Pizzicato: Shanghai Isaac Stern Competition Announces Record Number of Applicants
Organizers for the Shanghai Isaac Stern International Violin Competition (SISIVC) announced that a total of 174 applicants have been submitted for this year’s edition, an increase of more than 22% from the inaugural competition in 2016 (142 applicants).
Pizzicato
Organizers for the Shanghai Isaac Stern International Violin Competition (SISIVC) announced that a total of 174 applicants have been submitted for this year’s edition, an increase of more than 22% from the inaugural competition in 2016 (142 applicants).
Applicants hail from 33 countries and regions, an increase of 27% from 2016 (26 countries and regions). The greatest area of growth, by a significant margin, was in non-Chinese applicants (65% growth vs. 2016). Applicant countries/regions this year include: Australia, Azerbaijan, Bolivia, Canada, China, Czech, Ecuador, France, Georgia, Germany, Greece, Hong Kong (China), Ireland, Italy, Jamaica, Japan, Kazakhstan, Kenya, Latvia, Libya, Malaysia, Netherlands, Poland, Russia, South Korea, Spain, Sweden, Switzerland, Taiwan (China), Ukraine, United Kingdom, United States, and Vietnam.
More than 90% of the applicants for the 2018 SISIVC have won prizes in national and international competitions and most are graduates or are currently attending premier music schools and institutions.
For the full article, click here.
Broadway World: Anne Akiko Meyers And San Diego Symphony To Stream World Premiere Of Adam Schoenberg's Violin Concerto
Superstar violinist Anne Akiko Meyers and the San Diego Symphony will present the world premiere of Adam Schoenberg's Concerto "Orchard in Fog" for Violin and Orchestra. 2018 Grammy-nominated composer, Adam Schoenberg, wrote this work for violinist Anne Akiko Meyers who will perform with Sameer Patel conducting the San Diego Symphony Orchestra in performances Saturday, February 10, 2018, at 8pm and Sunday, February 11 at 2pm.
Broadway World
Superstar violinist Anne Akiko Meyers and the San Diego Symphony will present the world premiere of Adam Schoenberg's Concerto "Orchard in Fog" for Violin and Orchestra. 2018 Grammy-nominated composer, Adam Schoenberg, wrote this work for violinist Anne Akiko Meyers who will perform with Sameer Patel conducting the San Diego Symphony Orchestra in performances Saturday, February 10, 2018, at 8pm and Sunday, February 11 at 2pm.
The Sunday performance can be viewed at www.facebook.com/theviolinchannel/ at the following local times: 2:00 pm PST, 5:00 pm EST, 10:00 pm London (GMT), 7:00 am Tokyo (GMT+9).
Anne Akiko Meyers is one of the most popular violinists in the world, regularly appearing as guest soloist with the world's top orchestras, presenting groundbreaking recitals and receiving universal acclaim as a best-selling recording artist with 36 albums releases. She has closely collaborated and commissioned composers including Mason Bates, John Corigliano, Wynton Marsalis, Arvo Pärt and Einojuhani Rautavaara.
Composer Adam Schoenberg was recently named one of the top 10 most performed living classical composers by orchestras in the United States. He also received two 2018 Grammy nominations for his self-titled album.
WQXR: Yeethoven - Great Minds Think Alike: Kanye West vs. Beethoven
After the success of 2016’s Yeethoven composer and arranger Johan and conductor Yuga Cohler have returned for Yeethoven II, a concert focused on the similarities between the artistry of Kanye West and Ludwig van Beethoven. Besides just having a great name — who wouldn’t want to explore the limits of that wondrous portmanteau — the creators of the project see it as a way to explore the ways in which artists at the top of their game can have a deep impact on the culture beyond their musical influence.
WQXR
James Bennett, II
Kanye West and Beethoven
After the success of 2016’s Yeethoven composer and arranger Johan and conductor Yuga Cohler have returned for Yeethoven II, a concert focused on the similarities between the artistry of Kanye West and Ludwig van Beethoven. Besides just having a great name — who wouldn’t want to explore the limits of that wondrous portmanteau — the creators of the project see it as a way to explore the ways in which artists at the top of their game can have a deep impact on the culture beyond their musical influence.
With Kanye’s release of 2013’s Yeezus, the Yeethoven creators were taken by his abandonment of verse-chorus-verse conventions of most popular music and his embrace of a freer, more adventurous sound. Johan and Cohler worked backwards to find Beethoven, but believe their connections fit. For example: the dynamic shifts in the first movement of Beethoven’s Fifth Symphony share a similar quality with Kanye’s “Blood On the Leaves.”
