Embassy Support for APPC.
We are very pleased to announce and acknowledge
the assistance provided by both the Embassy of the France and the Embassy of
the United States of America. The embassies in Canberra join Yamaha Australia,
Hal Leonard Australia and the ACT Music Teachers' Association as generous and
much appreciated supporters of the 8th Australasian Piano Pedagogy Conference.
4:00 pm Monday 2 July.
The Conference Registration desk will be open in
the main entrance foyer at the ANU School of Music at 4:00 pm on Monday 2 July,
and from 8:00 am each morning. Once you have registered you need not return
to this desk unless seeking information. You can instead go directly to other
venues, such as University House or Rehearsal Room 3, or visit the exhibitions.
Sample bags will be provided at registration and will contain Conference diaries
with full listing of all events, background information on keynote speakers,
presenters and performers, program or workshop notes, relevant maps, pens and
other essentials as well as promotional materials.
What is Provided
Everything listed on the program except dinners
are provided as part of a full conference registration. Morning and afternoon
teas, lunches, Welcome and Farewell drinks on Monday and Friday, bus transfers
to and from the National Gallery, and the evening concerts are all included.
If you are a full-time tertiary student with full student registration this
also applies. If you are attending for one or two days, then all that is listed
for that day is provided (dinner excluded).
Dinners can be taken at restaurants or fast food bars, in groups or individually.
The free buses will take you there and back. You will need to provide for your
Breakfast on the
The ANU School of Music has its own Biginelli Espresso
cafe on Level 5. It is open from 8:30am each day of the conference for fresh
but fast breakfasts. So, if you are passing by the registration desk or exhibitions
en route to University House or the Shine Dome, Biginelli's is a much recommended
place to begin the day.
at Fairfax Theatre, NGA.
These will be open to members of the public on
all three nights. Tickets will be limited to seats not taken up by conference
participants and will be sold in the NGA foyer from 30 minutes prior to each
performance. Tickets can only be purchased 'at the door' and will cost $20 full/
$10 concession/$5 student.
Half Day Registrations
In recognition that many teachers will be unable
to attend even full day sessions, we offer special half day registrations. These
are 'austere' packages, since they offer no lunch, sample bags or evening concerts.
The morning sessions on Tuesday, Wednesday or Thursday can be accessed for $50
each. The same is true for afternoon sessions, but not evening sessions where
tickets to individual concerts must be purchased separately.
Half-day registrations can be purchased in advance by emailing Richard.Gorrell@anu.edu.au
or calling Richard at the ANU School of Music, Monday to Thursday (02 6125 5780)
in the week before the conference, or 'at the door' each day between 8:00 and
9:00 am (for morning sessions) and 12:30 to 1:15 (for afternoon sessions).
TWO CONFERENCE EXHIBITIONS
'A selection of keyboard-related rare manuscripts and facsimile editions from
the National Library of Australia and the ANU School of Music Library', will
be open daily during the conference in the School of Music Library 9am-5pm.
'The ANU Keyboard Institute Collection:
historical keyboard instruments and instruments of national cultural significance'
will be on display in the ANU School of Music, Rehearsal Room 2, from 9am-5pm
daily during the conference.
Larry Sitsky's Recital Program
Larry Sitsky will
give his Conference recital at University House on Wednesday 4 July. He will
Anton Rubinstein: Theme and Variations op.88 - on a piano of Rubinstein's
time (the ANU Keyboard Institute's Rönisch).
Albert Tiu's Recital Program Announced
||Etude Op.25 No.9 in G-flat major “Butterfly”
||Etude Op.42 No.3 in F-sharp major “Mosquito”
||Mazurka Op.6 No.1 in F-sharp minor
||Mazurka Op.3 No.2 in F-sharp minor
||Impromptu Op.51 in G-flat major
||Impromptu Op.12 No.1 in F-sharp major
||Waltz Op.42 in A-flat major
||Waltz Op.38 in A-flat major
|Chaconne in D minor for the right* hand alone
||Preludes Op.28 Nos. 1-8, arranged for the right hand alone
by Albert Tiu
||No.1 in C major
||No.2 in A minor
||No.3 in G major
||No.4 in E minor
||No.5 in D major
||No.6 in B minor
||No.7 in A major
||No.8 in F-sharp minor
|Prelude Op.9 No.1 in C-sharp minor
||Nocturne Op.9 No.2 in D-flat major for the right* hand alone
||Studies for the right* hand alone
||No.12a (Op.10 No.5) in G-flat major
||No.5 (Op.10 No.3) in D-flat major
||No.22 (Op.10 No.12) in C-sharp minor
*originally written for the left hand alone
THE PAUL McNULTY FORTEPIANO
The terms ‘piano’, ‘pianoforte’, piano e forte’
and ‘fortepiano’ are used to describe a touch-sensitive keyboard
instrument in which strings are struck by rebounding hammers. During the eighteenth
century and the first half of the nineteenth century, all these terms were used
interchangeably. Today, the term ‘fortepiano’ is used to describe
pianos whose design originated prior to the early-nineteenth century, in order
to distinguish them from later instruments.
