TIPC 2015 [booklet] by kokrabue

THE 4TH THAILAND INTERNATIONAL PIANO COMPETITION

November 15 – 21, 2015 College of Music, Mahidol University, Thailand

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MESSAGE FROM THE ASSOCIATE DEAN COLLEGE OF MUSIC, MAHIDOL UNIVERSITY

n behalf of the College of Music, Mahidol University, in partnership with Siam Music Yamaha Corporation and the Thailand Philharmonic Orchestra, it gives me great pleasure to welcome you to Thailand for the 4th International Piano Competition (TIPC). Since the conception of this event in 2008, we continue to discover and promote young talented pianists from around the world. This yearâ&#x20AC;&#x2122;s competition features pianists from 9 different countries, which makes this iteration of the event the most multi-cultural to date. The competition also helps to develop piano awareness and education in Thailand, as competition participants will have the unique privilege to rehearse and perform with the Thailand Philharmonic Orchestra, Thailandâ&#x20AC;&#x2122;s premier orchestral ensemble. The College of Music and Mahidol University are honored to host the 4th Thailand International Piano Competition, and we celebrate all gatherings that bring young musicians together to share their talent. It is my sincere wish that every participant have a great performance and will leave with memorable impressions of Thailand. I hope your time here will be enjoyable, educational, and enriched.

Assist. Prof. Dr. Christopher Schaub Associate Dean for Academic Affairs and Research College of Music, Mahidol University

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MESSAGE FROM THE DIRECTOR OF THE 4TH TIPC

reetings! Welcome to the 4th Thailand International Piano Competition. It is my great pleasure to host this wonderful event which aims to promote young pianists around the globe. Since the first TIPC in 2008, this competition has offered a unique platform for young pianists to compete, including the opportunity to win a grand piano as part of the 1st prize. We have had many wonderful pianists performing on this stage and I have great confidence that this year will be no less successful than our previous years. Our contestants this year come from various countries over the world including Australia, Taiwan, Japan, Canada, South Korea, New Zealand, Hong Kong, Russia, Thailand, whose ages vary from 15 to 27. We are honored to have the opportunity to invite our prestigious judges from Germany, Switzerland, Austria, and Singapore, to give their musical insight and inspiration to all of us. This week we will also have the chance to learn from our judges through two masterclasses and a recital in which they will perform and teach. We are especially thankful to Dr. Sugree Charoensook, Dean of the College of Music, Mahidol University, for his constant generous support of this competition, his aim to promote young musicians, his vision and his inspiration. I would like to extend my sincere gratitude towards all the piano faculties, activity and PR staffs, all the students at the College of Music, and everyone who has helped to make this competition possible. On behalf of the College of Music, Mahidol University, I would like to extend a very warm welcome to our contestants and our audiences. May you have a wonderful experience through this competition and enjoy your time at the 4th Thailand International Piano Competition. Best of luck to all!

Dr. Wen-Hui Lily Lin Chair, Piano Department College of Music, Mahidol University

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MESSAGE FOR PIANO COMPETITION

ould like to take this opportunity to deliver all contestants and Mahidol University the truthful congratulations. In addition, SIAM MUSIC YAMAHA is greatly honored to be a part of â&#x20AC;&#x153;The 4th Thailand International Piano Competitionâ&#x20AC;?. Please accept this gratitude for selecting Yamaha as a part of this memorable event. Piano has been the product of Yamaha, intensively focusing in developing over one hundred years. Especially, our C3X piano, which is one of the main products in this event, represents our enthusiasm in product development. The C3X soundboard crown is supported in a new way which enhances the sound resonances. As Yamaha piano is internationally well recognized, our pianos have been selected as the official pianos in lots of international competitions. Yamaha also got the Grand Prix winners playing Yamaha on those stages. In a great extent, as an Asian piano manufacturer, Yamaha is very proud to be chosen in those competitions in Europe, the home of the classical music. Yamaha is, again, very delighted to be a part of this competition which carries the international standard. I would like to thank The College of Music, Mahidol University, as the host of this event. I wish all the contestants the best performance and wish everyone the joyful appreciation in wonderful piano music.

Masaya Furuta Vice President (Representative of YAMAHA CORPORATION) SIAM MUSIC YAMAHA Co., Ltd.

JURY MEMBERS

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KLAUS K AUFMANN

Head of the Keyboard Instruments Department Klaus Kaufmann was born in Rosenheim in 1948. On completing his regular schooling, he studied piano and conducting in Munich, Salzburg and Stuttgart. Wan-Ing Oei-Ong, Vladimir Horbowski and Gerhard Wimberger were among his teachers. From 1982-84 he was Visiting Professor of Piano at the Mushahino Academy in Tokyo. He has been an extremely active concert performer in numerous Asian countries. He is in frequent demand as a judge at international competitions. Besides teaching, he has made numerous broadcasts and CD recordings, including two CDs of works by L. M. Gottschalk for Koch-International and one of variations by Mozart. Klaus Kaufmann is currently Professor of Piano at the Mozarteum University Salzburg and teaches at the Munich Academy of Music.

PHILIPPE DINKEL

Director, Switzerland

Philippe Dinkel was born in Vevey and has completed his piano studies in Lausanne (Philippe-Jules Godard), Geneva (premier prix de virtuosite, class of Harry Datyner), Bloomington (Indiana University, Alfonso Montecino) and Brussels (Pascal Sigrist). Chamber music is highly important in his concert activities, notably within the Trio Musiviva (1st prize of the Colmar competition), with the Quatuor Sine Nomine, as well as with various other artists and ensembles. He also got a Master of Musicology at the Geneva University. Author of numerous articles and conferences, he has taught musicology, music history and analysis before becoming head of the Conservatoire de Musique de Geneve, and from 2009 of the Haute Ecole de Musique de Geneve. He has been president of the Conference of the Swiss Music Universities and also served on the board of the Association EuropĂ&#x192;ÂŠenne des Conservatoires and has served in various juries including the Clara Haskil competition and the Tchaikovsky competition for young musicians. He is also serving on the board

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of the Geneva Competition and dean of the Music Department of the University of Applied Sciences of Western Switzerland.

GRIGORY GRUZMAN

Director of the Department of Keyboard Instruments, Russia

Grigory Gruzman was born in Sankt Petersburg (former Leningrad), Russia. He began his piano lessons at the age of five. Due to his exceptional talent, he was admitted to the Music School for the specially gifted children at the Leningrad Conservatory. During his school-time, performed more than 300 times in Leningrad and in other russian cities. In 1974 Gruzman began his studies at the Jerusalem Academy of Music under professor Yali Wagman (ex-pupil of Rosina Lhevinne at the Juilliard School of Music). During his last two years at the Academy Gruzman studied with professor Gregory Haimovsky (ex-pupil of professor Yakov Zak in Moscow; Y. Zak was a winner of the 3rd International Chopin Piano Competition in Warsaw). He also attendet piano chamber music lessons with prof. Alexander Tamir.

In 1977 Gruzman was accepted into University of Music (Hochschule für Musik in Freiburg, Germany, where he studied with prof. Vitaly Margulis. Two years later he completed the artistic exam; after that Gruzman was offered a piano-teaching post at the same University. In 1979 he attended an intensive by Diego Diez (ex-pupil of Claudio Arrau) in New York. He also participated in master classes of distinguished artists like Claude Franck, Leon Fleisher and Alfred Brendel. In 1980 Gruzman was appointed as the lecturer for the main subject-piano at the Music Academy (Akademie für Tonkunst) in Darmstadt, Germany, thus becoming one of the youngest music teachers in the german institutes for music. At the same time he resumed his studies in Freiburg under prof. Vitali Margulis. He then completed his concert exam (Konzertexamen) as a soloist in 1982 (in Freiburg). In the same year he achieved an award with distinstion at the international piano competition in Monza; and in 1984 he was a finalist in the international piano competition in Vercelli (both in Italy). “On such an interpretation of Rigoletto-Paraphrase, I’ve been waiting all my life“, once said Herbert von Karajan and has invited Gruzman to Salzburg. In 1986 his international concert career, both as a soloist and as a chamber musician, wich has been growing steadily and rapidly achieved a break-trough as he joined forces with two of his colleagues to form the “Shostakovich Trio“. The ensemble performed (between 1986 and 1996) on world-renowned podiums; such as Alte Oper in Frankfurt,

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Concertgebouw in Amsterdam, Wigmor Hall in London, Tchaikovsky Concert Hall in Moscow, to name bute of few. Critics from all over the world have been continuously proclaming this trio to be one of the best ensembles of present day. His numerous (more than 1000 times after his emigration Russia) performances and appearances as a lecturer on international master courses has brought him onto stages in many countries in Europe, the Far East, Australia, Latin-America and the USA. Everywhere his concerts are received with enthusiasm by the audience, the press, as well as the experts. About 100 his best performances have already been broadcast by TV and radio stations all over the world.

Hamburg. 2005 to 2014 he was president of Rachmaninov Society (Darmstadt, Germany) and chairman of 3 international Rachmaninov piano competitions for young pianists (Frankfurt, Germany). In 2006 Gruzman was appointed as professor to the University of Music Franz Liszt Weimar (including special school for gifted children “Musikgymnasium Schloss Belvedere“). His students won over 50 awards in national and important international competitions. Hi is artistic director and jury chairman at international Liszt piano competition for young pianists in Weimar.

His numerous trio-arrangements and especially his arrangement of Modest Mussorgsky’s “Pictures at an Exhibition“ for piano-trio have been received with great enthusiasm by the public and the press world-wide. Since 1988 Gruzman has been giving numerous performances of the complete cycle of Chopin’s 24 Etudes. His CD with the recording of this work (organo phon 90 112) was received in 1998 with a best estimation in music press. Gruzman is the only pianist who has recorded the complete Suite “Play Piano Play“ by Friedrich Gulda (CD organo phon 90 126, suites of Bach – Gershwin – Gulda). In 1998 Grigory Gruzman was named professor for piano at the University of Music (Hochschule für Musik und Theater) in

THOMAS HECHT

Head of Piano Studies, Singapore American pianist Thomas Hecht was invited to Singapore in 2003 as the Conservatory’s founding Head of Piano Studies. Over the span of nearly three decades he has concertized internationally as concerto soloist, recitalist, chamber musician and as a member of the acclaimed duo-piano team Hecht & Shapiro, winners of the ARD Munich International Two Piano Competition and USA National Duo Piano Competition. He

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was the former Head of Piano Studies and Artist-In-Residence at the School of Music at Victoria University in New Zealand and prior to that served for many years as Professor of Piano and Artist-In-Residence at the Cleveland Institute of Music (USA). Professor Hecht has performed in many of the world’s cultural centres, appearing with leading orchestras such as the New York Philharmonic, Cleveland Orchestra, Baltimore Symphony, Stuttgart Symphony Orchestra, Bavarian Radio Orchestra, Johannesburg Festival Orchestra, Singapore Symphony Orchestra, Artsakh Symphony Orchestra and New Zealand Symphony Orchestra. Career highlights include performances at the Lincoln Center in New York, Berlin Philharmonic Hall, the Kennedy Center in Washington, and solo recitals in Korea, Japan, China, Taiwan, Vietnam, Thailand, Malaysia, Italy, Serbia, Montenegro, Germany, South Africa, and throughout all the major centres of Australia and New Zealand. He has performed over a dozen different concerti while living overseas; among the most recent of these was the Asian premiere of Thomas Ades’ Concerto conciso and summer performances of Beethoven’s Piano Concerto No. 4 in Armenia and Australia and next month at the International Piano Pedagogy Conference in Taiwan. Thomas Hecht is a graduate of the Oberlin Conservatory where he won first prize in the concerto competition and the Kaufmann Award for excellence in chamber music. Later he was accepted for graduate studies at the Peabody Institute as a student of Leon Fleisher, who was so impressed with the young pianist’s abilities that was soon asked to become his mentor’s teaching

assistant, an honor which Fleisher - one of the great pianists of our time - had never before bestowed on any pianist. His merits and many noteworthy achievements were recently celebrated at Peabody where he was presented with the coveted Young Maestro Award, honoring alumni who have distinguished themselves in their performing careers. Dr. Hecht also enjoys a well-deserved reputation as one of the leading teachers of his generation, having produced a multitude of first prizewinners in solo and two piano competitions throughout the United States, Europe and Australasia. He has given master classes at renowned institutions such as the Royal Academy, Royal Northern and Royal Welsh Colleges of Music, the Paris, Eastman, Oberlin, Peabody, Sydney, Beijing and Sichuan Conservatories and the Hong Kong Academy of the Performing Arts. He served as Visiting Professor at the Peabody Institute under the auspices of the first YST-Peabody faculty exchange programme, while other guest residency invitations have included the Conservatoire de Paris, the Sibelius Academy, the Guildhall College of Music & Drama the University of Trossingen. His Singaporean protégé, Abigail Sin, was the first South East Asian pianist to be named a Young Steinway Artist. Throughout his career he has represented USA, New Zealand and Singapore on jury panels of the Gina Bachauer, Geneva, Isangyun, Ibiza and Paralympic International Piano Competitions in addition to the national piano competitions of Japan,

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Thailand, Australia and South Africa. He receives regular invitations to summer piano festivals, including performances in Sydney, Beijing, Wellington, Lausanne, Chethams, Engadin, Washington, Oberlin, Taichung, Amalfi, Bavaria, Artsakh and Brasov (where he is Honorary Professor of Piano at the University of Transylvania), and continues to be in demand for workshops and pedagogy conferences throughout the world. Thomas Hecht is a Steinway Artist and records for the Azica, Elysium and Atoll labels.