Some may bristle at the mere mention of these two names in the same breath, but if you look hard enough, it isn’t difficult to find parallels between the two — or of many great artists, for that matter.
For the full story by WQXR, click here.
Ridgefield Press: Yuga Cohler takes over as Ridgefield Symphony Orchestra music director
After a search process that spanned two seasons and saw four exceptional finalists conduct concerts before large and enthusiastic audiences, the Ridgefield Symphony Orchestra has named Yuga Cohler as the orchestra’s new Music Director.
The Ridgefield Press
Laurie Kenagy
After a search process that spanned two seasons and saw four exceptional finalists conduct concerts before large and enthusiastic audiences, the Ridgefield Symphony Orchestra has named Yuga Cohler as the orchestra’s new Music Director.
Cohler will make his debut in his new role at the May 5, 2018 concert at Anne S. Richardson Auditorium at Ridgefield High School. The RSO Board of Directors appointed Maestro Cohler following the unanimous recommendation of the Music Director Search Committee comprised of RSO musician representatives, board members and executive director. The Search Committee received extensive input from surveys sent to RSO musicians and audience members following each of the finalists’ concerts.
Read the full article here.
International Piano: Yekwon Sunwoo at Portland Piano International
Ever since Yekwon Sunwoo won the Van Cliburn Competition last June, he has been concertizing extensively. Sunwoo showed no signs of jetlag in his performance at Lincoln Concert Hall in Portland, Oregon.
International Piano
James Bash
Sunwoo showed no signs of jetlag in his performance at Lincoln Concert Hall. His immaculate playing of Schubert’s Sonata in C minor D958 was filled with subtle nuances such as a slightly slow tempo for the recapitulation of a theme, which made it linger seductively. In the final Allegro he delivered a lightly rocking rhythm that became more demonstrative yet never overstated. The many hand-crossings were incisively executed, and the overall effect of the piece was emotionally satisfying.
Read the full review in International Piano‘s January/February 2018 issue, available digitally here.
21CM: The Future of Classical Music is... Instagram?
I’ve been thinking about content as the engine behind transforming listening experiences ever since I came across Ray Lustig’s composagram project. These are typically 15-second musical moments set to video and published on Instagram. Lustig developed the project as a “low-stakes creative exercise,” but what sets this project apart is both its integration with technology and the cumulative effect of the pieces.
21CM
Elizabeth Nonemaker
We classical musicians have changed a lot about our concerts. More and more, we’re playing in nontraditional venues, we’re relaxing show etiquette, we’re developing programs that interact with audience members or respond to their needs.
I’ve been thinking about content as the engine behind transforming listening experiences ever since I came across Ray Lustig’s composagram project. These are typically 15-second musical moments set to video and published on Instagram. Lustig developed the project as a “low-stakes creative exercise,” but what sets this project apart is both its integration with technology and the cumulative effect of the pieces.
Read the full article on 21CM's website here.
New York Arts: Haochen Zhang at Carnegie Hall
It is clear that Haochen Zhang is a musician of extraordinary technical mastery and perception. Born in 1990, he is a graduate of the Curtis School of Music, where he studied under Gary Graffman, and winner of the Van Cliburn International Piano Competition—no mean credentials!
New York Arts
Michael Miller
Carnegie Hall, Zankel Hall
Saturday, November 18, 2017 7:30 PM
Haochen Zhang, Piano
Schumann – Kinderszenen, Op. 15
Schumann – Symphonic Etudes, Op. 13
Liszt – Transcendental Etude No. 5 in B-flat Major, “Feux follets”
Liszt – Trancendental Etude No. 12 in B-flat Minor, “Chasse neige”
Janáček – In the Mists
Prokofiev – Piano Sonata No. 7 in B-flat Major, Op. 83
I hesitate to review Haochen Zhang‘s impressive recital, because a previous commitment made it possible to hear only the second half. Even that, however, made it clear that he is a musician of extraordinary technical mastery and perception. Born in 1990, he is a graduate of the Curtis School of Music, where he studied under Gary Graffman, and winner of the Van Cliburn International Piano Competition—no mean credentials! He is already regarded as something of a hero in China—or, should I say, superstar—as a packed Zankel Hall attested: there were numerous contingents of Chinese families bringing children to inspire them and countless young Chinese women. I have never seen a performer, male or female, accoladed with so many bouquets. I should mention one bit of local color before moving on to the music, which was a teenager explaining to his younger brother (10 or so) about the Well-Tempered Clavier. Where else would one overhear an interchange like this between two young brothers?
