Tag Archive | Piano


Eggner TrioAustralia has played a special part in the life of the Eggner Trio. Ever since its 2003 victory at the Melbourne International Chamber Music competition, the trio has made regular journeys Down Under.

“This was a fantastic miracle for us, that it worked out in Melbourne, and that there is a continuation,” says Christoph Eggner, the trio’s pianist. “This will be our fourth tour for Musica Viva; and each time it feels like coming home.”

On almost every trip, Australian repertoire has played a central role in the group’s repertoire. For 2015, the brothers have chosen Dulcie Holland’s 1944 trio.

“We played Ian Munro’s trio last time, and he said that we should check out Dulcie Holland. We listened to many different composers, and finally we were so fond of Dulcie Holland, because it’s a really good composition. It’s one big impressionistic crescendo.

“The musical language comes from the late Romantic period. It’s very meditative, but at the same time, the development through the movements is constant; and the end is one fantastic climax.”

The idea of one woman composer lead to thoughts of another; Clara Schumann’s 1877 piano trio seemed an obvious companion piece.

“Clara Schumann was 26 years old when she composed that piano trio,” says Eggner. “The situation between Robert and Clara was, from today’s point of view, really pretty hard. Clara was pregnant almost all the time; it must have been tough for her. On the other hand she was an extremely famous pianist. Her father was absolutely against Robert, so it was a long fight, and she was caught between them – emotionally it must have been a horrible disaster. They were often moving apartments. Then Robert became really sick, so it was chaos. And then you have this lovely trio, full of humour – it just puts everything into perspective. Of course the first movement is pretty dramatic, but then you have music that is like balsam for the soul. The slow movement is the highlight of the whole trio.”

Eggner does not subscribe to the theory that women write a different kind of music from that written by men.

“I never have the feeling that there is anything typically male about music written by men. I think Clara was writing at a turning-point in musical history – it was the beginning of some sort of emancipation, a social self-awareness for women and their role.”

For their tour programmes, the trio has paired Clara Schumann’s calm music with the tortured score of Robert Schumann’s 1851 third piano trio, a work composed when the author was depressive and syphilitic.

“It’s an unruly piece, not easy,” says Eggner. “I don’t think he suffered from bipolar disorder. I think he was just a normal, busy man, and later, when his illness emerged more and more, he started to change.

“The madness is not easy to follow. It’s a sort of organised chaos. Sometimes he demands impossible things – like one piano piece where he writes, ‘play as fast as you can,’ and then a few bars later he writes, ‘faster.’ He is constantly working on the edge of what is possible.

“There are of course lovely moments in this trio, but there is always this swing from one extreme to the other, and the grey zones in between. And the later you go with Schumann, the more grey you find.

“We really want to show the audience that there are pieces that might not be easy to listen to, but are absolutely worth hearing.”

Eggner TrioSchumann’s tendency to demand the impossible brings with it a high element of risk for the performers.

“Schumann’s music invites you to go right to the edge. And when you are in front of an audience, you can push even further. You want to make music with 150%, which means that there is a high danger that something can go wrong. We want to communicate the composer’s message, and we enjoy taking risks.”

Risk entails an inevitability of failure, at least occasionally.

“It’s more important to convey the message than it is to play perfectly,” says Eggner. “I think the idea of playing perfectly is a 20th-century notion. I think people used to be more focussed on the message.

“Of course taking risks does not mean that you will always make mistakes. Even if we are jet-lagged or unwell, our minimum standard should always be as high as possible, and our failures are usually so small that most of the audience will not hear them.

“In the end, I don’t care about mistakes. They happen so quickly that the best thing you can do is to let them go. The music goes on, and you need to concentrate on what is coming next.”

After the concert, Eggner notes, the situation is different; the trio will go back over the evening’s events in minute detail, analyse the slips, and work hard on the passages to reduce the chance of a repeated mishap.

Quality, one of Musica Viva’s four core values, is central to the trio’s work.

“We understand quality to mean high-level music-making. Our quality lies in the cleanliness and precision of our playing, and of how we transport the message of the music to the audience. We want people to be able to recognise what the composer meant because of the way we play it.”

Interview by Shirley Apthorp, photos by Keith Saunders

The Eggner Trio tour Australia 7 November – 21 November. For more information, and to book your tickets, please visit: www.musicaviva.com.au/GetEggner  

An Interview with Paul Lewis

Paul Lewis

There are many things to be found in Paul Lewis’s programme of Beethoven and Brahms for his current Musica Viva tour, but hilarity is not one of them. Lewis agrees with wry amusement; the same was the case for his last Musica Viva tour.