ROLF-DIE TER ARENS

Professor of Piano, Germany

Born in 1945 in Zinnwald, Germany, RolfDieter Arens was already taking piano lessons at the age of five. He studied piano and chamber music at the music academy “Felix Mendelssohn Bartholdy” in Leipzig and attended masterclasses given by Paul Badura-Skoda. From 1986 until 1991, he was a regular soloist with the Berlin Symphony Orchestra, and toured Europe with them. He has also had concert appearances all over the world both as a soloist and in chamber ensembles. In 1995 he founded the chamber association “Weimar Soloists”. Arens has

worked with such renowned conductors as Kurt Masur, Herbert Blomstedt, Marek Janowski and Neville Marriner. He has also been active as a jury member at important international piano competitions, such as the the “Bach” of Lipsia, the “Beethoven” of Vienna, the “Casagrande” of Terni and the “Liszt” of Budapest, Utrecht and Weimar. The name Franz Liszt also pops up frequently in the life of Arens: since 1986, he has been professor of piano at the Liszt School of Music Weimar, and has been the school’s president from 2001 until 2010. He has been chair of the International Franz Liszt Piano Competition of Weimar, and the artistic director of several Liszt festivals. Since 2007 he is chairman of the Liszt Foundation. In addition, Rolf-Dieter Arens is artistic director of the summer music academy at the Hundisburg castle. He has taken part in numerous radio broadcasts and has made recordings for television and CD productions.

PRELIMINARY ROUND JUDGES

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International Composition Festival. She was invited as a collaborative artist in the Asian Double Reed Association conference in Bangkok, 2011. Dr. Lin is a member of the contemporary music ensemble “Yachia Trio” and has performed with the trio in Paris and Bordeaux in France. The trio expects to release their debut album in 2016.

WEN-HUI LILY LIN

Chair of Piano Department College of Music, Mahidol University Dr. Lin has performed in France, Russia, Argentina, Spain, New York, Connecticut, Boston, Taipei, Kaohsiung, Yilan, ChiangMai and Bangkok, Thailand as a soloist and collaborator. She has performed in recital halls including the Steinway Hall, Winter Garden in New York, Rachmaninoff Hall in Russia, Teatro Alberti in Argentina, the Benton Museum in Connecticut, just to name a few. In 2006, Dr. Lin was invited to Argentina to perform with the Tucumán Symphony Orchestra under the baton of Roberto Buffo. Her extended interest in Contemporary Music has led her to premiere works in the United States, France, Taiwan, Thailand, which then lead to her performance with the Hartt School Bass Ensemble at the “Bang on a Can” Contemporary Music Marathon in New York. In 2012, Dr. Lin performed as soloist for the Asian Premiere of Dr. James Ogburn’s Piano Concerto with the Contemporary Enclave Chamber Orchestra in Thailand. Other performances include solo, chamber, collaborative concerts, as well as annual appearances at the Thailand

Dr. Lin received her D.M.A. in Piano Performance from the University of Connecticut. She was a recipient of the Evelyn Bonar Storrs piano scholarship, University of Connecticut Full Scholarship, as well as a Graduate Teaching Assistant in Collaborative Piano during her study. She received her M.M. from The Hartt School in Connecticut, and B.M. from the Fu-Jen Catholic University in Taiwan. Dr. Lin joined the faculty at the College of Music, Mahidol University since 2010. Her teaching duties include performance lesson, small ensemble, chamber music, keyboard literature, and piano pedagogy class.

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ERI NAK AGAWA

Assistant Professor of Piano Department College of Music, Mahidol University Eri Nakagawa, a native of Japan, has been on the piano faculty of College of Music, Mahidol University in Thailand since 1995. Previously to her appointment at Mahidol she was Assistant Professor of Music Performance at Ball State University, Indiana, USA. She has been invited as a guest pianist and professor at the University of Northern Colorado in USA, Bruckner Conservatory in Linz, Bösendorfer Saal in Vienna, Yong Siew Toh Conservatory of Music in Singapore, Corfu Festival in Greece, Moulin d’Andé International Masterclasses in France, Western Australian Academy of Performing Arts in Perth, etc. She graduated from Osaka Kyoiku University and continued with her postgraduate studies at Mukogawa Women’s University in Japan. She received her Master’s and Doctor’s degrees from Ball State University. Among her principal teachers were Koji Tanaka and the late Naoyuki Inoue, Mitchell Andrews and Pia Sebastiani.

Dr. Nakagawa has performed as a soloist with numerous orchestras such as the Ball State Symphony Orchestra, Osaka Mozart Ensemble, Nusantara Symphony Orchestra in Indonesia, Budapest Chamber Symphony, Thüringen Gotha-Suhl Philharmonie, etc. Most recently in May 2012, she performed Rachmaninoff’s Third Concerto with the Thailand Philharmonic Orchestra at Sumida Triphony Hall in Tokyo. As a collaborative pianist, she enjoys working with distinguished musicians in Thailand and abroad. Many of her students have received scholarships in prestigious schools and won top prizes in national and international competitions. She received the Trinity Guildhall Award for Excellence in Music Teaching in 2010.

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BAKHTIYOR ALLABERGANOV Professor of Piano Department College of Music, Mahidol University Born to a musical family (his father was a renowned traditional Makom singer), Mr. Bakhtiyor Allaberganov started piano studies at the Special Music School for gifted children in Khorezm region, and shortly thereafter won the Young Pianist Competition of Uzbekistan. Later on he again won recognition in the International Piano Competition in Ashgabad, Turkmanistan. Mr. Allaberganov holds diplomas from the Tashkent State Conservatoire where he fulfilled his college and graduate studies as piano performer, piano teacher, chamber music major,consertmeister. Mr. Allaberganov has participated in several festivals and competitions such as the Franz Liszt International Piano Competition in Utrecht, The Netherlands, and the International Piano Competition in Sao-Paulo, Brazil in 2001. His experience as a piano teacher and collaborative pianist is extensive, having been staff accompanist at several musical institutions such as the Tashkent state

Conservatoire,, the Mannon Uygur Tashkent State Institute of Arts and the The Glier Republican Music Academic Lyceum, as well as an assistant director and staff accompanist at the College for Stage and Circus Performers. Mr. Allaberganov has supported and coached numerous singers and string players through recitals and competitions in the former Soviet Union, Uzbekistan, as well as in Thailand. His main teachers have been Sarimsakova Rimma, Ofelia Yusupova, Marat Gumarov, and Nargiz Polatkhanova. Currently, Mr. Allaberganov is a piano teacher at Mahidol University College of Music, resident staff pianist of the Mahidol Symphonic and Chamber Choirs, and a member of the Thailand Philharmonic Orchestra.

THAILAND PHILHARMONIC ORCHESTRA

he Thailand Philharmonic Orchestra (TPO) is under the patronage of the Royal Thai Government, and is part of the College of Music, Mahidol University. With a mission to perform, educate, and entertain, the TPO aims to achieve a national and international reputation and status for Thailand through concerts, recordings and cooperation with acclaimed soloists and conductors. TPO wishes to be acknowledged as Cultural Ambassadors for Thailand. The Thailand Philharmonic Orchestra is devoted to music of all styles and genres from all nations, including western orchestral repertoire, and Thai, oriental and ethnic music. Furthermore, The TPO champions and promotes newly composed music as well as â&#x20AC;&#x153;avant-gardeâ&#x20AC;? and experimental music. The Thailand Philharmonic Orchestra is honored to have the support of the Royal Thai Government, the Mahidol University College of Music, the patronage of several friends and companies and of the Goethe-Institute. The TPO wishes to have good relations with all musicians, ensembles and orchestras in Thailand, sharing one love and one aim: music performed at the highest quality.

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Alfonso Scarano Guest Conductor

Finalists of the Competition Soloists

20 November 2015 / 7.00 p.m. / Prince Mahidol Hall 21 November 2015 / 4.00 p.m. / Prince Mahidol Hall

THE 4TH THAILAND INTERNATIONAL PIANO COMPETITION FINALS Piano Concerto No.3 in C minor, Op.37 I. Allegro con brio II. Largo III. Rondo. Allegro

Ludwig van Beethoven (1770 - 1827)

Piano Concerto No.2 in A Major, S.125 I. Adagio sostenuto assai - Allegro agitato assai II. Allegro moderato III. Allegro deciso - Marziale un poco meno allegro IV. Allegro animato

Franz Liszt (1811 - 1886)

Piano Concerto No. 1 in E minor, Op. 11 I. Allegro maestoso II. Romance – Larghetto III. Rondo – Vivace

Frédéric Chopin (1810 – 1849)

Piano Concerto No.2 in C minor, Op.18 I. Moderato - Allegro II. Adagio sostenuto III. Allegro scherzando

Sergei Rachmaninoff (1873 - 1943)

Piano Concerto No. 3 in C Major, Op. 26 I. Andante - Allegro II. Tema con variazioni III. Allegro ma non troppo

Sergei Prokofiev (1891 - 1953)

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ALFONSO SC AR ANO

Guest Conductor

ince 2013 Alfonso Scarano is Chief Conductor of the Severočeská Filharmonie Teplice (Czech Republic). His previous positions include Principal Guest Conductor of the Virtuosi di Praga (2000 – 2010) and Music Director and Conductor of the Toscana Opera Festival (2006 – 2008). He was the winner of the 1993 Bottega International Conducting Competition in Treviso, Italy (Chaired by Peter Maag), winner of the 1997 Franco Capuana European Community Conducting Competition in Rome, Italy (Chaired by Michelangelo Zurletti) and second prize (first and third not assigned) at 2005 Luigi Mancinelli International Conducting Competition in Orvieto, Italy (Chaired by Maurizio Arena). In 2003 he was chosen by Daniele Gatti to participate in the Young European Conductors project of the Scuola di Musica in Fiesole, Italy. Since 2009 Alfonso Scarano regularly conducts the Moravian Philharmonic Olomouc and from 2011/2012 season the Thailand Philharmonic Orchestra in Bangkok. He has conducted several orchestras

including Orchestra del Teatro Regio di Parma, Orchestra del Teatro Petruzzelli di Bari, Orchestra Haydn di Bolzano e Trento, The New Russia State Symphony Orchestra in Moscow Tchaikovsky Hall, Kiev National Radio Television Symphony Orchestra, Daejeon Philharmonic Orchestra in South Korea as well as the Prague Philharmonia in a tour with Mischa Maisky and the most important orchestras of Czech Republic. Alfonso Scarano has conducted the mainstays of operatic repertoire including Nabucco, La Traviata, Rigoletto, Tosca, La Bohème, Madama Butterfly, Carmen, Don Pasquale, La Sonnambula, Pagliacci, Cavalleria Rusticana, Il Barbiere di Siviglia, Gianni Schicchi and Gluck’s opera Le Cinesi in theatres such us Politeama Greco in Lecce, Teatro Sperimentale in Spoleto, Teatro Civico in Vercelli, Teatro Comunale in Treviso, Pompei Festival, Anfiteatro Romano di Ostia Antica in Roma, Teatro Nuovo Giovanni da Udine, Stagione Lirica in San Gimignano, Friedrichshafen Theater, Freiburg Theater, Roman Amphitheater in Plovdiv.

