soloists and the SWR Symphony Orchestra Baden-Baden and Freiburg under Franois-Xavier Roth, according to the Austrian newspaper Die Presse.

The composer himself explains the special effect as fol-lows: The twelfth-tone interval is so small that it is no longer heard as an interval, but rather as the shading of a sin-gle note. A single tone played by a Romantic orchestra has a wider frequency. The aural effect of a scale in twelfth-tone in-tervals is thus similar to a glissando. The effect of a cluster of twelfth-tones depends on the register: higher up, it is sharp, abrasive, biting, lower down it is soft, melting, rich. Of course it is also possible to build raw, dissonant chords with twelfth-tone intervals much more differentiated (also in the degree of acuteness) than with the traditional 12 tones per octave. But it is also possible to build much more consonant chords then in the traditional twelve-note scale: a close approxima-tion of the twelve-tone scale can be produced in the over-tone scale, accurate up to a twelfth of a tone, as composer Georg Friedrich Haas explains in the WIEN MODERN cata-logue. Limited approximations do not tell a story. As with all of his compositions, here too there is no formal development or traditional formal design. Contrasting elements alternate moments of fusion and moments of friction. Pseudo-glissandi by the pianos lead unexpectedly into an overtone

chord. Apparently stable interval constellations begin to tot-ter in twelfth-tones.

Again and again, the nearly spectral piano chords are tak-en up by the orchestra. In earlier works, I had to limit myself to a small number of basic tones for reasons of fea-sibility. In vain works with the twelve fundamental tones of the traditional tempered scale. Natures mortes uses only six different overtone chords, four of them based on funda-mental tones of the traditional tempered system. In limited approximations, thanks to the pianos, the whole world of sound is open to me, Georg Friedrich Haas explained.

The concert was most certainly one of the highlights of this past WIEN MODERN festival. The composer and or-chestra were acclaimed: Haass artfully interlocked overtone harmonies are not only meticulously constructed, they also develop a maelstrom that can be immediately experienced sensually. The musicians and the conductor Franois-Xavier Roth reaped every bit as much enthusiastic applause as did the author of the work, the Wiener Zeitung wrote.

The WIEN MODERN festival is Austrias largest festival of contemporary music. In 2014 it centred around the com-poser Georg Friedrich Haas, one of the most important com-posers of our time. The festival was founded in 1988 by Claudio Abbado and since 2010 has been under the artistic direction of Matthias Losek. In last years programme there were 63 events at 18 locations, and more than 500 artists contributed to the success of the festival. WIEN MODERN #28 commences on November 5, 2015. For further information, visit www.wie-nmodern.at and www.facebook.com/ wienmodern

Wien Modern limited approximations with six grand pianos in 12th-tone tuningA special highlight took place in the Grand Hall of the Vienna Konzerthaus on November 2, 2014: the Austrian premiere of limited approximations for six grand pianos in 12th-tone tun-ing and orchestra. It was presented by the SWR Symphony Orchestra Baden-Baden and Frei-burg conducted by Franois-Xavier Roth.

Orchestra with six Bsendorfer concert grand pianos at the Vienna Konzerthaus

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B S E N D O R F E R The magazine by Bsendorfer Austria

BSENDORFER: You are currently touring your new album Unrepentant Geraldines a world tour with over 70 shows that crossed Europe, South Africa, North America and Austra-lia. Who motivated you to do this extraordinarily tour? Tori Amos: It was my daughter Tash. Because I was turning 50, she felt that I needed to prove to myself that I can go out there and do a one woman show with the power that it needs to have. She said: Look, you are not Grandma Marys age, you are not in your 80s. And so it became a goal that I needed to have: being able to do a two hours, one woman show with only me and my Bsendorfer on stage. If we are honest with each other, it takes a lot of power and energy to do this. I did not want people walking away feeling you know that was good but when she was 30 she was killing it. My goal was, having people walk away and say: she is killing it as much or more than she was when she was 30.

BSENDORFER: What is it like touring after nearly a break two years break? Is it like riding a bicycle once you have done it you just pick it up and go?Tori Amos: For this tour I had to train, to prepare myself phy-sically to do 63 shows Australia not included. It is a different demand physically, to be out there on your own. I had to work on my breath, to not get tired not lose breath.