The fortepiano to be used used in the Thursday evening recital entered the
collection of the ANU Keyboard Institute in 2005, and is a copy by the American
fortepiano maker Paul McNulty (Divisov, Czech Republic), of an instrument made
in 1796 by the Viennese fortepiano maker Anton Walter. The instruments of Anton
Walter represent one of the pinnacles in the development of the piano. The French-polished
veneer, ormolu, and enamel nameplate represent characteristic decorative features
found on Walter’s more expensive pianos.
The instrument has two knee-levers under the keyboard. The right-hand knee-lever
raises the dampers; the left-hand knee-lever engages the ‘moderator’
(a mechanism that interposes a series of cloth tongues between the hammers and
the strings, so that the hammers strike the strings through the tongues; this
creates a dark, distant, muted sound).
The action of Walter’s pianos includes a back-check (a back-check prevents
the hammer, once it has struck the string and fallen back, from bouncing up
again and re-striking the string). The presence of a back-check enables the
pianist to play not only forcefully (thus, loudly), but also with a greater
dynamic range than is possible on a fortepiano without one.
Many of the greatest musicians of Vienna favoured Walter’s fortepianos.
Mozart premiered his mature concerti on his (still extant) Walter fortepiano,
and Beethoven used one at least until 1800. Walter’s pianos were regarded
as appropriate instruments for those pianists who preferred a powerful, overtly
virtuosic, ‘public’ style of playing. Both Mozart and Beethoven
preferred Walter’s instruments. Haydn however, preferred the instruments
of Wenzel Schantz (without a back-check).
The Jahrbuch der Tonkunst von Wien und Prag (1796) characterized players of
the instruments of Walter and Schanz in the following way:
By close observation we can detect two classes of players amongst our best
piano players. One of these classes loves a great musical treat, that is, a
powerful sound; to that end they play with a rich texture, extremely fast, study
the most difficult runs and the fastest octaves…For the virtuosi of this
kind we recommend the Walter style of piano. The other class of player seeks
nourishment for the soul, and loves playing that is not only clear but also
soft and melting. These can choose no better instrument than the [Schanz] type.
Furthermore, the Jahrbuch states that Walter’s fortepianos have “a
full, bell-like tone, a clear response, and a very strong, full bass.”
The APP Conference will provide buses to transport all to and from the National
Gallery of Australia on Tuesday, Wednesday and Thursday nights. Our buses will
also provide free transport to and from restaurants during the dinner intervals
each night. This will allow everyone to visit restaurant zones where a wide
variety of meals can be purchased. It will also be possible for groups to book
restaurant tables in advance through the Conference administration. The restaurants
already identified on this website are included in one of the zones: Civic -
ANU. The other zone will be Kingston-Manuka.
The 'Conference Dinner' at the NGA, canvassed in May, WILL NOT PROCEED. Although
it received an enthusiastic response, fewer than 20 gave an undertaking to attend.
We needed at least 50. Still, it will be possible to organise a similar event
for a smaller group at another location, using the buses and the Conference
administration, during the Conference.
The Dennis Condon Piano Roll Collection
Day 2 of the APPC will feature piano rolls from the Dennis Condon Collection,
played on the Yamaha Disklavier and introduced by Dr Geoffrey Lancaster AM.
Granados, Grieg, Fauré, Debussy, Skryabin, Rakhmaninov and Gershwin will
perform their own piano music ‘live’ in the following program.