In any case Haochen Zhang’s Liszt proved both musical and highly virtuosic. The grand fortissimi were powerful and the more introverted moments properly subdued. Even at the loudest bars, he maintained a warm, pleasing tone. Zhang’s approach to texture is selective. He blurs arpeggi with ample pedal, but at the same time he makes particular lines he wishes to emphasize stand out clearly. He is less interested in overall detail and clarity—a technique which should stand him in good stead when he plays in larger halls than Zankel.
One blessing this program offered was an opportunity to hear Janáček’s In the Mists complete. Mr. Zhang’s basic sound is large, but within this he was able to explore the more intimate aspects of these highly personal expressions. The composer’s tempi are largely slow: Andante-Molto Adagio-Andante, concluded by a Presto, which is a true presto only for a few moments. Each movement begins with a distinct tune of a melancholy bent, suggestive of Czech folk-music, which slips into either more rhapsodic, more passionate, or even pained excursions. Following the melodies is the essence of this work. This was a committed performance which visited many corners of Janáček’s tonal and dynamic palette, if there was anything to criticize, it might be that Mr. Zhang made the pieces seem more virtuosic than they actually are, and the music became rather too busy for us to enter into its melodic and poetic dimensions.
Mr. Zhang closed the program with Prokofiev’s Piano Sonata No. 7, a bright, virtuosic work, which enabled him to go out in a blaze of technical display, but not without musical substance. The first movement is troubled and dramatic, the second more intimate and lyrical.
One felicitous gambit of Mr. Zhang’s appeared in several of the more intimate sections. He likes to slow the tempo slightly and holds to a steady meter and appropriate pianissimo. This reminded me of a similar approach which Alfred Brendel favored, when he was playing. However, as Zhang handled them, these passages sounded all the same. The mood, texture, and color seemed imposed like a method rather than like an expression that emerged organically from the music that preceded it. Perhaps this is a reminder that Haochen Zhang is only twenty-seven, something we are like to forget, given the general maturity of his playing. We can look forward to many years of outstanding playing and musical development ahead.
After the concert Mr. Zhang, surrounded six deep by his young countrywomen, signed copies of his latest CD on the BIS label. This includes Schumann’s Kinderszenen, which he played in the recital (before my arrival, unfortunately!), Liszt’s second Ballade, Janáček’s Sonata “From the Streets”, and Brahms’ Three Intermezzi, Op. 117. As we await Haochen Zhang’s return to New York, we can enjoy his playing on this excellent disc.
BBC Music Magazine: Yekwon Sunwoo's Cliburn Gold 2017
"Superbly assured pianism from the recent winner of the Van Cliburn competition, sensitive in Haydn and full-blown in Ravel’s La Valse." - Rebecca Franks, BBC Music Magazine, Cliburn Gold 2017
BBC Music Magazine
Rebecca Franks
Cliburn Gold 2017 (4-star rating)
Superbly assured pianism from the recent winner of the Van Cliburn competition, sensitive in Haydn and full-blown in Ravel’s La Valse.
Top 17 of '17
8VA's Top 17 of '17
January 2017
Strings Magazine
Inaugural Youth Music Culture Guangdong feature
April 7, 2017
WQXR
Israel Chamber Project performs on a WQXR Facebook livestream
May 1, 2017
The Guardian
In-depth interview with Maestro Long Yu covering his musical inspirations
May 18, 2017
New York Times
Grand Teton Music Festival featured as one of top 10 Spring and Summer Classical Festivals
June 16, 2017
New York Times
The Fifteenth Van Cliburn International Piano Competition gold medalist, Yekwon Sunwoo performs on New York Times' Facebook Livestream.
June 29, 2017
Agence France-Presse (AFP)
AFP features a story about Serenade! Washington DC Choral Festival, produced by Classical Movements, which is picked up by outlets such as Daily Mail
July 2017
OperaWire
A feature on Classical Movement's Prague Summer Nights (PSN) in addition to reviews of PSN operas including Die Zauberflöte and Le Nozze Di Figaro plus more.