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A supporter of the contemporary music, he has conducted several works (some in first world performance) by Kaufmann, Harlap, Hyuk-Cha, Prangcharoen, Laks, Bonera, Ugoletti, Perotti, Di Marino, Libetta, D’Avalos and Dionisi. Besides the classic ballets (Swan Lake, Don Quixote and Raymonda), Alfonso Scarano has concentrated its attention on the historical twentieth century repertoire conducting La Giara by Alfredo Casella (new production of the Balletto del Sud directed from Fredy Franzutti), Romeo and Juliet by Prokofiev and Apollon Musagete by Stravinsky. The international dance gala conducted at Mittelfest 2009, 2010 and 2011 was enthusiastically reviewed by the press. He has collaborated with the greatest dancers of the world and particularly with etoiles from Wiener Staatsoper, Ljubljana Ballet, Hamburg Ballet, American Ballet Theatre, New York City Ballet, Ballet du Capitole de Toulouse, Ballet de l’Opèra de Paris and Birmingham Royal Ballet. In 2011 he has conducted the first performance of the ballet “The Death and the Maiden” by Schubert in the version for orchestra by Gustav Mahler, new creation of the Balletto di Roma. His discography includes recordings for Tactus (first world recording of the Suite for organ and orchestra by Respighi with Milano Classica Orchestra), Lupulus (works of Verdi, Puccini, Donizetti with Virtuosi di Praga) and two CD dedicated to new works by Italian composers Sandro Perotti (Et amor for solo, choir and orchestra) and Alberto Bonera (Piano Concerto n.2 and

Dies Irae for soli, choir and orchestra with Severočeská Filharmonie Teplice). Alfonso Scarano is graduated in Conducting (summa cum laude from the Conservatorio Umberto Giordano in Foggia), Opera Conducting (Accademia Musicale Pescarese) as well as in Choral Conducting (Conservatorio Niccolò Piccinni in Bari) and Trumpet (Conservatorio Tito Schipa in Lecce).

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LUDWIG VAN BEE THOVEN (1770 - 1827)

rguably, Ludwig van Beethoven has exerted more influence on the subsequent generations of musicians than has any other composer. As Joseph Kerman wrote: “For the respect his works have commanded of musicians, and the popularity they have enjoyed among wider audiences, [Beethoven] is probably the most admired composer in the history of Western music.” Beethoven is often viewed to have bridged the Classical and Romantic eras, given his exploration and expansion of Classical period forms and his unbridled investigation into the dramatic and expressive possibilities that would come to dominate the ensuing age. His compositional style is characterized by sforzando decorations of surface level events, lyrical melodies that can be either profound or extremely simple, intensive exploration of motivic development and thematic ‘organicism,’ and significant elaborations of formal structure (especially in the establishment of a new standard movement form - the Scherzo - and the expansion of the development section and coda within sonata form). Born to a middle class musician family in Bonn, Beethoven did not receive formal education beyond elementary school, with

the result that he was incapable of the simplest mathematical equations and became notorious for his misuse of punctuation. Beethoven’s father, Johann, remembered only as an obscure musician in a provincial community, began Ludwig’s musical training on violin and piano. Although scholars have long speculated about the impact of this relationship upon Beethoven’s personality (especially given that Johann is known to have been an alcoholic and a difficult person), very little substantive evidence has remained about his role in young Beethoven’s life. The surviving evidence suggests that Beethoven showed great musical promise at an early age and that, in early childhood at least, his father supported him in musical pursuits. By the time Ludwig had reached the age of eleven, his first great teacher and most significant early influence, Christian Gottlob Neefe wrote that “[Beethoven] would surely become a second Wolfgang Amadeus Mozart if he were to continue as he has begun.” As Beethoven grew into adulthood, he gained widespread acclaim as a great pianist. Many of his contemporaries recall his playing as unparalleled and, for a time in Vienna (the unquestioned musical

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capital of Europe during this time) he had no suitable rival to match his virtuosity. As his playing developed, he also began to gain a reputation for his composition. However, his early period works attracted neither the attention nor esteem of his performing ability. Around the turn of the nineteenth-century, the great crisis of Beethoven’s life came to the fore. At this time, the encroaching deafness he had hidden from virtually everyone in his life became undeniable. In 1802 he decided to announce this to his brothers and the world. He penned the “Heiligenstadt Testament” to explain his malady and the impact it had had upon his social behavior. He wrote: “O you men who think or say that I am hostile, peevish, or misanthropic, how greatly you wrong me. You do not know the secret cause that makes me seem so to you. From childhood on, my heart and soul were full of tender feelings of goodwill, and I was always inclined to accomplish great deeds. But just think, for six years now I have had an incurable condition, made worse by incompetent doctors, from year to year deceived with hopes of getting better, finally forced to face the prospect of a lasting infirmity (whose cure will perhaps take years or even be impossible).” It is difficult to estimate the lasting impact of this upon an individual who had dedicated his existence to an auditory art. It probably contributed to his self-destructive tendency toward alcoholism (as did his genetics). Regardless of its personal repercussions however, the effect deafness exerted on Beethoven as a composer is undeniable.

From this point forward, one senses a shift in focus to the interior self and a marked grappling with the darker aspects of life. Beethoven’s struggle is not simply a resignation to hardship, however. Most often this interior drama posits an imagined, heroic protagonist conquering some oppressive force. In the period after succumbing to deafness, the formal proportions of Beethoven’s large-scale works shift focus toward the coda of the final movement, until which the resolution of harmonic and melodic tension is often reserved. This represents a dramatic change in the climactic structure of works, which had usually resolved these tensions in the return to tonic at the moment of recapitulation. In this reservation of triumph for the final moment, there exists a kind of unrestrained and profound optimism (most dramatically expressed in the Ninth Symphony). This radical alteration of largescale formal tension has remained one of Beethoven’s most stunning contributions to Western music.

Piano Concerto No.3 in C minor, Op.37 (1803) Beethoven wrote the Piano Concerto No.3 in C Minor, Op.37 during the same period as the “Heiligenstadt Testament.” He performed the premiere at the keyboard but had not completed writing much of the solo part. The newly appointed conductor of Theater an der Wein, Ignaz Ritter von Seyfried turned pages. As he later recalled,

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the task “was easier said than done. I saw almost nothing but empty leaves; at the most on one page or the other a few Egyptian hieroglyphs wholly unintelligible to me scribbled down to serve as clues for him. He gave me a secret glance whenever he was at the end of one of the invisible passages and my scarcely concealable anxiety not to miss the decisive moment amused him greatly and he laughed heartily at the jovial supper which we ate afterwards.” In the traditional three-movement form, the piece fits more with Beethoven’s “Classical” early period. The first movement, Allegro con brio emphasizes the Principal Theme, as if afraid the listener might lose the basic material. In an unusual turn, at the end of

the re-transition/ cadenza the pedal point does not immediately arrive at the tonic, rather resolving on a dominant-seventh harmony, followed by arpeggios in the solo part before arriving to the tonic key. The E Major second movement is a beautiful affair, introduced by the piano in a noble affirmation of the key. The orchestration is striking, at one point pairing a conversation between flute, bassoon, and piano, against pizzicato strings in the background. The finale traverses a surprising introduction to arrive at the home key, set to a gypsy-tinged theme. After this, the movement unfolds into a rondo with exuberant energy. Dr. James Ogburn

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FR ANZ LISZT (1811-1886)

Piano Concerto No. 2 in A Major To call Franz Liszt the first modern pianist would not be an understatement. The greatest piano virtuoso of his time, Liszt’s astounding technique and captivating personality thrilled audiences throughout Europe. Over a period of eight years from 1839-1847, Liszt put together a performance career that has, in the eyes of many historians, still never been rivaled by any other pianist. In fact, it can legitimately be argued that during this time Liszt set the standard for modern piano performance in many ways. Liszt was the first pianist to play entire concert programs from memory; he was the first to perform concerts showcasing the gamut of piano repertoire as it existed at the time (performing works by composers from Bach to Chopin); he was the first to consistently set the piano at a 90-degree angle to the audience, thus allowing the piano sound to project throughout the hall; he was really the first pianist to tour the entirety of Europe; and he even pioneered the usage of the word “recital.” He performed over 1,000 recitals in countries throughout Europe during that eight-year span, a feat even more remarkable given that he did so at a time before widespread access to railroads

(travel between performing locations was therefore long and arduous). Through his highly varied concert programs and transcriptions, Liszt championed the work of many other composers, from composers of the past that he greatly admired—including Bach, Handel, Schubert, and Beethoven—to composers of newer generations such as Berlioz and Wagner. Remarkably, Liszt gave up his stage career at the still young age of 35, performing his last paid concert in 1847. It was at the beginning of this golden time, in 1839, that Liszt began work on the Second Piano Concerto. He put the piece on the back burner for about ten years, but revisited it in 1849—the first of many revisions to the piece prior to its eventual premiere. The concerto was finally premiered in 1857 by Liszt’s student Hans von Bronsart, with Liszt himself conducting the orchestra. In his manuscript, Liszt had originally titled the piece Concerto symphonique, a nod to the pieces of the same name by his composer friend Henry Litolff. Liszt was not only interested in the title, but in what it stood for—Litolff’s Concertos symphoniques had explored novel designs for large pieces with piano and orchestra. Liszt ultimately discarded the title, realizing that his piece

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was more a concerto than a symphony, but the ideas it stimulated remained at the core of the work. Liszt had given up his public performance career in order to devote himself to composing and conducting, and the Second Piano Concerto shows some of the fruits of his inspiration. Franz Schubert was a composer who Liszt had long admired, frequently performing his Wanderer Fantasy, and in the Second Piano Concerto, Liszt found an outlet for his Schubert-inspired signature technique of thematic transformation. This transformation, or metamorphosis, referred to a process of deriving highly diverse themes from a single original source. In contrast to Liszt’s First Piano Concerto, which is full of virtuosic displays, the Second Concerto is much more poetic and subtle, featuring highly inventive thematic connections from the opening of the piece through to its conclusion. The form of Schubert’s Wanderer Fantasy, with its four movements linked together by a continuous structure and unified by a single theme, served as a source of inspiration for Liszt in this concerto. Though structured in one long movement, the Second Piano Concerto divides into six sections, connected by thematic transformation. While Liszt had introduced the piano soloist with a dazzling display of octaves in his First Piano Concerto, here the piano slips in almost unnoticed with gentle arpeggios beneath the quiet wind music that opens the piece. The opening features just six woodwinds, never more than five of which

play together at a time, producing an almost arrestingly sparse texture. A variation with wind and cello solos, and featuring lush piano scales, leads to a brief cadenza—an extended solo passage—which is one of Liszt’s ways of getting from section to section in this concerto. Coming out of the cadenza, Liszt continues with his thematic metamorphoses. The tempo grows faster and the harmonic range also becomes more adventurous, leading to a beautiful cello solo, followed by a forceful Allegro deciso section. Growing out of further increasing tempo and harmonic shifts is perhaps the most controversial transformation of all, a march. Many critics viewed the march section as a sort of vulgar betrayal of the piece’s poetic essence. It does provide the needed force to re-establish the concerto’s home key of A Major, however, as the harmonic changes have gone increasingly far afield in the preceding sections. Liszt shows that he has not forgotten his poetic side, however, then using a beautiful variation for piano to help bring the piece to its conclusion. Dr. Kyle Fyr