“In the last three Beethoven sonatas, there’s not a trace of humour, really.  I mean, I do play humourous music, but it just seems that I don’t play it when I go on Musica Viva tours.

“There are certainly no jokes in this programme, but the combination of Brahms and Beethoven seems to work very well. There’s a sort of story-telling, especially in the Ballades. It deals with the big stuff. I find the combination quite attractive, despite the fact that it’s not exactly light.”

Lewis points to the first of Brahms’ four Ballades, which tells the story of a son who kills his father.

“It’s astonishing. The point at which the act is committed is very obvious. I can’t think of many instances in music where murder is translated as clearly as it is in this piece.”

The journey to Brahms has been a long one for him, says Lewis.

“I have a strange relationship with Brahms. I played the D minor concerto for the first time last year; and I’ve never been that enthusiastic about the B flat concerto.  But there’s something about Brahms which becomes more attractive with time. I hear the nuts and bolts of the structure – the workings of the craft – and not so much the music. But maybe I’m getting older, because I’ve had less of a problem with that recently.

“The Ballades are more experimental, more radical than he was later. They’re just wonderful pieces.  And the Three Intermezzi – the first piece is almost Schubertian in its intimacy; and there’s a sense of opennness about them that I don’t yet feel with a lot of Brahms.  So there is a lot of contrast in the programme.”

Lewis sees a strong link between the music of the Brahms Ballades and Beethoven’s Op 111 piano sonata.

“Both the last of the Ballades and the Arietta of the 111 are very introspective and timeless music. The Arietta for me is one of those state-of-mind pieces – it really does feel as if time stops in some way.”

The last of Beethoven’s piano sonatas, written when he was almost completely deaf, the 32nd piano Sonata, Op 111, is for Lewis an exception within an exceptional oeuvre.

“I get the feeling that this is the invention of somebody who has not been influenced by outside sound, music, noise, whatever, for quite some time.  There are theories that when he writes, as he does in the arietta, both very very low down on the keyboard and very high up at the same time, he’s striving to hear what he’s writing. I think it’s something else. The feeling of distance – it’s like striding out and wanting to push the boundaries of the keyboard and of music itself.

“In many of his pieces you get this sense of struggle that somehow resolves – he answers his own questions, if you like. Whereas in 111, there’s no obvious resolution. There’s just a coming-to-terms with something. Leaving the ship behind and rising above – it’s that kind of feeling.”

Musica Viva audiences, Lewis says, listen with exceptional attentiveness.  He has no difficulty finding Musica Viva’s four core values – quality, diversity, challenge and joy – within his own world.

“In terms of my own diversity with repertoire, I try to touch all corners of it as often as I can. I don’t play all of it in public. I play what I feel I have more chance of conveying.

“Anything that’s worth experiencing is a challenge. The easier it is the more disposable it is.  Something that requires effort and investment is something that will enrich our lives – I strongly believe that. Then you feel that you’re adding something, that you’re learning something. In order to experience that, a certain amount of quality is necessary. You have to be dealing with great music.

“The joy is in the experience, in the process of enrichment. The outcome is of relief, of getting to another place, reaching another state. There’s a joy in that. It’s not an obvious kind of joy. But it’s joy.”

Interview by Shirley Apthorp, photos by Keith Saunders

Paul Lewis tours Australia 27 August – 12 September. For more information, and to book your tickets, please visit: www.musicaviva.com.au/GetLewis

On The Vine – July/August 2015

Paul Lewis

As usual at this time of year we are putting the final touches on next year’s International Concert Season, to be announced in August. It promises to be an amazing mix of the very well known alongside the entirely unknown, including a brand new production unlike anything we’ve ever presented before. Watch this space!

Meanwhile our 2015 season continues apace, with I Fagiolini flying around the country with its unique vocal insalata, and preparations already well in train for the following concert tour by British pianist Paul Lewis.

Our concerts inevitably focus on the core of chamber music repertoire – string quartets, piano trios and instrumental recitals. The latter category comprises mostly violin and cello performances accompanied by piano, but also that most rarefied form, the solo piano recital, in which a single musician sits at a black wooden box, pushing small black and white levers to conjure an orchestra of sound that invades the audience’s collective ear canal, transporting their minds to imaginary universes undreamt mere moments before.