GRANADOS plays El Pelele (The straw doll)
LISZT Gnomenreigen (The gnomes’ round-dance) – Played by Ferruccio
CHOPIN Preludes op.28 no.s 23 and 24 – Played by Ferruccio BUSONI
GRIEG plays Schmetterling (Butterfly) op.43 no.1
LISZT La Campanella (The little bell) S.140 – Played by Samuel REICHMANN
FAURÉ plays Romance sans paroles (Romance without words) op.17
DEBUSSY plays D’un cahier d’esquisses (From a sketchbook)
SKRYABIN plays Poeme op.32
RAKHMANINOV plays Prelude in g minor op.32
GERSHWIN plays Kick’n the Clouds Away
STRAUSS Blue Danube Waltz arr. Shulz Evler – Played by Mischa LEVITZKY
Jean-Paul Sevilla's Recital Programs:
After the official welcome by ANU's Vice-Chancellor, Professor Ian Chubb, Jean-Paul
Sevilla will give an opening recital in which he will play:
- MOZART Fantasy in C minor K. 475
- SCHUMANN : Novelette # 8
- MILHAUD : Corcovado and Gavea ( from Saudades do Brazil)
- RAVEL: Sonatine
At the National Gallery of Australia, at 8:15 on Wednesday 4 July, he will play:
Three Romantic Fantasies :
- MOZART C minor K. 475
- MENDELSSOHN op.28 in F# minor
- CHOPIN in F minor
As well as works by French composers:
- CHABRIER : Idylle and Scherzo-valse ( from Pièces pittoresques)
- FAURE : Nocturnes # 1 in E b minor and # 4 in E b major
- DEBUSSY : 4 Préludes from Book 2
- La puerta del vino
- General Lavine , eccentric
- La terrasse des audiences du clair de lune
- Feux d'artifice.
From 15 May an email survey of registered attendees will canvass the idea of
a conference dinner at the National Gallery of Australia on Thursday 5 July.
This will be a buffet meal offering: bread rolls; Beef Wellington with mushrooms
& spinach, red wine jus; ricotta, cherry tomato & basil tart; duck,
apple, walnuts & celery; green beans, beetroot & fetta salad; assorted
vegetables, rosemary & thyme; green leaf salad; lemon citron tart and fruit
platters. The cost of this meal with all drinks included is AUD $60.00 per person
which must be paid a month in advance.
The Rönisch Recital
In 1845, Carl Rönisch, in his early 30s, established a piano making
company in Dresden. By the time he died in 1892, Rönisch’s
company was known as the Official Purveyor to the Courts of the King of
Saxony, as well as to the courts of Spain and Russia.
On Wednesday 4 July, day 3 of the Conference, Larry Sitsky will give
a recital on the ANU's own Rönisch piano. This instrument, probably
built in or around 1880, was commissioned by one of Australia’s
major music importers, Nicholson and Co., and made the centrepiece of
their instrument display. In the last two decades of the nineteenth century,
the piano was used as a recital instrument in Nicholson’s concert
rooms. The piano is part of the instrument collection of the ANU Keyboard
Institute’s Research Centre, and was acquired through the generous
support both of the Australian Government (National Cultural Heritage
Account) and Pioneer Electronics Australia.
Our registration count increases daily. With more than eighty now fully paid
up [as at 14/05/07], the list of those attending includes teachers from every
Australian state as well as a growing list of 'internationals': Chris Fisher
and William Westney from the USA, Albert Tiu from Singapore, Jean-Paul Seville
from France and Canada, Virginia Ho from Hong Kong, Matteo Napoli from Italy,
Margaret Crawshaw, Dianna Wallis, Joanna Booth and Terence Dennis from New Zealand.
And, of course, Marcela Fiorillo [Argentina] and Anna Slepstova [Ukraine] still
have strong artistic bonds with their respective homelands.
Dr Geoffrey Lancaster has announced an all Haydn recital in the Fairfax Theatre
at the NGA on Day 4 of the conference. This recital will begin at 8:15 pm on
Thursday 5 July and will be the final evening recital of the APPC. Dr. Lancaster
will present the following sonatas:
Joseph HAYDN (1732-1809):
Sonata No.58 in C major (Hob. XVI:48) (1789)
Andante con espressione
Sonata No.47 in b minor (Hob. XVI:32) (1776)
Sonata No.49 in c# minor (Hob. XVI:36) (mid-1770s)
Scherzando: Allegro con brio
Sonata No.37 in E major (Hob. XVI:22) (1773)
Finale: Tempo di Menuet
EARLY BIRD REGISTRATION EXTENDED!
The early bird discount is now available up to and including Friday, May 18.
If you have yet to register for the APPC, we urge you to take advantage of this
and alert friends and colleagues to the new offer.