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FRYDERYK FR ANCISZEK CHOPIN (1810-1849)

as a polish composer and pianist during the height of the Romantic Era. The vast majority of his works are for solo piano, for which he combined an unmatched lyrical sensitivity with expressive and emotionally riveting contours. For this singular sensation of expression, Chopin has often been dubbed “the poet of the piano.” His music also typifies the Romantic exploration of harmony and chromaticism. As a young man, Chopin pursued a piano performance career. At the age of 16, he entered the High School of Music in Warsaw, where he studied piano, composition, and music theory with Jósef Elsner, as well as organ with Wilhelm Würfel. Although he may have begun studies with Elsner a few years earlier, it is noteworthy that, with such a late introduction to formal studies at the keyboard, Chopin was largely selftaught. This may have contributed to the young composer’s unique and intimate connection to the piano, as found in the over 230 surviving works, all of which include the instrument. At the age of 20, he premiered the Piano Concerto No 2 in Warsaw (17 March, 1830), followed later that year by the premiere

of the Piano Concerto No. 1 (11 October, 1830). These concerts dissuaded him from life as a public spectacle but, although he shied away from the life of contemporary performer-composers like Liszt and Paganini, he never abandoned performance entirely. He did, however, find for himself a more agreeable audience. Less than a month after the premiere of the E Minor Concerto he ventured abroad, spending eight months in Vienna then traveling to Paris, where he found a suitable home for his art. He remained in France for the remainder of his life, apart from a few extended tours within the continent and Great Britain. For the next 18 years, he enjoyed considerable success as a composer, teacher, and performer, although his financial reward was never noteworthy. At a relatively young age, Chopin developed consumption (tuberculosis) and finally succumbed to this at the age of 39. Robert Schumann once remarked of the piano concertos that “… if a genius such as Mozart were to appear today, he would write Chopin concertos rather than Mozart ones,” suggesting that Chopin had supplanted the Classical Era ideals with a new approach to the refinement of that past era. In the Piano Concerto No. 1 in E Minor, Op. 11 the textural

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treatment reminds the listener of Mozart, for the breadth of space and minimal use of dense and virtuosic flourish. Certainly the technical requirements of the work go well beyond the capacity of average performers but the essence of Classical Period restraint definitely predominates. In addition, the orchestral parts – often criticized for being too sparse and uninteresting – support the piano solo in a manner reminiscent of Chopin’s aesthetic predecessors. Although the orchestral treatment is certainly not adventurous and does not develop in the manner of other composers, it is reminiscent of Beethoven, in the use of offbeat tutti sforzandos and the use of color by family, especially in alternations between the woodwinds and brass. In places, the sparse character speaks to the material so clearly that little question remains about the mastery of the composer, such as with the subtle, supportive horn in the secondary theme area of the first movement. The harmonic language of the work could hardly be confused with the Classical Period. For example, the second theme of the first movement embarks upon the relative major key of the principal, rather than a more closely related and typical motion, such as the relative or dominant. As if to confound the listener’s expectations at every turn, in the recapitulation, a similarly atypical harmonic progress leads to G Major for the second theme, instead of providing the anticipated transformation of this theme to the tonic key. In this way, the modulatory scheme surprises the listener throughout the work. In addition, in several places

throughout the work chromatic harmony embellishes the large-scale trajectory to breathtaking effect. Of course, above all of these concerns soars the principle voice of the piano, which demonstrates Chopin’s unique exploration of texture, color, and virtuosity on the instrument. There remains little doubt that Chopin conceived of possibilities for the instrument that will remain unassailable for all time.

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SERGEI R ACHMANINOFF (1873 - 1943)

ergei Rachmaninoff was a Russian-born composer, pianist, and conductor. Rachmaninoff was an extremely gifted performer, who often premiered his own works, which mostly either included or featured the piano, to stunned audiences. After his father squandered the family fortune, they moved to St. Petersburg Conservatory (1882), where the young talent attended the conservatory, receiving a general education and studying piano with Vladimir Demyansky. Although he prospered as a piano student, his performance in general studies was poor and, with the threat of his scholarship being withdrawn he moved to the Moscow Conservatory where he worked under the disciplinarian, Nikolay Zverev. After several years of diligent work, Rachmaninoff graduated with honors, earning the Great Gold Medal, on 5 June, 1891. Immediately upon graduating, Rachmaninoff signed a publishing contract and, shortly thereafter, composed one of his most lasting and recognized works, the Prelude in C# minor. In the period between his graduation and World War 1, he was rather prolific producing many of the works that have established him as a significant figure

of the time, including three of his piano concerti and his first two symphonies. During this time, he also established himself as a touring performer, gaining esteem within Russia and abroad. As a result of these successes, he acquired the Ivanovka estate, a place very near his heart. During the revolutionary fervor of 1914 1917, Rachmaninoff lost the estate he had called home for more than 20 years to the chaos of that environment. As the Bolshevik’s claimed power, he decided to leave his native Russia for Western Europe. In 1918, he moved first to Stockholm, then Copenhagen. In 1921, his family bought their first home in the United States (NY), where they consciously aspired to re-create the atmosphere of their Ivanovka estate. In 1939, with the Second World War looming, the Rachmaninoff family decided to settle in the U.S., resolving to move to Los Angeles. In 1940, he completed his last work, the Symphonic Dances. While on tour in 1942-3, he became quite ill with lumbago, arthritis, fatigue, and, as later became evident, cancer. He gave his last concert in Knoxville, Tennessee in January, before returning to

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Los Angeles. He succumbed to cancer rather shortly after his diagnosis. He died on 28 March, in Beverly Hills. Rachmaninoff’s Piano Concerto No.2 in C minor, Op.18 (prem. 9 November 1901, S. Rachmaninoff, pno., Alexander Siloti, cond.) is a pinnacle of achievement within the repertoire. Recognized as one of the most difficult yet rewarding works for piano and orchestra, the piece exhibits Rachmaninoff’s penchant for highly chromatic, functional harmony, as well as his intuitive lyricism. The work is dedicated to Nikolai Dahl, a physician who had helped the composer recover from depression, in the wake of the prevalent derision his first symphony (1897) had received upon that work’s premiere. The first movement, I. Moderato, is in sonata form, albeit obtaining a unique approach to the model. In the recapitulation, the principal theme reappears as an accompaniment line to what had been a subordinate in the opening. Thus, although the ideas recur in a predictable manner, the roles of foreground and background are altered in the return to the tonic area. Movement II. Adagio sostenuto – Piu animato – Tempo I is a quintessential display of Rachmaninoff’s melodic expression. The third movement, III. Allegro Scherzando, reconfirms thematic ideas from the previous two movements, ultimately concluding the work in C Major, with an exuberant coda. Although the work exhibits some idiosyncratic traits, such as alterations to the internal

formal relationships within movements and Rachmaninoff’s characteristic chromaticism, in many ways it remains fixed upon the traditional model of concerto form. Even more, although the harmonic language is extremely adventurous in the microcosm, the large-scale key relationships never venture far, essentially oscillating between the tonic key (C minor) and its relative (Eb Major), as well as between the parallel major (C Major) and its relative key center (E). In this way, Rachmaninoff manages to lead the listener through dramatic shifts in harmony on the local scale, without losing a center upon which to retain the drama. Dr. James Ogburn

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SERGEI PROKOFIE V (1891 - 1953)

ergei Prokofiev is one of the most renowned Russian composers of the twentieth century, an artist whose life featured great success and fame as well as incredible hardship. He rose to prominence as a pianist and composer during the 1910s, and after the October Revolution in Russia in late 1917, immigrated to the United States. While he was able to achieve some measure of success during that time, he faced stiff competition from Sergei Rachmaninoff, who had already established himself as the premier Russian pianist and composer in America. Prokofiev then lived in Western Europe from 19221936, composing some of his most important works during that time. Word of his fame spread to the Soviet Union, and in 1937, he returned home, apparently with the understanding that he would still be able to travel abroad. Upon his return, he found a Soviet Union much different than he remembered, however. Joseph Stalin was at the height of his power, and Prokofiev soon found his passport revoked, his family harassed, and his music subject to strict censorship. Prokofiev never stopped trying to make art within the confines of strict governmental control, but his spirit was clearly worn down by the experience. In

a tragically ironic twist, Prokofiev died on the same day as Stalin in 1953, his death overshadowed by that of the Soviet dictator.

Piano Concerto No. 3 in C Majo (1921) Written in the summer before he returned to Europe, Prokofiev’s Third Piano Concerto has come to occupy a prominent place in the repertoire of performing pianists. Featuring a unique mixture of brilliant, neo-classical passages and dissonant, almost harshsounding moments, this concerto is in some ways in artistic mirror for the wild extremes Prokofiev experienced in his life. The piece never loses its optimistic tone, however, as dissonant incursions never destroy the overall tonal framework of the music. Composed at a time when many other composers were moving away from tonality, in this concerto Prokofiev showed that it was still possible to write a thrilling, innovative work within the context of that most familiar of keys, C Major. Dr. Kyle Fyr

KING BHUMIBOL ADULYADEJ´S BIRTHDAY H.M. THE KING OF THAILAND’S FAVORITE COMPOSITIONS 4 December 2015 / 7.00 p.m. / Prince Mahidol Hall 5 December 2015 / 4.00 p.m. / Prince Mahidol Hall

Prateep Suphanrojn Resident Conductor

Krit Buranavitayawut, Saxophone Cherryl Hayes, Voice Darin Pantoomkomo, Piano Akarawin Opassuksatit, Piano Teerapat Jantob, Piano Podchara Kumchaisakul, Guitar Wanchai Tangtipanit, Guitar Salaya Dixieland Jazz Band Soloists

Note: There will be pre-concert talks on Friday at 6.15 p.m. and Saturday at 3.15 p.m. at Prince Mahidol Hall

SCHEDULE

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THE 4TH THAILAND INTERNATIONAL PIANO COMPETITION November 15 – 21, 2015 College of Music, Mahidol University, Thailand

First Round

Sunday, November 15, 2015 (MACM) Free admission

09:00 am – 09: 15 am 09:20 am – 11:45 am 11:45 am – 01:00 pm 01:00 pm – 03:25 pm

Opening Ceremony First Round (5 pianists) Lunch break First Round continued (5 pianists)

Monday, November 16, 2015 (MACM) Free admission

09:30 am – 11:25 am 12:00 pm

First Round (4 pianists) Result Announcement and drawing

Semi-Final Round

Tuesday, November 17, 2015 (MACM) Tickets: 200/100 (student)

9:00 am – 12:15 am 12:15 am – 01:30 pm 01:30 pm – 03:55 pm

Semi-Final Round (4 pianists) Lunch break Semi-Final Round continued (3 pianists)

Wednesday, November 18, 2015 (MACM) Tickets: 200/100 (student)

9:00 am – 11:25 am 12:00 pm

Semi-Final Round (3 pianists) Result Announcement and drawing

Piano Masterclass November 19, 2015 (MACM) Free admission

9:30 am – 12:00 am

Piano Masterclass with Prof. Klaus Kaufmann

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Piano Recital

November 19, 2015 (MACM) Tickets: 200/100 (student) 07:00 pm – 09:00 pm Piano Recital by Dr. Thomas Hecht

Piano Masterclass

November 20, 2015 (MACM) Free admission 9:30 am – 12:00 am Piano Masterclass with Prof. Grigory Gruzman

Final Concerto Round

Friday, November 20, 2015 (Prince Mahidol Hall) Tickets: 500/300/100 (student) 07:00 pm – 09:00 pm Final Round (3 Finalists with the Thailand Philharmonic Orchestra) Saturday, November 21, 2015 (Prince Mahidol Hall) Tickets: 500/300/100 (student) 04:00 pm – 06:00 pm Final Round (2 Finalists with the Thailand Philharmonic Orchestra) 06:30 pm Award and Closing Ceremony

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COMPETITION SCHEDULE

First Round I (Sunday, Nov. 15, 2015)—25 minutes NO.

TIME

9:20am-9:45am

9:50am-10:15am

10:20am-10:45am

10:50am-11:15am

11:20am-11:45am LUNCH

1:00pm-1:25pm

1:30pm-1:55pm

2:00pm-2:25pm

2:30pm-2:55pm

3:00pm-3:25pm

First Round II (Monday, Nov. 16, 2015)—25 minutes NO.

TIME

9:30am-9:55am

10:00am-10:25am

10:30am-10:55am

11:00am-11:25am Jury Discussion

* Announcement: 12:00 pm (Double Drawing for the Semi-Final round)

35 SCHEDULE

Semi-Final Round (Tuesday, Nov. 17, 2015)—45 minutes NO.

TIME

9:00 am-9:45am

9:50am-10:35am

10:40am-11:25am

11:30am-12:15pm LUNCH

1:30pm-2:15pm

2:20pm-3:05pm

3:10pm-3:55pm

Semi-Final round (Wednesday, Nov. 18, 2015)—45 minutes NO.

