The Australian National University
Australasian Piano Pedagogy Conference
document location:

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.

Registration from 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 own breakfasts.

Breakfast on the Run?

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.

Evening Concerts 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 Available

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 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).


'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 play
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

Chopin Etude Op.25 No.9 in G-flat major “Butterfly”
Skryabin Etude Op.42 No.3 in F-sharp major “Mosquito”
Chopin Mazurka Op.6 No.1 in F-sharp minor
Skryabin Mazurka Op.3 No.2 in F-sharp minor
Chopin Impromptu Op.51 in G-flat major
Skryabin Impromptu Op.12 No.1 in F-sharp major
Chopin Waltz Op.42 in A-flat major
Skryabin Waltz Op.38 in A-flat major


Chaconne in D minor for the right* hand alone
Chopin 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
Chopin/Godowksy 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 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.”

Evening Meals

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 BUSONI?
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.

Conference Dinner

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.

2007 May

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
Rondo: Presto
Sonata No.47 in b minor (Hob. XVI:32) (1776)
Allegro moderato
Finale: Presto
Sonata No.49 in c# minor (Hob. XVI:36) (mid-1770s)
Scherzando: Allegro con brio
Menuet: Moderato
Sonata No.37 in E major (Hob. XVI:22) (1773)
Allegro moderato
Finale: Tempo di Menuet

2007 April


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.


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.

2006 November

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 Asia.

Registration Form

2006 November

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 - 3:30pm.

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, 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 the Conference.

Yours Sincerely,

John Luxton
Head of School
Head of Keyboard Institute

2006 March

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”.

Angela Hewitt O.C

2005 August

Australasian Piano Pedagogy Association announces
that the 8th Piano Pedagogy Conference will be hosted by
The Australian National University’s School of Music.