Due to storm damage, ANU School of Music's Llewellyn Hall will not be available
to us in July. This has forced the APPC Organising Committee to settle on the
Great Hall of University House (about ten minutes walk from Conference headquarters
at ANU School of Music) for keynote presentations and recitals, and the Fairfax
Theatre at the National Gallery of Australia for evening concerts. At this stage
it is anticipated that buses will be available to shuttle Conference guests
to and from these venues. More details on how and when the different conference
venues will be used is available on the new Proposed Program.
NEW PROPOSED PROGRAM AVAILABLE
Due to earlier uncertainties over these venues, we have experienced a few unwanted
delays in producing a more comprehensive program. Now that the venues have been
booked we have scheduled all events including seminar papers, workshops and
presentations, keynote addresses, recitals and evening concerts. The new program
has been circulated by post and email and is also displayed on
this site. A final, more lavish and more detailed program will of course
be published before July.
Call for Trade Displays
The Australian National University’s School of Music Keyboard Institute
extends a warm invitation to all music houses/stores to display their products
at the 8th Australasian Piano Pedagogy Conference (APPC).
The Conference will be held between 2-6 July 2007 at the ANU School of Music.
The Conference will attract delegates throughout Australia, New Zealand and
Call for student musicians
The 8th Australasian Piano Pedagogy Conference is being hosted by the ANU School
of Music, from July 2 to July 6, 2007. The Conference draws delegates from across
Australia, as well as from New Zealand and throughout Asia.
As part of its celebration of piano pedagogical activities in Canberra, the
Conference will make two 2-hour concerts available for keyboard students selected
from Schools throughout Canberra and the surrounding region to perform within
either a solo or chamber music context.
The two student concerts are scheduled to take place in the Llewellyn Hall
at ANU School of Music on Tuesday 3rd and Thursday 5th July, both between 1:30pm
The two student concerts will be open to the parents of the performers, other
students of your school, teachers and the general public. A reduced admission
fee for audience members will be charged ($5 per person).
I invite you to provide a list of students who you feel would benefit from
an opportunity to perform within the Conference context.
In your response we need to know the following:
1. Teachers name and contact details, name and address of school
2. List of students in order of preference,
3. Are they playing solo piano, piano four-hands, two pianos, chamber ensemble
with piano (or harpsichord)(please specify),
4. The works they are playing and timings
Please forward this information either via email to firstname.lastname@example.org, or post
to Vicki Dawes, ANU School of Music, Building 100, Childers Street, ACTON, 0200
by 1 April 2007.
The Conference will contact you in the first week of April to let you know
which students on your list have been selected to perform (I'm assuming that
there will be so many students listed, that the Conference will have to make
a selection), as well as details relating to which of the two concerts the students
have been scheduled to perform in.
Please find enclosed the call for papers for the conference. Please note the
reduced Conference Registration rates for students....
I look forward to receiving your list, and having your School represented in
Head of School
Head of Keyboard Institute
Jean-Paul Sévilla accepts the invitation to be one of the APPCA keynote
speakers in 2007. More details about Jean-Paul can be obtained from his website.
As a student of Jean-Paul, Angela
Hewitt O.C writes:
“I consider it one of the most fortunate things in my life that Jean-Paul
Sévilla came to teach in Ottawa, Canada where I grew up. I began my lessons
with him when I had just turned fifteen years old, and immediately he opened
up another world to me. Not only was he familiar with the entire piano repertoire,
but he could sit down and play it, and in a way that I had never before heard.
His performances of the complete Ravel, of Fauré, of Liszt, of Schumann,
of Brahms, of Bach’s Goldberg Variations—everything was a revelation
to me at that age. He imparted his vast knowledge of music and the other arts
to his students with such joie de vivre and colour that we were all greatly
influenced by his character. I, in particular, appreciated his love of French
music and I know I would have not have had that training from most other piano
teachers. He was a true “presence” in his students’ lives,
not just someone for whom you played once a week.
In his teaching he concentrates on the most important things and gives practical
advice that helps you later on with whatever you approach. He is a master at
fingering, at how to work on a technical difficulty, at how technique and music
are inextricably linked. He also gets to the bottom of each composer’s
style and how they differ one from the other. His lectures on keyboard repertoire
are an experience in themselves, and are always delivered with both passion
and humour. I cannot recommend his teaching highly enough, and I hope that he
will continue to influence many young musicians and music teachers for many
years to come”.
|Australasian Piano Pedagogy Association
that the 8th Piano Pedagogy Conference will be hosted by
The Australian National University’s School of Music.