TIME

9:00 am-9:45am

9:50am-10:35am

10:40am-11:25am Jury Discussion

* Announcement: 12:00 pm (Double Drawing for the Final round)

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Master Class Master Class No. 1 (Thursday, Nov. 19, 2015) With Prof. Klaus Kaufmann from 9:30AM to 12:00PM (MACM) 50 min each student Piano Recital (Thursday, Nov. 19, 2015) By Dr. Thomas Hecht at 7:00PM (MACM) Master Class No. 2 (Friday, Nov. 20, 2015) With Prof. Grigory Gruzman from 9:30AM to 12:00PM (MACM) 50 min each student

Final Concerto round (Friday, Nov. 20, 2015)â&#x20AC;&#x201D; 3 contestants X 2 rehearsals each (1 rehearsal and 1 dress rehearsal) L. v. Beethoven: Concerto No. 3 in C Minor, Op. 15 F. Liszt: Concerto No. 2 in A major, S. 125 F. Chopin: Concerto No. 1 in E minor, Op. 11 S. Rachmaninov: Piano Concerto No. 2 in C minor, Op. 18 S. Prokofiev: Concerto No. 3 in C major, Op. 26 NO.

TIME

7:00pm-7:35pm

7:40pm-8:15pm

8:20pm-8:55pm

Final Concerto round (Saturday, Nov. 21, 2015)â&#x20AC;&#x201D; 2 contestants X 2 rehearsals each (1 rehearsal and 1 dress rehearsal) NO.

1 2

TIME

4:00pm-4:35pm 4:40pm-5:15pm

Award Ceremony Nov. 21, 2015, immediately after the concert Reception: 6:30 pm at the Reception area in Prince Mahidol Hall

RULES & REGULATIONS

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ELIGIBILITY Pianists of all nationalities between the ages of 15 and 27. The applicant should be age of 15 or above by November 15th, 2015, and less than age of 28 on November 21st, 2015.

PRIZES: 1st Prize: 200,000 Baht Yamaha grand piano C3X (shipment of the piano will be responsible to the winner) Concerto performance with the Thailand Philharmonic Orchestra in 2016-2017. 2nd Prize: 100,000 Baht 3rd Prize: 70,000 Baht 4th Prize: 40,000 Baht 5th Prize: 25,000 Baht Best Etude prize: 12,000 Baht Best Classical sonata prize: 12,000 Baht Best Romantic music prize: 12,000 Baht Best 20th Century music prize: 12,000 Baht Audience Prize: 10,000 Baht

COMPETITION PROCEDURES: Admission will be limited to a maximum of 24 applicants to be chosen after screening of all DVDs by a selected committee constituted by the piano faculty of Mahidol University College of Music. The result of the tape audition (preliminary audition) will be announced on the website by September 30, 2015 and communicated to the contestants. The 24 contestants taking part in the First Round of the competition will be expected to attend a meeting in Room A113, College of Music on November 14, 2053 at 12:00pm, to be briefed on all aspects of the competition and to determine the order in which the contestants will be performing during the competition which will be determined by drawing lots during that meeting. Each contestant will be offered a piano to practice at the College of Music, for at least three hours daily from November 14th, 2015 until

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their elimination from the competition. Contestant will be given 10 minutes before the First Round on November 15 – 16 at an assigned time to try out and select a piano in the auditorium. In the final round, contestants will use Yamaha concert grand in the Prince Mahidol Hall for their concerto performance. Once the contestant pass onto the semi-final round, each contestant will receive 5,000 Thai Baht cash prize to help to subsidize the remaining of the competition.

REPERTOIRE REQUIREMENTS TAPE AUDITION (PRELIMINARY AUDITION): Contestants for the Thailand International Piano Competition should send a video recording (DVD) accompanying their application form. Tape audition of the contestant’s recent performance between 20 minutes and 30 minutes should include three pieces of the following: One piece (or a movement of a sonata) by a classical composer One piece (or a movement of a sonata or set of pieces) by a romantic composer One piece of a free choice by the contestant Name of contestant, name of each work with the precise duration of the contestant’s interpretation, and when they were recorded must be affixed to the submitted medium.

FIRST ROUND: 24 contestants will perform a solo program maximum of 25 minutes including the following: Two etudes by different composers selected from: Chopin, Liszt, Rachmaninoff, Scriabin and Debussy One Prelude and Fugue from the Well-Tempered Clavier by J. S. Bach One piece or pieces of a free choice by the contestant *The selection may be the same as those performed in the Tape Audition.

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SEMI-FINAL ROUND: 10 contestants will perform a program maximum of 45 minutes including the following: One complete Classical Sonata One piece by a romantic composer One piece from the 20th century period Free choice for the rest of the program *The selection may be the same as those performed in the Tape Audition but must be different from those in the First Round.

FINAL ROUND: 5 contestants will perform the following: One concerto performance with the Thailand Philharmonic Orchestra. Select from: L. v. Beethoven: Concerto No. 3 in C Minor, Op. 15 F. Liszt: Concerto No. 2 in A major, S. 125 F. Chopin: Concerto No. 1 in E minor, Op. 11 S. Rachmaninov: Piano Concerto No. 2 in C minor, Op. 18 S. Prokofiev: Concerto No. 3 in C major, Op. 26 Each of 5 finalists will have one rehearsals with the orchestra during November 18 – 19 and a dress rehearsal on the day of Final Round on November 20 – 21.

GENERAL RULES: • Past First-Prize Winners are not eligible to compete in this Competition. • The decisions of the jury at every round of the competition are final. • All performances will be open to the general public. • The works at every round must be performed from memory. • The works may be performed with or without repeats at the contestant's discretion. • All submitted repertoire list are final, no changes are allowed. • All works must be listed precisely, including key and opus number, on the application form. Indicate exact duration of the contestant's interpretation of each piece.

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• No original compositions and transcriptions by the contestant may be submitted. • Performances which exceed the specified time limit will be interrupted by the jury. • All semi-finalists and finalists must commit to attend and participate in Competition events during the entire Competition period. Travel arrangements must be planned accordingly. • Not attending the orientation on November 14th, 2015 will automatically disqualify competitors as performance orders will be drawn at this meeting. • All semi-finalists and finalists are expected to be present at the final Awards Ceremony regardless of their early eliminations.

MASTERCLASS & RECITAL PROGRAM

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PIANO MASTERCLASS WITH GRIGORY GRUZMAN Thursday, November 19 th, 9:30 am to 12:00 am Music Auditorium, College of Music, Mahidol University (MACM)

Ballade No. 2 in F major, Op. 38

Frédéric Chopin (1810-1847)

Tigla Janaporn (M. 6, Mahidol College of Music) Fantasie in B minor, Op. 28

Alexandre Scriabin (1871 – 1915)

Boonraksa Permthamsin (Year 4, Mahidol College of Music) Funerailles, S. 173

Franz Liszt (1811-1886)

Anant Changwaiwit (Master’s of Music Year 2, Mahidol College of Music)

45 M A S T E R C L A S S & R E C I TA L P R O G R A M

PIANO MASTERCLASS WITH KLAUS KAUFMANN Friday, November 20 th, 9:30 am to 12:00 am Music Auditorium, College of Music, Mahidol University (MACM)

Sonata in C-Sharp minor, Op. 27, No. 2 Ludwig van Beethoven (1770 – 1827) III. Presto agitato Watcharit Kerdchuen (Year 3, Mahidol College of Music) Scherzo No. 1 in B minor, Op. 20

Frédéric Chopin (1810-1847)

Tayana Tavibunyakon (M. 4, Mahidol College of Music) Nocturne in B Major, Op. 9 No. 3

Frédéric Chopin (1810-1847)

Rudsada Saelim (Master’s of Music Year 2, Mahidol College of Music)

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GUEST ARTIST PIANO RECITAL

THOMAS HECHT PIANIST Thursday, November 19 th, 7:00 pm Music Auditorium, College of Music, Mahidol University (MACM)

“The Art of the States: American Piano Classics” CHARLES IVES (1874-1954) Piano Sonata No. 2 (“Concord”) (1915-17) III. The Alcotts BENJAMIN PESETSKY (b. 1989) Piano Sonata (2014) I. Moderato II. Presto III. Andante sostenuto (“For the New Year”) IV. Finale: Vivo giusto EDWARD MAC DOWELL (1860-1908) Sonata No. 2 in G Minor, Op. 50 (“Eroica”) (1895) I. Slow, with nobility II. Elf-like III. Tenderly, longingly IV. Fiercely, very fast Interval (10 min) CHARLES T. GRIFFES (1884-1920) The Lake at Evening, Op. 5 No. 1 (1910) The White Peacock, Op. 7, No.1 (1915) Scherzo, Op. 6 No. 3 (1913) AARON COPLAND (1900-1990) El Salon Mexico (1936) (Arrangement: Leonard Bernstein) Thomas Hecht is a Steinway Artist Recording on the Azica, Elysium & Atoll Labels www.thomashechtpiano.com

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ABOUT THE ARTIST “Hecht obviously believes in this music, and plays it with loving care and commitment. He is more of a poet than a showman… he reveals a tempered, lyrical approach far removed from the pyrotechnics of Horowitz but equally engaging in its own right.” -- Opus Magazine

“Hecht’s very polished reading [of the Copland Sonata] brings out its extremes in contrast— discordant harmonies, jazzy riffs and deep contemplation in the finale. This is as fine as the legendary 1951 William Kappell performance at the Frick Collection, but served with far better sound.” -- Straits Time, Singapore

merican pianist Thomas Hecht was invited to Singapore in 2003 as the Conservatory’s founding Head of Piano Studies. Over the span of nearly three decades he has concertized internationally as concerto soloist, recitalist, chamber musician and as a member of the acclaimed duo-piano team Hecht & Shapiro, winners of the ARD Munich International Two Piano Competition and USA National Duo Piano Competition. He was the former Head of Piano Studies and Artist-In-Residence at the School of Music at Victoria University in New Zealand and prior to that served for many years as Professor of Piano and Artist-In-Residence at the Cleveland Institute of Music (USA).

Professor Hecht has performed in many of the world’s cultural centres, appearing with leading orchestras such as the New York Philharmonic, Cleveland Orchestra, Baltimore Symphony, Stuttgart Symphony Orchestra, Bavarian Radio Orchestra, Johannesburg Festival Orchestra, Singapore Symphony Orchestra, Artsakh Symphony Orchestra and New Zealand Symphony Orchestra. Career highlights include performances at the Lincoln Center in New York, Berlin Philharmonic Hall, the Kennedy Center in Washington, and solo recitals in Korea, Japan, China, Taiwan, Vietnam, Thailand, Malaysia, Italy, Serbia, Montenegro, Germany, South Africa, and throughout all the major centres of Australia and New Zealand. He has performed over

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a dozen different concerti while living overseas; among the most recent of these was the Asian premiere of Thomas Ades’ Concerto conciso and summer performances of Beethoven’s Piano Concerto No. 4 in Armenia and Australia and next month at the International Piano Pedagogy Conference in Taiwan. Thomas Hecht is a graduate of the Oberlin Conservatory where he won first prize in the concerto competition and the Kaufmann Award for excellence in chamber music. Later he was accepted for graduate studies at the Peabody Institute as a student of Leon Fleisher, who was so impressed with the young pianist’s abilities that was soon asked to become his mentor’s teaching assistant, an honor which Fleisher - one of the great pianists of our time - had never before bestowed on any pianist. His merits and many noteworthy achievements were recently celebrated at Peabody where he was presented with the coveted Young Maestro Award, honoring alumni who have distinguished themselves in their performing careers. Dr. Hecht also enjoys a well-deserved reputation as one of the leading teachers of his generation, having produced a multitude of first prizewinners in solo and two piano competitions throughout the United States, Europe and Australasia. He has given master classes at renowned institutions such as the Royal Academy, Royal Northern and Royal Welsh Colleges of Music, the Paris, Eastman, Oberlin, Peabody, Sydney, Beijing and Sichuan Conservatories and the Hong Kong

Academy of the Performing Arts. He served as Visiting Professor at the Peabody Institute under the auspices of the first YST-Peabody faculty exchange programme, while other guest residency invitations have included the Conservatoire de Paris, the Sibelius Academy, the Guildhall College of Music & Drama the University of Trossingen. His Singaporean protégé, Abigail Sin, was the first South East Asian pianist to be named a Young Steinway Artist. Throughout his career he has represented USA, New Zealand and Singapore on jury panels of the Gina Bachauer, Geneva, Isangyun, Ibiza and Paralympic International Piano Competitions in addition to the national piano competitions of Japan, Thailand, Australia and South Africa. He receives regular invitations to summer piano festivals, including performances in Sydney, Beijing, Wellington, Lausanne, Chethams, Engadin, Washington, Oberlin, Taichung, Amalfi, Bavaria, Artsakh and Brasov (where he is Honorary Professor of Piano at the University of Transylvania), and continues to be in demand for workshops and pedagogy conferences throughout the world. Thomas Hecht is a Steinway Artist and records for the Azica, Elysium and Atoll labels. Benjamin Pesetsky (b. 1989) is an American composer of dramatic instrumental and vocal music. NOW Magazine called his opera scene Love Redux “one of the best episodes” on a program staged by Tapestry New Opera in Toronto and the San Francisco Classical Voice has praised his use of intriguing harmonies and inventive sonorities. This season his

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Piano Sonata is being premiered by its commissioner, Thomas Hecht, on recital programs in Europe, Australia, Southeast Asia and throughout the United States. Last season the Phonochrome Collective and the Guerrilla Composers Guild premiered An Illusory Image in San Francisco, and his music has also been performed by the Albany Symphony Orchestra, the American Symphony Orchestra and the New England Conservatoryâ&#x20AC;&#x2122;s Jordan Winds. Other highlights

include artist residencies at the Banff Centre and the Hambidge Center and appearances at festivals including Deer Valley and the Vancouver International Song Institute. Benjamin Pesetsky studied with Joan Tower, George Tsontakis, and Howard Frazin, and holds degrees in composition and philosophy from Bard College Conservatory and Bard College.