BSENDORFER: Why did you name your new album Unrepen-tant Geraldines?Tori Amos: It all started with an etching. I was in Ireland, vi-siting the old Georgian house there, which is in the photo-graphs of the CD booklet Night of Hunters. My husband Mark and I have had that since 1995 in the family. There is a painter, Vincent, who often visits and who collects etchings. There was an etching of Geraldine on the wall in a pose that was very much like those old repentant Magdalene paintings. However, she was actually connected to an Irish story from the 19th century. I started looking at this repentant Geraldine and I realized: no, Geraldine is not repentant, because she has been up to no good with some sailor captain and that is why she had to run away from Ireland and hide with friends. Then I started thinking, as a women turning 50, I need to be unre-pentant, not apologizing about my beliefs.

BSENDORFER: In the making of you say every song of the album has to resonate with the now. Is there one that resona-tes the most or represents best the now?Tori Amos: Well, I guess America does. The song America is a synonym for every place. It is about do we choose to bury our head and sleep through the now because there are so many things in the world that are difficult to handle, that

are happening right now. Maybe every time feels that way when you are in that time. Like the terrorist threats in London where all the kids, like Tash, are warned about it in the schools. Now she is very aware of what is happening in the world. Or Marks mother telling us being aware of the raids and about the potential things that could have happened during World War II. Having been in New York City during 9/11 I understand that feeling. We were shocked when it happened and it seems there is a constant potential threat. That seems to be now in many places in the world. America is about being awake in order to deal with what is happening in the world and ma-king decisions and being part of it. Or just thinking this is too overwhelming, I cannot deal with it. So the song is a reflector of how people are feeling at this time.

BSENDORFER: When you work on your songs, what comes first the words or the music?Tori Amos: Its different every time. There is no formula. That is because a lot of times I hear something from the Muses. They are not always singing to me sometimes they whisper words. And it does not all come at once, usually. It normally comes in fragments and it can take a song months, even ye-ars to come. Like the song Oysters, that one took years.

BSENDORFER: Do you compose at your Bsendorfer?Tori Amos: I always take it to the Bsendorfer, but I could also be on a plane. So I write music in books. I have a weird kind of notation system. Only I know what it means, anyone else rea-ding it would not know. Tash always says: Never just take one of Mums books and give it away. There might be a song in there.

BSENDORFER: Is there a time you are at the most creative?Tori Amos: Well, this time does not exist that is the trouble with it all. You cannot predict it. I cannot flip a switch and say: I need to be productive now so lets be productive. The Muses really do not respond to that. Sometimes, when we are out to dinner, somewhere in the world, at a nice and magical place, like looking at Sydney harbour, suddenly it is just there. Then I need paper serviettes to write on. Sometimes I feel bad for the restaurant and I say to Mark: Please give them an extra tip because I took so many serviettes.

BSENDORFER: How do you decide when a song is finished?Tori Amos: I do not decide this, the songs wont let themselves get let go until they are ready. It is strange how things hap-pen, just weird, I cannot explain it. Sometimes it is as if I could feel them dig their heels and say: No we are not going to get recorded yet. We are not ready. Writing can be a very lonely thing. I take myself off and do a kind of pilgrimage because I

In Interview: Tori Amos. With her poignant songs she deals with the major issues of our time. Performing since the age of 13, Tori has evolved into one of the most respected and inspiring live performers of today. The stage has always been one of the fundamentals of her career. In an interview with Brian Kemble she speaks about her world-tour and new album, about being unrepentant and resonating with the now.

Unrepentent and resonating with the nowI n t e r v i e w

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have to allow myself to play things out mentally and emotio-nally and go to places that I do not want, as a mother, to put Tash through. As she gets older, she understands it more and more, but that is a side to myself that I do not show anybody. So I need that space to allow the music to take over my whole being. Usually I go into the studio in Cornwall with a collection of finished songs that I have written over the last couple of years travelling the world. Recording in the studio in Cornwall is a totally different process than the writing of the songs.

