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NEW PURPOSE I was struck by Charles Owen’s winsome article in your July/ August edition (‘Pause for thought’, page 36). He explores the present lot of the performing musician with disarming honesty, while also giving glimmers of hope and new purpose. In a small way I have followed suit. It has been illuminating to video myself playing, making me realise that too much movement had crept in over the years. Moreover, I have found that recording for YouTube can create the helpful illusion of giving a public performance.
I am using the extra time provided by the pandemic to delve into a totally different genre, memorising pieces of ‘ light’ music from around the turn of the 20th century, with composers such as John Bratton, William PetersonBerger, Eric Coates and Billy Mayerl. As well as being relaxing and a foil to the more serious classical music I teach, this has kept up my motivation and delight in the piano’s ‘aural and tactile contact’, to quote Owen.
Many thanks for an excellent magazine. Nancy Litton, via email
FREE FOR ALL Charivari’s arguments against free online recitals seem reasonable (IP July/August, ‘Ill-Tempered Clavier’, page 14), but s/he seems to forget that free music has been available for a long time via YouTube and streaming services, and for even longer on the radio. Whether there are now a few more free recitals hardly makes any difference. What I would suggest is that streaming services increase their charges and channel that money to artists whose recordings they play. I currently pay $2.99 per month for Spotify and for years before that I used it for free, ignoring the disrupting commercials. Given how many recordings I listen to (and download from) Spotify, I’d be happy to pay $20 or more per month. I think it is streaming and YouTube that rip artists off. Bruno Repp, via email
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ERRATA Bryce Morrison’s recent feature about Horowitz (IP July/August,
‘Demonic genius’, page 22) included a misspelt reference to the American composer and music critic Virgil Thomson. Thanks to Kevin Copps for pointing out this mistake and apologies for any confusion caused. Apologies also to Bill Laurance for reversing his publicity photo on page 11 of IP September/October, incorrectly implying that he plays a left-handed piano.
6 November/December 2020 International Piano
November 12-29, 2021 Hamamatsu, Japan Organized by Eligibility Pianists born on or after January 1, 1991 Application Available February 1 – March 31, 2021 JURY
OGAWA Noriko (Japan/Chairperson) DANG Thai Son (Vietnam) Alexander GAVRYLYUK (Australia) Paul HUGHES (UK) KIM Youngho (Korea) Ewa KUPIEC (Poland) Pedja MUZIJEVIC (USA) Ronan O’HORA (UK) Boris PETRUSHANSKY (Russia/Italy) SAKO Akiyoshi (Japan) Natalia TRULL (Russia)
For further Information Secretariat of the HIPIC
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