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TAPE ROUND RESULTS The official list of the 4th Thailand International Piano Competition contestants (in alphabetical order by last name): Ms.Aleksandra Chekmak (Russia,23) Ms.Hannah Shin (South Korea,15) Ms.Jane Liu (Australia,20) Mr.JunYoung Hwang (South Korea,20) Mr.Keishi Suzuki (Japan,24) Mr.Kevin Chow (Australia,18) Ms.Kong Margaret (Australia,19) Mr. Ching-Yi Lin (Taiwan,23) Mr.Moon Su Lee (New Zealand,19) Ms.Natavi Sanunpanichakul (Thailand,19) Ms.Natsumi Ikenaga (Japan,27) Ms.Rhythmie Wong (Hongkong,24) Mr.Ting-Chia Hsu (Taiwan,25) Mr.Watcharit Kerdchuen (Thailand ,20) Mr.Yue Qu (Canada,27) Ms.Yun-Hua Chang (Taiwan,16) * The Tape Round was done blind and the judges were not given the contestant's name or any other information. The decision of the judges is final. The Tape Round judges were: Dr. Wen-Hui Lily Lin, Professor of Piano at Mahidol University Dr. Eri Nakagawa, Assistant Professor of Piano at Mahidol University Mr. Bakhtiyor Allaberganov, Professor of Piano at Mahidol University

CONTESTANTS BIOGRAPHY & REPERTOIRE

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ALEKSANDRA CHEKMAK

Age: 23 (May 19 ,1992, Russia) University Mozarteum, Salzburg, Austria First Round 1. 2. 3. 4.

F. Chopin: Etude in F major, Op. 10 No. 8 F. Liszt: Transcendental Etude No. 12 in B flat minor “Chasse-Neige” J.S. Bach: Well-Tempered Clavier Book 2, Prelude and Fugue in A minor, BWV 889 P. Tchaikovsky: Dumka, Op.59

Semi-Final Round 1. 2. 3. 4. 5. 6.

W.A. Mozart: Sonata in D major, KV. 576 R. Schumann: Faschingsschwank aus Wien, Intermezzo & Finale, Op. 26 S. Prokofiev: Scherzo from “10 Pieces for Piano”, Op. 12 C. Debussy: Preludes Book 1, No. 7, Ce qu’a vu le vent d’ouest C. Debussy: Preludes Book 1, No. 8, La fille aux cheveux de lin C. Debussy: Preludes Book 1, No. 6, Des pas sur la neige

Final Round Concerto: Ludwig van Beethoven: Piano Concerto No.3 in C minor, Op. 37 Biography Aleksandra Chekmak was born in 1992 in St. Petersburg and took her first musical steps at the age of three under the supervision of her musical family, commencing her formal education at the City of St. Petersburg School of Music at the age of six with Zora Zuker and later at the Junior Faculty (Music College) of the Rimsky-Korsakov Conservatoire with Oleg Vainstein. She composed her first piece at the age of five and has also studied flute. In 2002 Aleksandra won First Prize in the «G. Sviridov Competition» in St. Petersburg and received a special award from the St. Petersburg Philharmonic Society. In 2009 she won First Prize at the «We play together» International Competition in Paris and had diploma in the 6th Open Russian Chamber Music Competition «Tradition and Modernity». Aleksandra has already performed in concert halls throughout Russia with a wide-ranging repertoire including both Russian and European composers. She is currently studying with Professor Klaus Kaufmann at the Mozarteum, Salzburg and plays both solo recitals and orchestral concerts with the orchestra of St. Petersburg Philharmonic and of University Mozarteum. Additional projects include a CD-recording of J.S.Bach’s «Goldberg Variations» and Chopin’s Etude Op.10 with Mr. Kaufmann’s class. Aleksandra has also participated in the «Piano Summer» Masterclasses in Wasserburg, Germany and in the «Kissingen Sommer» in Bad Kissingen, Germany.

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HANNAH SHIN

Age: 15 (April, 19, 2000, South Korea) Melbourne Girls Grammar School, Australia First Round 1. 2. 3. 4. 5.

J. S. Bach: Well-Tempered Clavier Book 2, Prelude and Fugue No. 4 in C-sharp minor, BWV 873 F. Chopin: Etude in A minor, Op. 10 No. 2 C. Debussy: Preludes Book 2, No. 12 “Feux d’artifice” C. Debussy: Etude No. 5, pour les octaves S. Rachmaninoff: Piano Sonata No. 2 in B-flat minor, Op. 36, 1st Movement: Allegro agitato

Semi-Final Round 1. 2. 3. 4.

F. Chopin: Scherzo No. 4 in E major, Op. 54 L. v. Beethoven: Piano Sonata No. 24 in F-sharp major, Op. 78 C. Vine: Piano Sonata No. 1 (1990), 1st Movement F. Liszt: Rhapsodie Espagnole, S. 254

Final Round Concerto: Sergei Prokofiev: Piano Concerto No. 3 in C major, Op. 26 Biography Melbourne-born, 15-year-old pianist Hannah Shin began studying piano at the age of eight. A student of Glenn Riddle, Hannah was awarded her LM USA diploma at the age of twelve and made her debut solo recital at the age of thirteen. She made her concerto debut performing Tchaikovsky’s Concerto No.1 with the Zelman Memorial Symphony Orchestra in 2014, and since then has performed Beethoven’s Concerto No.1 with the ZMSO, Beethoven’s ‘Emperor’ Concerto with the Maroondah Symphony Orchestra, and Prokofiev’s Concerto No.3 with the Preston Symphony Orchestra. Internationally, she has won third prize in the Virginia Waring International Piano Competition in Palm Desert, USA (2015). She was also a finalist in the Aarhus International Piano Competition in Denmark (2015) and the 4th ASEAN International Piano Concerto Competition in Jakarta, Indonesia (2011). Hannah’s performance highlights include participating in the 2013 3MBS’ Beethoven Marathon, where she performed in front of a capacity audience, as well as being a three-time finalist of the Melbourne Recital Centre’s Richard Mills Bach Competition.Hannah has also been broadcast live on 3MBS and Kansas Public Radio. As a chamber musician, Hannah has performed in various ensembles and her trio has recently won a chamber music competition.

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JANE LIU

Age: 20 (July 30, 1995, Australia) Australian Institute of Music, Australia First Round 1. 2. 3. 4.

F. Chopin: Etude in C major, Op. 10 No. 1 F. Liszt: Transcendental Etude No. 12 in B-Flat Minor, S.139 J.S. Bach: The Well-Tempered Clavier Book 1, Prelude and Fugue in B-Flat Minor, BWV 867 J. Brahms: Variations on a Theme of Paganini in A minor, Book 2, Op. 35

Semi-Final Round 1. L.v. Beethoven: Sonata in C Major, Op. 53 2. F. Chopin: Ballade No. 4 in F Minor, Op. 52 3. I. Stravinsky: Quatre Etudes, Op. 7 Final Round Concerto: Frédéric Chopin: Concerto No 1 in E Minor, Op. 11 Biography Jane Liu commenced her musical studies at the age six. She is currently learning under Professor Margaret Hair. Her previous teachers include Natalia and Gian-Franco Ricci. She has been awarded the AMEB Associate Diploma, Licentiate Diploma with Distinction, the Kathleen Holmes McCrae scholarship and the Miss Gunn Memorial scholarship. She has also been selected to perform in the International Klaviersommer in Germany. Most recently, she has been invited to perform a solo recital for the Friends of the Sydney International Piano Competition of Australia. Over the years, Jane has achieved recognizable success, winning prizes in the Open Championships of Northern Beaches Eisteddfod, Parramatta Eisteddfod and Australian National Eisteddfod. Most recently, she won the Australian Music Prize and 19th Century Prize from the Sydney Eisteddfod and second place in Any Age Concerto and Russian Music. Jane has been broadcasted live on Fine Music 102.5 as part of their Young Virtuosi Program on numerous occasions. She has attended the Kawai International Piano Masterclass Festival multiple times, where she has performed for Professor John Perry. She was a member of the Sydney Conservatorium’s Rising Stars program, and has also performed as part of the Sydney Academy of Chamber Music.

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JUN YOUNG HWANG

Age: 20 (August 20, 1995, South Korea) Korea National University of Arts, South Kore First Round 1. 2. 3. 4.

F. Chopin: Etude in B minor, Op. 25 No.10 S. Rachmaninoff: Etude-Tableaux in D major, Op.39 No.9 J.S. Bach: Well-Tempered Clavier Book 1, Prelude and Fugue in B-flat major, BWV 866 F. Chopin: Scherzo No.2 in B-flat minor, Op.31

Semi-Final Round 1. 2. 3. 4.

L. v. Beethoven: Piano Sonata in C minor, Op. 13 S. Rachmaninoff: Six Moments Musicaux No.6 in C Major, Op.16 C. Ives: Sonata No.2, 3rd Movement: “The Alcotts” J.S. Bach – F. Busoni: Chaconne in D minor, BWV 1004

Final Round Concerto: Franz Liszt: Piano Concerto No.2 in A Major, S.125 Biography Pianist Jun Young Hwang is a native of Busan, South Korea. He began his music education of the age of 7. He has been awarded several classical music prizes. Including competition from Korean Chamber Orchestra, competition from Kyungsung University, Seoul Music competition, competition from Korea society of music education, competition from music world co., and Piano-Duo competition from Sun-Hwa High school of Arts. As a vivid recitalist, Mr. Hwang has performed at Mozart hall, Universal Art Center, Busan Arts Center, Young-cheon citizen hall, Ulsan citizen hall, Korean culture center in India and Music School of Delhi. And he attended some master-classes by Alexander Lubyantsev, Nakamura Hiroko. He had appointed members of Dream-Project by Ministry of Foreign Affairs, South Korea. So he had some music concert and master-class and had some piano study classes in India. In addition he had scholarship from Sun-Hwa Piano Society and Korea National University of Arts. Finally, Mr. Hwang graduated Busan Middle school of Arts in 2011, graduated Sun-Hwa High school of Arts in 2014 and currently enrolled as a sophomore at the Korea National University of Arts where he studies piano with Eun-Young Hong.

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MR. KEISHI SUZUKI

Age: 24 (July 23, 1991, Japan) Franz Liszt Academy of Music, Hungary First Round 1. 2. 3. 4.