BSENDORFER: Can you tell us about your relationship with Bsendorfer? You describe it as special and you call the piano she.Tori Amos: The Bsendorfers I play are definitely female, they have a female spirit, but that does not mean that they can-not think of stories that are about men. In calling her she I avoid a tiring or outgrowing of a name. This way, she can be who ever she wants to be on any given day. I appreciate more and more that she can take the personality of the songs on. For me, she is a friend that has without question never let me down, never. I might have let her down, but she has never disappointed me. She is a friend to scheme and dream with.

BSENDORFER: You recently visited the Bsendorfer shop in Vienna and tried out the new Silent piano. What do you think about it?Tori Amos: A few things crossed my mind at the time. You can have a secret, a music secret you can share with the silent piano. Sometimes music is not ready yet to be shared. The si-lent piano allows you to create your piece of music like a ma-ster chef preparing a meal. You can add all the spices and ba-lance them out. And then, only when you are ready, you serve it. Songs are not meant to be affected by everybody walking through, and everybody has a comment everybody believe me. I noticed that my whole life. People in big cities like New York work different hours, have different schedules, so you do not know when the best time is to play. It is also great for fa-milies when you do not have a lot of space. Kids can practise, people can play music, whilst others are working. I have an empty space in my apartment in New York that I am holding for a Bsendorfer Silent Piano: it is the perfect solution for urban and family living.

BSENDORFER: Do you always tour with your Bsendorfer pia-no and how does it travel?Tori Amos: Actually I tour with two, I have to because of logi-stics. For example Australia: we have a show in Adelaide and in Perth, which is across the country. So we go from Adelaide to Perth back to Sydney where we do three shows and then we go to Brisbane. Sometimes you cannot get the piano from one place to the other in time for the next show. That is why we always travel with two Bsendorfers. The goal is that they go by boat but sometimes they have to go by plane.

BSENDORFER: In your musical Light Princess there was a Bsendorfer in the pit even though you were not performing. Why did you want one for your musical?Tori Amos: Because a Bsendorfer was used in the recording as well. We had a Bsendorfer in the pit for every show. Its one of the ones that I tour with and that has all the energy. Actually she is the one where a lot of music for Light Prin-cess was written on with my partner Samuel Adamson. The next step is the album which we are excited about. It will be out on Universal Records next year. And of course the dream is to take the Light Princess to America.

BSENDORFER: On your web page you say when you stop put-ting yourself on the line and you do not touch your own heart, how do you expect to touch other people. Is this your philoso-phy in life and music?Tori Amos: Well, thats a good question. I think that listening is very important: listening to the world, to the things that happen. I listen to people, their reactions and feelings and I li-sten to nature. My philosophy is that to be a good musician is that I have to be a good listener. It is not about the making of the music, it is about what happens before I make the music. It is all about listening and resonating with the now.

BSENDORFER: Thank you so much for being such a wonderful ambassador for Bsendorfer.

To learn more about Tori Amos visit: www.toriamos.com

Tori Amos playing the new Silent Piano at the Bsendorfer shop in Vienna

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B S E N D O R F E R The magazine by Bsendorfer Austria

In our age of globalized standards it is becoming more and more difficult to define special qualities using places of origin as parameters of exclusivity. For example: The names of orchestras often refer to only one individual city, but their members have been educated in many different cit-ies, schools, many different traditions. In fact music business as such can be regarded as the first truly globalized market, music itself being an internationally understood language. Even more, music defines itself as being a tool to overcome borders, not only physically, but also mentally!

Why should it make sense therefore to define a typically Viennese sound, especially in respect to a specialized way of building pianos?

First of all let me state that such a definition should be good for every musician amateur or professional re-gardless of locality. It should be useful to promote pianos all over the world. Therefore the parameters should be defined in terms of the general musical language.

In these terms a BSENDORFER piano should have a clear, bright sound, which is mellow at the same time. It should be heard easily against a big orchestra, and at the same time be subtle enough not to cover a single violin or cello whilst playing chamber music; the instruments construction being light, though solid enough to stay in tune even in the most demanding parts of a recital. Its sound being at one time sim-ilar to a Hammerklavier for historic music and at the same time meeting the expectations of a contemporary composer using it partly like percussion. The piano should sing like an opera singer and accompany itself decently at the same time, in the same piece

Now a view back to the history of making music in Vien-na, especially in the nineteenth century, can be helpful indeed: Ignaz Bsendorfer, who had founded the factory in 1828, became famous for having built a piano that resisted the physical powers of the then young virtuoso Franz Liszt in his first legendary Viennese concert in 1838, when he had defeated three grand pianos that had given in with broken

An article from Prof. Johannes Kropfitsch, Head of Keyboard Studies and Vice-Dean at the Konservatorium Wien.