August 4, 2017
Times Square Billboard
Beijing Music Festival (BMF) and Long Yu featured in Times Square in celebration of BMF's 20th anniversary
August/September 2017
The Economist 1843 Magazine
Grand Teton Music Festival featured as a cultural event worth traveling for
September 2017
Gramophone
Gerard Schwarz celebrates his 70th birthday with a 30-disc retrospective
October 10, 2017
Strings Magazine
Julian Schwarz guest blogs about the whimsical passion of Lalo's Cello Concerto in D minor
November 18, 2017
Haochen Zhang sells out solo recital debut at Carnegie Hall
January 2018
BBC Music Magazine
Anne Akiko Meyers's performance of Bernstein's Serenade featured in BBC Music Magazine's CD mount.
February 2018
Strings Magazine
Highlights of the 20th Beijing Music Festival in October 2017
MWA Quarterly: Notes on a 21st Century Virtuoso, Yuga Cohler
From music to tech, Yuga Cohler evades classification, using his brilliant mind to create innovative, one-of-a-kind experiences.
MWA Quarterly
By Karine Monié
FROM MUSIC TO TECH, YUGA COHLER EVADES CLASSIFICATION, USING HIS BRILLIANT MIND TO CREATE INNOVATIVE, ONE-OF-A-KIND EXPERIENCES
Music has always been part of Yuga Cohler’s life, but it took him a few years to feel passion for it. “Both of my parents are musicians, so I started at a very early age— piano at 3 and violin at 5,” he says. “However, I didn’t really start enjoying music until I was 12, when I went to my first music camp.” Since then, Cohler has never put aside creative discipline, which today is an important part of his life.
At only 28 years old, Cohler is already an internationally-known orchestral conductor, while also working as a senior software engineer and manager at Google, having graduated summa cum laude in computer science from Harvard University. “My grandfather is a computer scientist and he taught me QBasic when I was 6,” he says. “It aroused my interest in math, logic and puzzles. I think that an understanding of the systemic facets of technology that my work cultivates—an appreciation for design, an apprehension of large-scale systems, a belief in process—is essential to anybody looking to engage in 21st-century culture.”
As if it isn’t enough to be a science expert, Cohler is also a musical genius. These seemingly disparate fields are complementary for Cohler. “My junior year of college, I interned at Goldman Sachs as a strategist in the investment banking division,” he confesses. “I worked 11- to 12- hour days and listened to Kanye West all day long at my desk. Through that experience, I came to understand that the structures underlying Kanye’s music are no different from those that underlie classical music, and thought it would be interesting to put on concerts that explicitly point out similarities like these.”
Appointed music director of the Young Musicians Foundation (YMF) Debut Chamber Orchestra in Los Angeles in 2015, Cohler explored this idea of combining popular and classical music through “The Great Music Series,” starting with “Yeethoven,” a concert that boldly compared the works of Kanye West and Beethoven. “Many of the best cultural innovations are born from combinations of distinct traditions,” explains Cohler, referencing modern cuisine as an example. “Popular music owes much of its theoretical backbone to the tradition of Western classical music, and I think the values inherent in classical music can help popular music evolve in interesting ways. At the same time, classical music can learn from the iron-clad ties to modern-day culture by which popular music is defined.”
Listening to hip-hop, electronic music, Korean and Japanese pop, among many other genres, Cohler’s open mind and impressive path are a testament to both his talent for and love of innovation that he showcases all over the planet. Having a close relationship with the Tokyo Philharmonic Orchestra, Cohler appeared several times in concert on Japanese national television and recently did an international tour with the orchestra and musician Yoshiki. Frequently invited to Europe and different places in the United States, and currently a director of the Asia/America New Music Institute, Cohler is successful in everything he does. Although Cohler is unconvinced that music is essential, “...I think it’s inevitable,” he offers. “You don’t need music to survive, but if you’re surviving, you’re probably either consuming or producing music. For me, music is a platform through which you can reach anybody, because it’s not tied to any predetermined meaning. That lack of intrinsic significance makes music an ideal medium for a type of universal communication.”
Reaching all types of communities through the vitality of an orchestra, transcending categories while inventing another, more global vision is definitely among Cohler’s most impressive skills. With his creativity and ambition exceeding music, Cohler describes his dream project: “A start-up/media company that produces content designed to make its audience think more deeply and deliberately. It would promote and provoke thought by integrating the expected with the unexpected, the commonplace with the extraordinary, the popular with the sophisticated.” Some people are born with many talents and they know how to make the most of them. Whether through music or technology, Cohler always finds a way to create something unique from a variety of influences.