J.S. Bach: Well-Tempered Clavier book 1, Prelude and Fugue in B major, BWV 868 F. Liszt: Three Concert Studies No. 3 in D-flat major, S.144 S. Rachmaninoff: Etude-Tableaux in D major, Op.39 No.9 F. Liszt: Hungarian Rhapsody No.12 in C-sharp minor, S.244

Semi-Final Round 1. L.v. Beethoven: Piano Sonata in F-sharp major, Op.78 2. T. Takemitsu: Romance 3. F. Liszt: Piano Sonata in B minor, S.178 Final Round Concerto: Franz Liszt: Piano Concerto No.2 in A major, S.125 Biography Keishi Suzuki was born in Shizuoka, Japan in 1991.He started to study piano when he was 9 years old. After graduated Fujieda-higashi high school, he entered the Tokyo College of Music as a student of Piano Performance Course. When he was junior student(third-year student) in the college, he got a scholarship from the college, and studied at the Sibelius Academy as a exchange student between Tokyo College of Music and Sibelius Academy in 2012.He studied with Erik Tawaststjerna, Juhani Lagerspetz and Hui-Ying Tawaststjerna in Finland. He established Piano Duo â&#x20AC;&#x2DC;Deux Coeursâ&#x20AC;&#x2122; with his friend in 2012, and he organized many piano duo concerts in Japan.He studies not only piano, but also conducting from 2013.In this March, he organized his orchestra and a concert in his hometown.He played piano concerto No.5 by Beethoven with his conducting, and conducted Symphony No.7 by Beethoven. The concert was successful, and he got fame. From last September, he is a student of Liszt Academy, and he will study Master degree course from this September with scholarship from Hungarian government.

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KEVIN CHOW

Age: 23 (November 14, 1996, Australia) Melbourne Conservatorium of Music, Australia First Round 1. 2. 3. 4.

F. Liszt: Transcendental Etude No. 4, "Mazeppa" F. Chopin: Etude in C major, Op.10 No.1 J. S. Bach: Well-Tempered Clavier Book 1, Prelude and Fugue in A minor, BWV 865 A. Scriabin: Piano Sonata No. 2 in G-sharp minor, Op. 19, 1st Movement: Andante

Semi-Final Round 1. J. Haydn: Sonata in D major, Hob.XVI: 37 2. F. Liszt: Rhapsodie Espagnole, S. 254 3. I. Stravinsky: Trois mouvements de Petrouchka eige Final Round Concerto: Franz Liszt: Piano Concerto No. 2 in A major, S.125 Biography Perth-born Kevin Chow is 18 years old and currently a second-year student studying at the Melbourne Conservatorium of Music, University of Melbourne. He has been a student of Glenn Riddle for 5 years. In 2010 Kevin was awarded his LMusA with Distinction and in 2013 he was winner of the Hephzibah Menuhin Award as well as the 3 MBS Young Performer of the Year. Other awards include the Nehama Patkin Memorial Award, 1st Prize in the Bernstein National Piano Competition, and the Ann and Chris Krans Scholarship. Kevin recently performed for HRH Prince Charles and the Duchess of Cornwell - other highlights include recitals in the USA, New Zealand, Indonesia and China. In 2013 Kevin made his concerto debut performing Rachmaninoffâ&#x20AC;&#x2122;s Piano Concerto No 3 in D minor with the Zelman Symphony Orchestra, a performance he later reprised with the Preston Symphony Orchestra. In Perth Kevin has also featured as piano soloist in three performances of Percy Grainger's The Warriors with the Fremantle Orchestra.

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MARGARET KONG

Age : 23 (November 28 ,1995, Australia) Melbourne Conservatorium, Australia First Round 1. 2. 3. 4.

S. Rachmaninoff: Etude - Tableaux in A minor, Op. 39 No. 6 F. Liszt: Transcendental Etude No. 10 in F minor, S. 139 J.S. Bach: Well-Tempered Klavier Book 1, Prelude & Fugue in B Flat Minor, BWV 867 M. Ravel: ‘Oiseaux Tristes’ from ‘Miroirs’

Semi-Final Round 1. 2. 3. 4.

J. Haydn : Sonata in B flat major, Hob.XVI:41 S. Prokofiev: Toccata in D minor, Op. 11 F. Liszt : Rhapsodie Espagnole, S. 254 M. Ravel: Gaspard de la Nuit

Final Round Concerto: Sergei Rachmaninoff: Piano Concerto No. 2 in C minor, Op. 18 Biography Margaret Kong started piano lessons at age 6 and is currently studying the Bachelor of Music at Melbourne Conservatorium where she is a student of Glenn Riddle. At the age of 13, Margaret completed her L.Mus.A. Awards include the Zelman Symphony Orchestra Concerto Prize, the Dorothy Glover Award for outstanding young pianists, the Hephzibah Menuhin Memorial Award for Pianists 25 and under, and the 3MBS Young Performer of the Year Award - a competition held for all instrumentalists and singers under the age of 25 - where she was also awarded the Audience Prize. Margaret was one of 4 finalists chosen for the Fine Music National Young Performer of the Year in Sydney. In her first International competition, Margaret was awarded a Special Prize for ‘Best Modern Performance’ at the 2011 Indonesia Pusaka International Piano Competition held in Jakarta. Margaret has also broadcast on 3MBS numerous times. She has performed concertos by Mozart, Mendelssohn, Rachmaninoff and Tchaikovsky with both the Preston Symphony and Zelman Symphony Orchestras and in 2012 she made her recital debut, performing Carl Vine’s Piano Sonata no. 1 and Rachmaninoff's Piano Sonata no. 2 as part of the Australian Catholic University's Lunchtime Concert Series. In 2011 Margaret was one of just five young Melbourne pianists selected to perform in a master class for Lang Lang at the Melbourne Recital Centre. In 2013, Margaret performed Rachmaninoff’s 2nd Piano Concerto with the Zelman Symphony before a capacity audience at BMW Edge Auditorium to celebrate the 10th anniversary of Federation Square. Margaret has also broadcast on 3MBS numerous times and was invited to take part in a live broadcast of the 3MBS Beethoven Marathon. Margaret also enjoys playing chamber music.

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MOON SU LEE

Age: 19 (April 13, 1996, New Zealand) University of Auckland, New Zealand First Round 1. 2. 3. 4.

J.S. Bach: Well-Tempered Clavier Book 2, Prelude and Fugue in F minor, BWV 881 F. Chopin: Etude in C major, Op. 10 No.1 S. Rachmaninoff: Etude Tableaux in D major, Op.39 No. 9 F. Liszt: Mephisto Waltz No.1, S. 514

Semi-Final Round 1. J. Haydn: Sonata in E-flat major, Hob. XVI:52 2. F. Chopin: Ballade No.1 in G minor, Op. 23 3. S. Prokofiev: Sonata No.7 in B-flat major, Op. 83 Final Round Concerto: Sergei Rachmaninoff: Piano Concerto No.2 in C minor, Op. 18 Biography Moon Su Lee is a second year Bachelor of Music student, currently studying Classical Piano Performance under the tutelage of Qu Yong at The University of Auckland. New Zealand born, he started his piano studies at the age of 5 and won a string of first prizes throughout local competitions within Auckland including a 5 year music scholarship at King's College. In 2011, he received the Auckland Centenary Scholarship from the Institute Registered Music Teachers Association. In 2013, he received first prize in the Ronisch Piano Competition and earlier reached the National finals in the Secondary Schools Chamber competition. This year he winning the Sonata class in the North shore Performing Arts competition, semi-finalist in both Christchurch National Piano Concerto competition and the Wallace National Piano competition. He also undertook master-classes from prominent artists and teachers such as Chenyin Li, Mark Isaacs, Christopher Elton, Barry Synder and Jean Efflam Bavouzet. He was also chosen as one the Lewis Eady Emerging Artists and will perform a solo recital later this year.

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NATAVI SANUNPANICHAKUL

Age: 19 (December 24, 1995,Thailand) College of Music, Mahidol University, Thailand First Round 1. 2. 3. 4.

J.S. Bach: Well-Tempered Clavier Book 2, Prelude and Fugue in C-sharp major, BWV 872 F. Chopin: Etude in F major, Op. 10 No. 8 S. Rachmaninoff: Etude-Tableaux in A minor, Op. 39 No. 6 F. Liszt: Ballade No. 2 in B minor, S. 171

Semi-Final Round 1. 2. 3. 4.

L.v. Beethoven: Sonata in E major, Op. 109 M. Ravel: Gaspard de la Nuit, “Ondine” F. Chopin: Scherzo No. 3 in C-sharp minor, Op. 39 N. Medtner: Fairy tales, Op. 20 No. 2

Final Round Concerto: Franz Liszt: Piano Concerto No. 2 in A major, S. 125 Biography Natavi was born in 1995. She started her piano lessons at the age of 3 with Mrs. Suphida Osathanugrah. She passed the examinations from The Associated Board of Royal Schools of Music (ABRSM). In 2008, she studied with Mr. Roberto Villa and won 1st prize in the MIFA Piano Competition. Later, she became a student of Ms. Reiko Yamadera. In 2011, Natavi became a student of Dr. Eri Nakagawa. She has participated in an international summer music camp in Moulin d’Ande, France. In October 2014, she won 3rd prize in the Two Pianos category in the 15th Osaka International Music Competition. Currently, Natavi is a 2nd year student at the College of music, Mahidol University.

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NATSUMI IKENAGA

Age: 27 (July 29, 1988, Japan) Royal College of Music, United Kingdom First Round 1. 2. 3. 4.

F. Chopin: Etude in G-flat major, Op. 10 No. 5 A. Scriabin: Etude in C-sharp minor, Op. 42 No. 5 J.S. Bach: Well-Tempered Clavier Book 1, Prelude and Fugue in C-sharp major, BWV 848 A. Scriabin: Sonata No. 7, Op. 64 “White Mass”

Semi-Final Round 1. L. v. Beethoven: Sonata in D major, Op. 10 No. 3 2. F. Chopin: Ballade No.1 in G minor, Op. 23 3. S. Prokofiev: Sonata No.5 in C major, Op. 38/135 (revised ver.) Final Round Concerto: Sergei Prokofiev: Piano Concerto No.3 in C major, Op. 26 Biography Japanese pianist Natsumi Ikenaga has performed in many international venues, including the Mirabel Palace in Salzburg, Steinway Hall in New York and London, the National Gallery, Victoria & Albert Museum, Regent Hall, Royal Festival Hall, Elgar Room in Royal Albert Hall, and the Tokyo Opera City Recital Hall. As a member of ‘Calorosa’ hosted by pianist Shuku Iwasaki, she also regularly performs as an active chamber musician, playing repertoire ranging from baroque to contemporary music. In 2011, she won Second Prize at the Japan International League of Artists Piano Competition and the Puigcerdà International Music Festival in Spain. Natsumi was named as the 2014 Chanel Pygmalion Days Artist and participated in the prestigious Pygmalion Days Concert Series, organised by Chanel K. K. at Nexus Hall, Tokyo. Natsumi has just recently graduated from the Artist Diploma in Performance programme at the Royal College of Music (RCM) where she was supported by the Gordon Calway Stone Memorial Award. She has gained her Bachelor of Music (Hons) and Master of Music degree in Performance both with distinction at the RCM. During her Undergraduate programme, she was awarded the Beatrice Leigh Prize and the Sarah Mundlak Prize for achieving the highest mark in her third and fourth year piano recital exams. She has studied piano with Dina Parakhina, Gordon Fergus-Thompson, Kevin Kenner, and the harpsichord with Jane Chapman. Previously, Natsumi studied at the Toho Gakuen School of Music in Tokyo, under the tutelage of Takahiro Hoshino and Shuku Iwasaki.

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RHY THMIE WONG

Age: 24 (May 27,1991, Hong Kong) New England Conservatory, United States First Round 1. 2. 3. 4.