Viennese sound from an Artist and Composers perspective

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strings and damaged other parts. Thus stability became a brand quality, resulting in the fact that a BSENDORFER can last forever unless damaged by fire or water, or its wooden parts being used as heating material, as happened to some poor grand pianos exhibited in the Stadtsalon in the immedi-ate post war period (1945). But the BSENDORFER was (and still is) also the central instrument of the private living rooms and Salons of music loving aristocrats and bourgeoisie. It was (and still sometimes is) also the central part of many Coffee houses in the city. For many years the special Vien-nese action had to guarantee stability in castles and houses in regions far from access to piano tuners. Here it was (and still is) used not only as a solo- but much more as a reliable accompany-instrument, with a considerable percentage of wood components in its parts (making it possible to repair almost everything) and thus also create a sound similar to the string instrument and at the same time NOT overwhelm singers, string- and wind instruments. It is especially that lat-ter quality that makes a Bsendorfer a unique alternative to other pianos, covering a special lightness for the soloist as well as a beautifully clear but decent sound for chamber musicians.

In this sense Viennese sound can be defined as a wooden, handmade, individual, celestial sound full of historical as-sociations, and influencing modern times PIANISTS musical thoughts in the direction of pure humanity: BSENDORFER.

Johannes Kropfitsch (born 1960 in Graz, Austria) studied piano with Prof. Hans Graf at the University for Music and Performing Arts in Vienna. He received his diploma in 1985 with unanimous distinction. Further studies with Prof. Alexander Jenner, Stanislav Neuhaus and Wilhelm Kempff. He simultaneously studied law at the University of Vienna and was awarded his Doctorate in Law in 1987. During his studies he won many prizes and diplomas in piano competitions such as Viotti (1974) in Vercelli (Italy), Busoni (1976), Marguerite Long (1981) in Paris, Citt di Senigallia (1975) and the Bsendorfer Competition in Vi-enna, where the first prize was a new grand piano (1985).Since then Kropfitsch has had a remarkable career per-forming all over the world both as a soloist and chamber musician with his two siblings Elisabeth and Stefan, with whom he forms the world famous JESS-TRIO-WIEN, hav-ing its own concert series in the famous Mozart hall at the Konzerthaus in Vienna.In addition to the standard repertory he has played recit-als including all 24 Studies by Frdric Chopin, the entire Well Tempered Piano by Johannes Sebastian Bach and all the 32 Piano Sonatas by Beethoven.He is a specialist in the works of the 2nd Viennese School (Schoenberg, Webern, Berg) and a well known composer, his works being strongly influenced by both Viennese and Jazz elements.He has been sharing his knowledge with his students as a Professor for piano since 1998. In 2008 he became Head of Keyboard Studies and since 2014 Vice-Dean at the Kon-servatorium Wien (City of Vienna University for Music)

Johannes Kropfitsch

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Franz Liszt playing for Emperor Franz Joseph and Empress Elisabeth

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B S E N D O R F E R The magazine by Bsendorfer Austria

I n t e r n at i o n a l

The Anderson Museum of Contemporary Art (AMoCA) located in Roswell, New Mexico, is home to a new Bsendorfer model 280 (9 2) concert grand. The pianos journey to Roswell started with a conversation between mu-seum founder Donald B. Anderson and musician/composer Ted Schooley. Anderson had expressed his long time fascina-tion with the sound and quality of Bsendorfer instruments. He felt that a new concert grand would enrich AMoCAs mu-sic programming and complement the 24,000 square foot museums extensive collection of art by artists who have par-ticipated in the Roswell Artist-in-Residence program which Anderson founded in 1967.

Ted Schooley contacted Neal Hickson from PianoWerkes in Albuquerque, New Mexico who provided expert counsel and arranged travel for Ted to visit the Bsendorfer factory in Vienna. The piano I selected for AMoCA was chosen for its distinct Viennese sound, dark and intense, Schooley said.