Piano recitalists are a breed apart, and Paul Lewis is a perfect example of the species. His first performances in Australia were as a comparative unknown accompanying the Leopold String Trio in Musica Viva’s concert season of 2003. He has since emerged as a preeminent international soloist, and is now a regular fixture in the concert calendars of several continents, including this one.

For this, his fourth concert tour for Viva, he has selected a typically refined repertoire. In the centre are two fine works by Brahms, drawn respectively from the very start and very end of his career. These are sandwiched by two late masterworks by Beethoven, the composer who inspired Brahms so much that it filled him with a sense of hopeless inadequacy. Both composers helped to define the nature of pianism in the 19th century, and their compositions remain major milestones in every pianist’s life.

Lewis plays without affectation or adornment, and with a simplicity that invariably drills to the core of the music. This is truly artful performance, hiding profound interpretation beneath a deceptive veneer of effortlessness. This is, in short, my kind of music.

Carl Vine AO
Artistic Director

Paul Lewis tours Australia 27 August – 12 September. For more information, and to book your tickets, please visit: www.musicaviva.com.au/GetLewis

An Interview with Steven Isserlis

Stephen Isserlis

“My words are going to be immortalised,” says Steven Isserlis.

Yet again. He must be sick of it by now.

“No, it’s attention. And I’m never sick of attention!”

Isserliss has self-parody down to a fine art.

His tour for Musica Viva’s 70th anniversary season will be his 16th trip to Australia, and his fourth Musica Viva tour. How can he bear the long flight?

“I like the flight!”


“I do. You can watch movies, you can eat a lot, you can read books – I like it. And I LOVE Australia when I get there. I feel so at home. I just love the lifestyle, and the positive attitude to life. The audiences are open. For my last Musica Viva tour I played an all-Schumann programme, and we filled the Melbourne hall twice over. I don’t think I could do that in any other country in the world.”

This time, Isserlis brings a French-themed programme.

“Well, basically Gallic – Cesar Franck was actually Belgian. And Tom Adès’ piece has a French title. The pieces go really well together.”

Saint-Saëns, whose first cello sonata he will play, has been a personal love for some time.

“A love, yes,” Isserlis agrees. “Not with the same passion that I adore Fauré, but I think he’s wonderful, both as a composer and as a figure. He was a complete Renaissance man, and that’s one of his best chamber pieces, I think.”

The composer’s mother, whom Isserlis considers to have been something of a monster, hated Saint-Saëns’ first attempt at a last movement, which prompted him to destroy and re-write it.

“I have it to hand,” says Isserlis. “I’ll read it to you. He had told her that he was worried he might not play as well as some of the other great pianists who were performing. She replied ‘…you make me ill with your fears. You are merely a coward. I treat you with contempt. I believed I’d brought up a man. I have raised up only a girl of degenerative stock. Play as you ought to play, an artist of great talent. Either you will play well, or I will have renounced you as my child.’

“Anyway, the sonata is really a wonderful piece. And perhaps she did do the piece a favour, because the original last movement was good, but the new last movement is outstanding – wonderful. A very strong, dramatic piece, a deeply-felt, beautiful, stormy piece.”

The programme moves on to Fauré’s second cello sonata.

“For me the greatest 20th century cello sonatas are the two by Fauré. I adore them. Passionately. They are completely original, and ecstatic. They are really from another world. Fauré was very frail when he wrote it, and completely deaf, and he just created this amazing world of joy. Such energy!

“I played that piece, I think, in my second recital ever. I was 15. My teacher loved Fauré. We named Gabriel, my son, after Fauré. The more you know his pieces, the more you love them. It never fails to astonish me. Fauré touches something inside me.

Stephen Isserlis

“He was not necessarily an innovator. He was writing at a time when the Second Viennese School was in full swing. Stravinsky had written The Rite of Spring long before. I suppose he was even more backward than Debussy or Ravel. But it was different. I mean, Bach was considered old-fashioned in his day.”

Thomas Adès, who is unquestionably an innovator, wrote “Lieux retrouvés” for Isserlis.

“I was very surprised when he agreed. One can’t persuade Tom to do anything. He’s got a will of iron. But then he agreed to record it, with lots of other music, and to orchestrate the piece – the first concert will be in Lucerne in 2016.”

It was Adès’ 2004 opera “The Tempest” that, as Isserlis tells it, really made him fall in love with the composer’s music.

“He’s amazing, because he takes you everywhere. He knows so much music, and he can take any language and make it his own. He has his own voice, not ignoring the past, but drawing upon it. He knows exactly what he wants.”

