Matthay Festival 2022

College of St. Scholastica
Duluth, Minnesota

June 22-25, 2022



  WEDNESDAY    THURSDAY FRIDAY SATURDAY
9:00 Welcoming remarks by Kevin Chance,
President of the AMAP, followed by a get-acquainted reception hosted by the St. Scholastica Library which will include an informal presentation:

"Frank Mannheimer: from Dayton—to London—to Duluth"

with commentary by Stephen Siek, Brad Snelling, and some special remembrances offered by Aiko Onishi

Recital by the Winners of the 2020

Clara Wells Fellowship Awards

Signe Sebo Zale

Matthay Core: "Why memorize?" or "How do I get to the supermarket (or Carnegie Hall)?"

A fresh look at Matthay's treatise "On Memorizing," using Frank Mannheimer's transcription of Leonardo Vinci's Baroque Suite

Bradford Gowen

"A Performer's Guide to the Music of Samuel Adler"

Thoughts on a forthcoming book from Prof. Gowen, who is at present the most noted interpeter of Adler's piano music, having recorded a number of his works and given the premiere of his Piano Concerto at the Kennedy Center with the National Symphony.



10:30 Jim Lees

"Music for 4 Seasons"

Sibelius: 6 Impromptus, Op. 5
Erkki-Sven Tüür: Sonata (1985)
Chopin: Andante Spianato and Grande Polonaise, Op. 22

Dan Franklin Smith

Lecture/Performance: Prokofiev's Ninth Sonata

TBA

Janice Larson Razaq

Lecture/Performance: "A Fresh Look at a Mannheimer Master Class: Forest Scenes, op. 82 by Robert Schumann"

An explanation of favorite Mannheimer maxims related to this set of pieces, which he presented in his summer Duluth Thursday evening classes. The Forest Scenes possess a unique opportunity to explore a wide variety of tempi, moods, technical challenges, touches, colors and other interpretive choices. More than a simple quoting of Mannheimer statements, this presentation will include Dr. Razaq’s own suggestions for teaching these pieces and performing them in recital.

12:00               LUNCH (on your own)

Special Visit to 2222 E. Third Street in Duluth, the former home of Frank Mannheimer, hosted by the house's current owner, Jack Cella

Followed by luncheon at Tavern on the Hill

(Numbers are limited, so those wishing to attend must pre-register)

                     LUNCH
              LUNCH

Special Mini-Recital at 1:15

Barbara Bacik Case offers a lighter program with some of America's Music Pioneers, including works by Joplin, Confrey, Barber, and Leroy Anderson
2:00 Francis Crociata:

"Frank Mannheimer and Leo Sowerby: A Decades-Long Friendship"

A mixed-media presentation of commentary interspersed with live performances of Sowerby works dedicated to Frank Mannheimer, including portions of

The Florida Suite (1929) performed by Signe Zale,
Passacaglia, Interlude, and Fugue (1931) performed by Dan Franklin Smith
Passacaglia (1942) performed by Stephen Siek,
and the Piano Concerto No. 1 (1915-17), performed by Nicholas Susi.

Panel Discussion (begins at 2:15):

Frank Mannheimer—A Life of Enduring Inspiration

Panelists to include Nancy Hill Elton, Aiko Onishi, Janice Larson Razaq, Jane Luther Smith, Patricia Will, and Signe Sebo Zale


Stephen Siek, Moderator

Barry Snyder

Master Class with Clara Wells Fellows

Bettina Muehlenbeck

"Art in Letters: Felix Mendelssohn Bartholdy and William Sterndale Bennett. An affinity between the lines."
3:30 Mannheimer/Sowerby presentation continued

Panel Discussion continues

Vicky Fischer Faw:

"Articulating Bartók (the Anti-Matthay?): Understanding the Touch Notation in his Piano Works"

Béla Bartók’s two tours of England during the 1920s were met with some alarm by critics brought up with respect for the Matthay school of piano playing, many of whom viewed his avowedly percussive approach with horror. Yet Bartók (1881-1945), composer of those difficult, dissonant, and formidable piano works, spoke of inheriting “mastery of poetically colouring the piano tone” directly from Franz Liszt through his teacher Istvan Thoman. And his own recordings display an elegance and beauty that call this response into question. Pianistic touch, and the notation he developed for communicating his ideas about it, were critical concerns for him as a pianist, composer and piano teacher. This layer of notation—the articulatory signs, pedal indications and unconventional key signatures and rhythms—can be difficult to interpret. The solutions can be found in understanding the sources: the folk music Bartók incorporated, as well as his ideas about piano technique and how to teach it. Bartók’s deep study and appreciation of the folk music he collected transferred to his compositions. This, combined with his pedagogical interest in communicating folk style at the piano, resulted in a thick layer of dots, dashes and slurs, pedalings, and all manner of combinations. This presentation will share insights into what the notation means, and how to teach and play it, particularly taking into account Matthay’s The Act of Touch in All Its Diversity. Representative works will be demonstrated and explained.



Barry Snyder

Recital begins at 4:00

Program to be Announced
4:30 Officers and Directors Meeting of the AMAP
(Meeting begins at 4:15)
Annual Meeting of the AMAP
 



7:30 Janice Larson Razaq

Beethoven: Sonata in E-flat, op. 31, no. 3
Schumann: Waldszenen, op. 82
Debussy: Images, Bk. I
David Abbott

Program to be Announced

Neil Rutman

Program to be Announced


CLOSING BANQUET at 6:00





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Last Updated on 9/27/2021
by Stephen Siek