On September 20th, brilliant Canadian concert pianist Dr. Christine Yoshikawa showcased the deep-rich tonal palette of AMoCAs new Bsendorfer during a gala Viennese Celebration for members only. Dr. Yoshikawa created a pro-gram of both classical and contemporary works revealing the Model 280s sweet, yet powerful, dynamic range.

The new Bsendorfer was made possible through a gener-ous gift from Donald and Sally Anderson. It has proven to be a bonus for the Anderson Museum of Contemporary Art and the cultural vitality of the Roswell area, Don Ander-son said. Sally Anderson added that coordinating the piano purchase through Neal Hickson at PianoWerkes was a won-derful experience they were very accommodating and ex-tremely professional.

The Anderson Museum of Contemporary Art opened its doors in Roswell, New Mexico, in 1994 to showcase works of art produced by former fellows of the Roswell Artist-in-Residence Program (RAiR). For more information please visit www.roswellamoca.org

Viennese gala celebration at the AMoCA Museum in New Mexico

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Dr. Christine Yoshikawa playing the new Bsendorfer model 280

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Carlo Grante at Lincoln Center in New York

Esteemed Italian pianist Carlo Grante presented a three-concert series on a Bsendorfer concert grand piano mo-del 280 entitled Masters of High Romanticism at Lincoln Centers Alice Tully Hall in New York City during the 2014/2015 concert season. Each program was devoted to a single Ro-mantic-era composer: Frdric Chopin, Robert Schumann and Johannes Brahms. The composers featured in Masters of High Romanticism are piano giants, Carlo Grante said, embodying the core of romantic music at its most expressi-ve. Each concert was devoted to works by a single composer, to highlight the unique contribution of each to the evoluti-on of form: the narrative, dancing, dreaming sound-world of Chopin, who virtually invented the Ballade as a musical genre and emancipated the Scherzo from its origins in dance; Schumanns creative expansion of sonata-form into a jour-ney of heroic proportions; and the inventiveness of Brahmss variation style, revitalizing an old form with the quintessence of his instrumental genius. While each program provides a full musical experience, he continued, the three-concert series intends to present a kind of guided tour through the mind of the Romantic musical creative artist, whose goal

was the most direct, intimate communication involving three parties: the composer, the performer and the liste-ner. Masters of High Romanticism was also presented in Vienna at the Musikvereins Brahms-Saal and in Berlin at the Philharmonies Kammermusiksaal.www.carlogrante.com

Carlo Grante performing at Lincoln Center in New York

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I n t e r n at i o n a l

A unique selection of traditional Viennese companies represented their products ranging from grand pianos, jewelry, lamps and finest bed linen to silverware: all made in Austria.

One of the outstanding examples of Viennese luxury at the exhibition was presented by the worlds oldest pre-mium piano manufacturer Bsendorfer, in close cooperation with the authorised Bsendorfer dealer in Moscow, Forte & Piano. The factory presented one of its masterpieces, tradi-tionally handcrafted in Austria a grand piano designed in close cooperation with the world-famous Porsche Design Company. The vocal repertoire of the well-known Austrian opera singer Daniel Serafin accompanied by the Boesendor-fer grand piano Design by F. A. Porsche perfectly comple-mented the cozy Viennese atmosphere during the evening.

According the motto Viennese Tradition meets Moscow, the WIEN PRODUCTS group presented traditional Vien-nese handcraft for the third time in Moscow. For one even-ing, the Heritage International Art Gallery in the historical center of Moscow was turned into a small Vienna with its relaxed atmosphere, luxury art and interior pieces as well as

the elegant guests from politics, economy, and highest levels of society and culture, as well as media representatives.

The exhibition was opened with words by the Austrian ambassador Margot Klestil-Lffler: These are not just Vi-ennese traditions but a perfect mixture of elegance, intellec-tuality and savoir de vivre, all of which are a symbol of Vienna and its life style. Most of the companies presented manu-facture art and interior objects by hand and do not try to es-tablish local production facilities in other cities of the world. The demand for such exclusive goods is increasing rapidly and supports the companies philosophy of traditional local craftsmanship.