Isserliss tries to perform “Lieux retrouvés” as often as he can.

“Once you’ve learned it, you want to carry on. It’s probably the hardest thing I’ve ever played in my life. If you hear it, you’ll know why. It’s monstrously hard. But it’s fun. It’s a romp. The difficulty should be incidental – the audience is supposed to enjoy it.”

Returning to familiar territory, Isserlis rounds off the concert with the cello version of César Franck’s famous Violin Sonata in A major.

“I came to know Franck’s music through Fauré. Fauré loved Franck. Saint-Saëns didn’t.”

Why not?

“Oh, they just didn’t get on. At one stage they were in love with the same woman. Eventually she went for Franck.”

Isserlis has a knack of gossiping about dead composers as though they were in the next room, perhaps a partial clue towards his trick of bringing so much life to their scores.

He can segue from Augusta Holmes, the woman Franck stole from Saint-Saëns, to his pianist Connie Shih as though the two women were contemporaries.

“Yes, I first heard her when she was 17, in Vancouver, playing Saint-Saëns, actually. And I said, ‘Who is this girl? She’s AMAZING!’

“I probably work with her more than with any other musician. She’s wonderful. Very passionate playing, very warm, also very delicate. She has been likened to Martha Argerich, and although she is very different, there is something of that instinctive, natural playing. A wonderful artist.”

Isserlis’s reflections on Musica Viva’s four core values are characteristically pithy.


“Definitely. You need that. This implies good quality, of course.”


“Yes. If not perversity.”

What constitutes challenge for him?

“Tom Adès. For instance.”


“Actually in the pieces I’m playing, it’s ecstasy. Which is still about communication. The Fauré, the end of the Franck, the last movement of the Adès – they are all very joyous. I like that in music. It’s important.”

Interview by Shirley Apthorp, photos by Keith Saunders

For more information on Steven Isserlis with Connie Shih, and to book your tickets, please visit: www.musicaviva.com.au/Isserlis

On The Vine – May 2015

Stephen Isserlis
Musica Viva hasn’t presented Steven Isserlis since 2009, so it is especially exciting to welcome back one of our most popular recital artists ever to help celebrate our 70th birthday year. He occupies a unique position in the universe of cello players, balancing equally successful careers as a concerto soloist, recitalist and chamber music collaborator, while also being an author (part time) and Artistic Director of the International Musicians’ Seminar at Prussia Cove in Cornwall.

Steven’s musical partner for his national concert tour in June is the Canadian pianist Connie Shih who made her orchestral debut at the age of nine playing Mendelssohn’s first Piano Concerto with the Seattle Symphony Orchestra. Since then she has appeared around the world in concert and on radio, in solo recital, chamber performances and concertos, and has been performing with Steven for many years now.

The repertoire for the tour was chosen by Steven as his assemblage of the finest penned by French composers, including the work he considers one of the greatest of the 20th century. Saint-Saëns’ first sonata joins Franck’s sonata in A along with the holder of that most exalted title, Fauré’s second sonata.

But this mighty music also serves as a perfect setting for the Australian premiere of a work most dear to Steven’s heart, Lieux Retrouvés, by his friend and long-time collaborator, Thomas Adès. The finale of this finely wrought piece is the most difficult music Steven has ever tackled, but he also finds the entire work an achievement of extraordinary imagination and beauty. Lieux Retrouvés was commissioned jointly by the Aldeburgh Festival, Wigmore Hall and Carnegie Hall, and its first commercial recording was made by Steven Isserlis with the composer himself at the piano.

Carl Vine AO
Artistic Director

For more information on Steven Isserlis with Connie Shih, and to book your tickets, please visit: www.musicaviva.com.au/Isserlis

On The Vine – November 2014 – Ray Chen with Timothy Young

MVA ICS 2014 Ray Chen

The first time I heard Ray Chen play violin live was at the Huntington Estate Music Festival in 2010, where he brought the house down more than once, including an impossibly assured performance of Ysaÿe’s fiendishly difficult Sonata for Two Violins alongside Dene Olding. He also treated us to a stellar version of Bach’s Chaconne (from Partita no 2), Chausson’s “Concert” (accompanied by piano quintet) and Schubert’s luscious Rondo for Violin and Strings with the Chamber Orchestra of the Australian National Academy of Music. He played quite a lot of other music as well, but I now find it hard to believe that he was able to present so much incredible repertoire in just four days!

Since then Ray has become a true global phenomenon, having given major performances alongside the great artists of the world in concert halls at every corner of it. It is a great thrill to have him undertaking his first Australian concert tour with Musica Viva this month, culminating in his long anticipated return to the Huntington Festival, once again in the company of the ANAM Chamber Orchestra.

I endorse Bartók’s proposition that competitions are better suited to horses than artists, but it might have taken the world a lot longer to discover Ray Chen’s prodigious talent if he hadn’t won both the Yehudi Menuhin (2008) and Queen Elisabeth (2009) Competitions by the age of 20. The first of these musical races also put him in touch with one particular jury member, the incredible violin virtuoso, and Ray’s childhood idol, Maxim Vengerov. Although Ray would certainly have risen to prominence sooner or later, Vengerov’s support and mentorship helped ensure that this happened a lot sooner than later.

The program for Ray’s November concert tour closes with archetypal pyrotechnics in a set of showpieces by Sarasate, including the iconic Zigeunerweisen. These grow from a decidedly serious ground, however, being preceded by Bach’s incredible E major Partita for unaccompanied violin. The first half of the program helps display other sides of Ray’s musical personality, moving from the classical elegance of Mozart’s A major Sonata (K305 ) to Prokofiev’s alternately beautiful, haunting and sparkling second Violin Sonata.

Ray’s first commercial CD was recorded in Australia, accompanied by outstanding Melbourne pianist Timothy Young. In a town that seems to have an inexhaustible supply of excellent pianists, Timothy stands out for the breadth of his expertise and his impressive combination of virtuosity and sensitivity. This concert tour unites the two for the first time since that recording.

Carl Vine AO
Artistic Director

For more information on Ray Chen with Timothy Young, and to book your tickets, please visit; www.musicaviva.com.au/chen

On the Vine – October 2014 – 2015 International Concert Season

I was recently asked to try to describe our 2015 International Concert Season to someone who knew little or nothing about Musica Viva. Here is my attempt:

Musica Viva’s founder, Richard Goldner, an inventor and viola player, fled Austria for Australia in 1939 in the wake of Hitler’s invasion of Vienna. Distressed to discover chamber music was non-existent in Sydney, he formed a performing ensemble in honour of his teacher who had perished in a Nazi concentration camp. The first concert was presented in Sydney on 8th December 1945.

Over the years Musica Viva evolved into a concert presenter, focussed on importing the world’s finest chamber musicians. It is now the world’s largest entrepreneur of chamber music.

Our 2015 season starts with a great jolt of invention with the Canadian period chamber orchestra Tafelmusik, and their new staged multimedia extravaganza, House of Dreams. As a special birthday treat we’ve saved up our most popular performers of the past decade: Steven Isserlis and Paul Lewis from Britain, the Modigliani Quartet from France, and the Eggner Trio from Austria. Sydney’s own Goldner Quartet has a special national concert tour to mark its own anniversary of 20 years. Just one group appears for us for the very first time – the brilliant UK vocal ensemble I Fagiolini.

The season comprises seven ensembles that tour the whole country, presenting two concerts each in Sydney and Melbourne. It is constructed around the chamber music pillars of two string quartets plus one piano trio. To those I add a recitalist (or two as is the case in 2015), a larger or outside-the-square event (Tafelmusik) and some sort of vocal component (I Fagiolini). Each tour must contain repertoire of the highest quality representing contrasting musical styles or periods, and they are spaced throughout the year to maximise contrast.

No special education or experience is needed to enjoy chamber music. Some of our most dedicated patrons are folk who have discovered it by accident, and been captivated by the extraordinary beauty of witnessing at first hand the intimate musical interaction of virtuosi playing the music that they most adore. Nothing is needed but good ears and an open mind.

Beethoven was often employed by the aristocracy, but his music became famous through outdoor “promenade” concerts for the general public. There is nothing innately highbrow about classical music – it is simply fine music best enjoyed while giving it your undivided attention.

Musica Viva has a national education program that reaches more than 270,000 students each year, plus hundreds of outreach events including Masterclasses for young musicians and training events, concerts in regional centres, festivals and other presentations. This is all part of Musica Viva’s broader philanthropic purpose as a not-for-profit organisation – we do whatever we can to improve the quality and appreciation of music in Australia. The idea is simple enough: music makes the world a better place.

Carl Vine AO
Artistic Director

For more information on Musica Viva’s 2015 International Concert Season, the Musica Viva Festival, and the 70th Anniversary, please visit;www.musicaviva.com.au/2015


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