Viennese Tradition meets Moscow

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Daniel Serafin accompanied by Bsendorfer model Porsche

On 4th December 2014 The Ritz-Carlton, Vienna hosted A Night of the Arts exclusively for members of The Ritz-Carlton Rewards programme. This unique occasion featured a one-of-a-kind look at the works of 19th century Austrian painters Gustav Klimt and Egon Schiele in partnership with international fine arts resource MasterArt Society. A private performance by Star pianist Marialena Fernandes was held on a Bsendorfer piano model Klimt which showed the fa-mous painting The Kiss inside the piano lid. The evening was complemented by an intimate four-course dinner and luxury overnight accommodations with a view over the Ring Boulevard. MasterArt Society (www.masterart.com) brings together renowned art professionals, affluent collectors and investors, as well as the worlds leading entrepreneurs bound together by a passion for beauty, an interest in pres-tigious cultural events, and an unrelenting desire to acquire the very finest in art.

Exclusively available to members of The Ritz-Carlton Rewards programme, a unique art exhibition of the works of Austrian painters Gustav Klimt, most famous for painting The Kiss, and Egon Schiele, provided by Wiener-roither & Kohlbacher Fine Art Gallery of Vienna was available for private viewing. During the four-course epicurean expe-

rience by Executive Chef Andreas Mahl, Andrea Glanninger-Leitner, a renowned art historian, specialized in Pre-Raphaeli-te works, Symbolism and Secession Art focusing on Klimt and Schiele, addressed the attendees.

For further event details, please visit www.ritzcarlton.com/en/Rewards/promotions/vienna.htm

A night of the arts at the Ritz-Carlton in Vienna

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Bsendorfer model Klimt with the famous painting The Kiss

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B S E N D O R F E R The magazine by Bsendorfer Austria

: M

arial

y Pache

coMarialy Pacheco, born in Havana, Cuba, grew up in a mu-sical environment: singing and piano, Bach and Bartok both of her parents are classically trained musicians her mother is a choir director and her father is an opera singer. At her own request, she received piano instruction at the Con-servatorio Alejandro Garca Caturla in Havana at the age of seven. At 15, she attended the Escuela Nacional de Artes in Havana. Studying music in Cuba is geared entirely towards classical music; Latin jazz and salsa only existed between classes and during semester breaks. The turning point came in the form of a CD The Kln Concert by Keith Jarrett, which opened up a whole new world to Marialy. Yet she first com-pleted the Conservatorio with honors and commenced a three-year study of composition with Tulio Peramo Cabrera at the Instituto Superior de Arte in Havana.

Marialy became the piano accompanist for her mothers choir, VocaLeo, which is also known outside her coun-try. A period of travel followed. In the meantime 2002 Marialy participated in the Cuban Jo Jazz Competition for up-and-coming artists in Havana, with Grammy winner Chu-cho Valdes as head of the jury. For the first time, she was able to share her passion for jazz with an audience. She won first prize and with it her first solo CD recording. In 2004, she once again toured with her mothers choir this time to the Choir Olympics in Bremen, Germany and won two gold medals together with the choir.

Second prize for the composition of her work Gajira para Tulio for string orchestra, by the Choral Gables Congre-gational Church in Florida, USA, followed. She became the first woman to win the solo piano competition at the Mon-treux Jazz Festival in Switzerland in 2012, and that same year she won the Jazz Award from the Queensland Music Awards in Australia for her works for the Jazz Trio Dresden.

As a guest soloist, Marialy Pacheco has played with the Australian guitar virtuoso Tommy Emmanuel, trumpet-ers James Morrison and Joo Kraus, percussionist Rhani Krija and the Cuban pianist Ramon Valle.

When you meet Marialy, you feel a balance, deep spir-ituality, joy, clarity, a strong identity, as well as frag-ile moments, simple and unquestioning all this is reflected in Marialys playing a tree whose roots are deeply anchored in the Cuban tradition yet the branches have found their place throughout the world. Regardless of whether she plays Bach, contemporary jazz or Latin American music she is able to fuse all styles into her own sound the result is al-

ways unique and unmistakable. (Rhani Krija Percussionist, STING, October 2014)

As a jazz pianist, Marialy Pacheco has made guest ap-pearances in Tokyo, Milan, St. Moritz, Poland, the Czech Republic and Australia, where she also performed J. S. Bachs Concerto No. 7 in D minor as a classical pianist with the Queensland Symphony Orchestra conducted by Gustavo Gi-meno. She was the only jazz pianist to share the stage with international classical music stars, including Paul Badura-Skoda, Valentina Lisitsa and Maria Mazo, in a gala concert at the Vienna Musikverein for Bsendorfers 185 anniversary.

Marialy Pacheco was trained for a career as a classical pianist up to the age of 17, yet she eventually found her calling in another musical genre: Jazz gives me the freedom to play from the heart and to be creative. My music comes from the heart; its the only way I can really express myself. The only thing I can do in life is play piano.

For further information, visit: www.marialypacheco.com

Marialy Pacheco Welcome to the Bsendorfer Artist FamilyI was so incredibly happy this is like a musical knighthood for me! To play on a Bsendorfer and now also as an official Bsendorfer Artist to get to be an ambassador of this fantastic manufacturer inspires me immensely the perfect sound for my way of playing.

A r t i s t s

Marialy Pacheco

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A r t i s t s

Ambrosio Valero was born in Granada coming from a fam-ily of musicians. At the age of four he began playing the piano. He was introduced to his music studies and also to the special qualities of Bsendorfer grand pianos by his father. At the University of Music in Granada he studied with Jos Luis Hidalgo. He has been given advice by many Maestros including Joaqun Achucarro, Daniel Barenboim, Vladimir Ovchinnikov, Jean Phillippe Collard, Ramn Coll, Christopher Elton, Bruno Canino, Pascal Rog, Jorge Luis Prats, Manuel Carra, Antonio Iglesias, Xenia Knorre, Daniel Blumenthal, Krystyna Makowska, among others.

Valero received a scholarship from International Course Msica de Compostela which is dedicated entirely to Spanish music. Valero studied at the International University of Andalusia. He passed his concert exam with the highest rating of summa cum laude. He finished the superior grade of music at the Royal Conservatory of Music Victoria Eugenia in Granada with distinction under the supervision of Antonio Snchez Lucena.Originality and perfection techniques are qualities that char-acterise Ambrosio Valero. [] With a pianissimo full of lyricism and poetry. [] Ambrosio is a pianist with a deep perception of music and with an unmistakable and personal sound. [] One of the most important values of piano playing actually. (Julia Alonso, Ritmo)

His activity as a soloist already has taken him to four continents. He performs in recitals, orchestras and as a soloist. Several recordings have been made for Spanish Tele-vision, Spanish National Radio and Bulgarian National Televi-sion. Ambrosio Valero won many national and international awards including the first prize in the soloist competition of the Professional Conservatory of Music Angel Barrios and pi-ano solo competition of the Royal Conservatory of Music Vic-toria Eugenia in Granada. He received the National Award Manuel de Falla and the National Piano Competition Ciudad de Albacete, in which he obtained every possible award: first prize for the best interpretation of Beethovens music and best interpretation of Chopins music as well as best interpre-tation of Spanish music.

Valero has been well regarded by the Cervantes Institute. He participated in several national and international competitions, such as the National Piano Competition Mari-sa Montiel, the International Piano Competition Ciudad de Campillos, the International Piano Competition Delia Steim-berg, the International Piano Competition of Ibiza, the

Rotaract Rotary International Piano Competition and the International Piano Competition Frechilla-Zuloaga. He also received a medal as a special prize for the best interpretation of the music of the Spanish composer Mompou and a special prize for the best Spanish pianists at the Maria Canals Inter-national Piano Competition in Barcelona.

Ambrosio Valero is a founding member of the Andalusian Contemporary Ensemble. It was formed with the aim to introduce the contemporary Andalusian music worldwide. I dedicate my day studying always to try to improve. But when I close the lid of my piano I enjoy a normal life. I am a fan of Real Madrid and love to play football with my friends. Riding my Vespa and playing with my dog, a beautiful Ger-man shepherd, are great passions of mine.For more information please visit: www.ambrosiovalero.com.

Ambrosio Valero Welcome to the Bsendorfer Artist FamilyI have a special relation with Bsendorfer pianos. I am passionate about the brand and con-sider the Imperial as an extension of my musical thoughts. Its a great honour for me to be now a part of this family of artists. The official nomination as Bsendorfer artist in Vienna was one of the best days in my life.

Photo: Sa

ra Ru

ano/Dr

op Artist

Ambrosio Valero

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B S E N D O R F E R The magazine by Bsendorfer Austria

This June, The Music Hall of Harbins Old Synagogue or-dered a Bsendorfer grand piano model 225. The fi rst classic concert with this grand piano was held on July 1st. The historical Synagogue was established in 1907 and is now one of the heritages of China. In the early 20th century there lived around 3.000 Jewish persons in Harbin-city. Their business had fl ourished and they contributed to the development of this city.

In the late 20th century a new Synagogue was built. The old Synagogue remained and was used for cultural events or for wedding celebrations for the citizens. In 2013 Harbin-city renovated it and opened the music hall for Harbins citizens. The Hall holds top class concerts by top pianists and orches-tras 4 times a week (around 200 concerts per year) and make the Viennese sound and charm accessible to the musical public here in China.

In addition, Harbin-city in China and Wiener Neustadt in Austria (manufacture location of Bsendorfer) are partner-cities. Both of them hold events to strengthen cultural ex-

In June, Yamaha Music (Asia) delivered a Bsendorfer Model 290 Imperial to the Yong Siew Toh Conservatory of Music. The Yong Siew Toh Conservatory of Music, National University of Singapore (YSTCM) is the largest music Institution in Sin-gapore. It offers a unique and adventurous 21st century Asian environment in which it trains and educates performers, composers and recording engineers. For 10 years, it has ena-bled over 280 students of YSTCM to take advantage of future professional and artistic opportunities worldwide.

Currently, 220 of Asia-Pacifi c regions most talented young musicians come to the Conservatory from twenty-two countries. The Conservatory offers a four-year, full-time under-graduate Bachelor of Music degree programme, with a strong focus on music performance, composition, and recording arts and science, supported by a well-balanced and integrated ac-ademic curriculum. This year, the Conservatory will also offer the Master of Music programme. Classes are conducted by a distinguished faculty drawn from over 10 countries.

The Conservatory also holds regular concerts (sometimes with International artists) for the public and now with the Imperial grand piano being available, we trust that more mu-sic lovers in Singapore will get to enjoy the beautiful Viennese sound of Bsendorfer.

change with the support of the Mayor of Wiener Neustadt, representatives of the Bsendorfer Piano Company and the local dealer.

The Music Hall in Harbins Old Synagogue (China)

Yong Siew Toh Conservatory of Music (Singapore)

I n t e r n at i o n a l

The Yong Siew toh Conservatory of Music, National University of Singapore (YSTCM)

Old Synagogue in Harbin

Photo: Yamah

a Mus

ic Ch

ina

Photo: National University of Singapore

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COLLECTORS ITEM

Empress Maria Theresa used Schnbrunn Palace as her Imperial summer residence and it became a glamorous focus of court life. Leading statesmen and great personalities from the arts and culture were amongst the many guests. Even the six-year-old Mozart performed in this select at-mosphere. The buildings, gardens and internal decorations were all part of the overall baroque design. Perhaps inspired by the magnifi cent gardens of Schnbrunn, the famous 18th century Bohemian ornamentalist painter, Johann Wenzel Bergl, covered several ceilings and walls of the palace with detailed scenes of nature. Later these were also enjoyed by the nature-loving Empress Elisabeth (Sissi). Furniture and pi-anos were often richly decorated with ornamental designs, plant and animal motifs created with various types of inlaid wood veneer.

Our model Schnbrunn is the second in our limited edition Marquetry Series. It is a tribute to the pal-aces magnifi cent gardens and murals and a dazzling snapshot of nature. The edition is limited to nine instru-ments and each will have an individually numbered solid brass plate.

We are very pleased that our Model Schnbrunn was received so well at its Namm Show launch in the US that it was sold out at the end of the show. Orders were taken from the USA, Canada, Hong Kong, Japan and China.

Bsendorfer Special Model SchnbrunnImperial splendour, music and magnifi cent gardens

Top: A special feature of our marquetry work is its three dimensional effect. This is created by using the traditional sand shading technique on the coloured wood.

Photo: Da

vid M

. Peters

SENDER: L. Bsendorfer Klavierfabrik GmbH Bsendorferstrasse 12 A-1010 ViennaPostage paid. Publishers post offi ce: 1010 Vienna