S. Rachmaninoff: Etude-Tableaux in E-flat minor, Op. 39 No. 5 C. Debussy: Etude No. 7 "Pour les degres chromatiques" J.S. Bach: Well-Tempered Clavier Book 1, Prelude and Fugue in C-sharp major, BWV 848 F. Chopin: Introduction and Rondo in E-flat Major, Op. 16

Semi-Final Round 1. L.v. Beethoven: Sonata in E-flat major, Op. 81a 2. F. Schubert: Wanderer Fantasy D. 760 3. N. Kapustin: Etude Op. 40 No. 6 Final Round Concerto: Frédéric Chopin: Piano Concerto No. 1 in E minor, Op. 11 Biography Rhythmie received her Bachelor of Music Degree from the Hong Kong Academy for Performing Arts in 2012 under the tutelage of Professor Eleanor Wong. In 2014, she completed her Master of Music degree at the New England Conservatory, where she studied with Professor Victor Rosenbaum. Most recent awards include 1st Prize in the New York International Artist Piano Competition (2014), 1st Prize in the Aloha International Piano competition (2013), 2nd Prize in National Young Artist Award (2014), 1st Prize in Open Class at the Kawai Asia Piano Competition. Rhythmie is also a winner of the 2013 Marion Rubin Berman Piano Honors Competition, the 2014 Dorothy Mackenzie Artist Recognition Award and the “Ten Best Young Artistes” award. Rhythmie has performed in the United States, Hawaii, Prague, Australia, United Kingdom, Hong Kong, Macau, National Concert Hall in Dublin and Carnegie Hall in New York. Apart from playing the piano, violin and clarinet, Rhythmie also composes. Her works have been premiered in Hong Kong and Boston. Scholarships awarded include Tom Lee Music Scholarship, The Hong Kong Academy for Performing Arts Staff Prize, Hong Kong Jockey Club Scholarship (2009- 2012), Sir Edward Youde Memorial Fellowship for Overseas Studies (2012- 2014), New England Conservatory Scholarship and NEC Merit Award.

63 C O N T E S TA N T S : B I O G R A P H Y : R E P E R T O I R E

TING-CHIA HSU

Age: 25 (August 7,1990, Taiwan) Sydney Conservatorium, Australia First Round 1. 2. 3. 4.

J. S. Bach: Well Tempered Clavier Book 2, Prelude and Fugue in A minor, BWV 889 C. Debussy: Etude No.11 “pour les arpèges composés" S. Rachmaninoff: Etude-Tableaux Op. 39 No. 6 J. Brahms: Paganini Variations, Book 1, Op.35

Semi-Final Round 1. F. Haydn: Sonata in C major, Hob:XVI:50 2. A. Scriabin: Sonata No. 5, Op. 53 3. F. Liszt: Reminiscences de Don Juan, S. 418 Final Round Concerto: Franz Liszt: Piano Concerto No. 2 in A major, S. 125 Biography Ting Hsu was born in Taiwan, started playing the piano at the age of 8, is currently studying masters of music at the Sydney Conservatorium of Music under the guidance of Dr Paul Rickard Ford with full scholarships. Ting has won many prizes in national and international piano competitions, such as first prize at the 7th Anton Garcia Abril International piano competition, 4th prize at the 5th Campillos International piano competition, first prize at the Taiwan Taichung Jazz International piano competition, special prize at the World Music international Competition, first prize at Sydney St George Piano Competition in open Championship, and many other first prizes at Taiwan national piano competitions. Ting was the winner of the “theme and variation Emerging Artist” of the year in 2014 in Sydney, Australia. Ting has performed Concerts and recitals in Australia, Taiwan, china, Singapore, Spain, Germany, Italy, USA, recent major performance including Liszt Piano Concerto no.1 with the national Taiwan Symphony Orchestra. Ting has studied and performed for several well-known musicians and professors, including, Dr Thomas Hecht, Imogen Cooper, Ivo Pogorelich, Jacques Rouvier, Ablert Tiu, Stephan Hough, Arie Vardi, Gwhyneth Chen, etc.

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YUE QU

Age: 27 (June 9,1988, Canadian) University of British Columbia, Canada First Round 1. 2. 3. 4.

J.S. Bach: Well-Tempered Clavier Book 2, Prelude and Fugue in A-flat Major, BWV 886 F. Chopin: Etude in A-flat Major, Op. 10 No. 10 A. Scriabin: Etude in C-sharp Minor, Op. 42 No. 5 F. Chopin: Barcarolle, Op. 60

Semi-Final Round 1. W. A. Mozart: Sonata in B-flat Major, KV. 333 2. F. Busoni: Toccata, BV. 287 3. F. Chopin: Fantasie, Op. 49 Final Round Concerto: Ludwig van Beethoven: Concerto No. 3 in C minor, Op. 37 Biography Pianist Yue (Sunny) Qu was born in Qingdao, China and raised in Vancouver, Canada. He has performed on three continents in such venues as the Weiner Salle in Salzburg, Austria, Dukeâ&#x20AC;&#x2122;s Hall in London, England, and the Chan Centre in his native Vancouver, as well as being invited to perform in the Russian Embassy of Osaka, Japan on a special occasion. Sunny was the third prize winner of the 2009 Knigge Competition, as well as a past winner of the UBC Concerto Competition. He has subsequently performed with the UBC Symphony Orchestra, as well as the West Coast Symphony Orchestra. He was also the recipient of the Johann Strauss Foundation Award in 2009, and the Else Cross Brahms Prize from the Royal Academy of Music in London, England in 2013. Sunny was a graduate of the UBC School of Music and the Royal Academy of Music where he studied with Sara Davis Buechner and Hamish Milne. His past teachers include renowned pedagogue Edward Parker and concert pianist Ian Parker. He was also fortunate to receive guidance during his studies from such artists as Anton Kuerti, Robert Levin, Arnulf von Arnim, Joanna MacGregor, Pascal Devoyon, and Steven Osborne.

65 C O N T E S TA N T S : B I O G R A P H Y : R E P E R T O I R E

YUN-HUA CHANG

Age: 16 (March 12, 1999, Taiwan) National Tainan Girls’ Senior High School, Taiwan First Round 1. 2. 3. 4.

J.S. Bach: Well-Tempered Clavier Book 1, Prelude and Fugue in C-sharp Major, BWV 848 S. Rachmaninoff: Etude-Tableaux in A minor, Op. 39 No. 6 F. Chopin: Ballade No. 3 in A-flat Major, Op. 47 F. Liszt: Paganini Etude No. 3 in G-sharp minor "La Campanella", S. 141

Semi-Final Round 1. L.v. Beethoven: Piano Sonata in D major, Op. 10 No. 3 2. J. Brahms: Paganini Variations Book 1, Op. 35 3. M. Ravel: "Alborada del Gracioso" from ‘Miroirs’ Final Round Concerto: Ludwig van Beethoven: Concerto No. 3 in C minor, Op. 37 Biography Born in Tainan, Taiwan in 1999, Yun-Hua Chang began piano lessons at the age of four. She graduated from Tainan Municipal Yongfu Elementary School and Tainan Municipal Dacheng Junior High School. Yun-Hua has won numerous awards during the school, including the 1st prize at Tainan City Student Competition of Music. She also won the concerto competition of National Tainan Girls’ Senior High School and performed the Piano Concerto No.1, Op.23 in B-Flat Minor, Mvt.I by Tchaikovsky with The Orchestra of National Tainan Girls’ Senior High School at Tainan Municipal Arts Center in 2015.Yun-Hua is a current student of Dr. Wei-Lung Li in piano performance at National Tainan Girls’ Senior High School.

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TIPC 2015 ORGANIZING COMMIT TEE Assoc. Prof. Dr. Sugree Charoensook Dr. Wen-Hui Lily Lin Mr. Noppadol Tirataradol Ms. Linda Cheng Ms. Phappim Chuataharn Mahidol Piano Faculty Assist. Prof. Dr. Eri Nakagawa Mr. Bakhtiyor Allaberganov Ms. Yoshimi Matsushima Ms. Tharach Wuthiwan Dr. Duangruthai Pokaratsiri Mr. Teeranai Jirasirikul Mr. Poonsant Tainchaivanich Ms. Rasikamon Siyapong

Executive Director Competition Director Competition Coordinator Competition Coordinator Competition Coordinator Committee Members

ACKNOWLEDGEMENTS Assoc. Prof. Dr. Sugree Charoensook

Dean of College of Music, Mahidol University

ADMINISTRATION TEAM ASSOCIATE DEANS

Mrs. Ariya Charoensook Assist. Prof. Dr. Christopher Schaub Mr. Krit Buranawitayawut Mrs. Linda Cheng Mrs. Paveena Phongsantichai Assist. Prof. Dr. Joseph L. Bowman Mr. Noppadol Tirataradol Mr. Richard Ralphs

Assoc. Dean for Educational Assoc. Dean for Academic Affairs and Research Assoc. Dean for Construction Development Assoc. Dean for Marketing and Communications Assoc. Dean for Finance Assoc. Dean for International Affairs Assoc. Dean for Professional Services Principal of Pre-College and Boarding School

ASSISTANT DEANS

Ms. Nida Kirati Dr. Treetip Boonyam Mr. Kitti Sawetkittikul Dr. Kanyupa Jittiwattana Mrs. Chanita Buranavidhyawut Mr. Sathon Koging Ms. Plernpit Pengsuwan Mr. Sommit Panyaku

Assist. Dean for Human Resources Assist. Dean for Educational Assist. Dean for Student Affairs Assist. Dean for Research Assist. Dean for Construction Development Assist. Dean for Building and Maintenance Assist. Dean for Planning and Budgeting Assist. Dean for Music Campus for General Public

67 4 T H T H A I L A N D I N T E R N AT I O N A L P I A N O C O M P E T I T I O N

SPECIAL THANKS Siam Music Yamaha Corporation, Co. Ltd. Prof. Alexandre Cheng-Yao Lee Mr. Richard Ralphs Venue Director Ms. Jittiya Naovapen Venue Manager Mr. Taninrat Soponpimonsiri Activity Officer Mr. Chanathep Peungpakdee Activity Officer Ms. Panpaporn Jantrasakaowong TPO Activity Officer Mr. Pakorn Buathong TPO Activity Officer Mr. Sittinon Ponngam TPO Activity Officer Mr. Piyapong Ekrangsi Marketing and Public Relation Manager Ms. Tanatchayakorn Pongpakornrith Marketing and Public Relation Officer Ms. Ticha Buppajaroensuk Marketing and Public Relation Officer Ms. Khanuengnit Thongbaion Public Relation Officer Mr. Jaroon Kakandee Graphic Designer Ms. Pornthip Saipantong Webmaster Ms. Auranus Yuenyonghattaporn Master of Ceremony Mr. Sarawut Kruttha Building and Maintenance Staff Ms. Khanuengnit Thongbaion Photo Public Relation Officer Mr. Timur Rizayev Piano technician Ms. Piyaporn Sangphasee Music Square Ms. Pornsawan Mudchim Head of Box Office Ms. Chutimta Puttikulangkura Head of Stage Management Ms. Wanlapa Salawasri Stage Management Assistance Mr. Chayut Jessadavaranon Technical Manager Mr. Krittanan Vigitgool Audio Technical Officer Mr. Sorapol Assawakarnjanakit Audio Technical Officer Mr. Titiwut Siribenjawan Audio Technical Officer Mr. Warawuth Thawilvang Audio Technical Officer Mr. Apiwat Setthajarurak Audio Technical Officer (Sound & Digital Sinage) Mr. Chakrayossanant Tiewtrakool Head of Visual Lighting & Stage Technology Mr. Kongka Khumlaitong Visual & Camera Mr. Preedee Tansuwan Visual & Camera Mr. Teerapong Keattikamonchai Visual & Camera Mr. Apirak Fakphu Backstage Mr. Vorapoj Panjamanon Engineering Manager Mr. Bundit Osaklung Technician Mr. Jirasak Tubtimhom Technician Ms. Uthumporn Sudsawasd Deputy Venue Manager Ms. Theerarat Kongsakpakdee Management Administrator Officer Members of the Thailand Philharmonic Orchestra All Administrative Staffs, College of Music, Mahidol University All Piano Department Faculty, College of Music, Mahidol University All Piano Students, College of Music, Mahidol University

70 T H E 4 T H T H A I L A N D I N T E R N AT I O N A L P I A N O C O M P E T I T I O N

THAIL AND PHILHARMONIC ORCHESTRA Music Director: Sugree Charoensook Chief Conductor: Gudni A. Emilsson Principal Guest Conductor: Claude Villaret Resident Conductor: Lieutenant ColonelÂ Prateep SuphanrojnÂ 1st Violin Inga Causa (Acting Concertmaster) Paris Paraschoudis+ Renee Spady Chanasorn Chantarapaoraya Mahakit Leardcheewanan Chanitta Chaicharoen Pongsit Karnkriangkrai Aviga Nimitsup Pinpinut Sribumrungkait Chanya Charoensook Suphat Chanthawira Pattapol Jirasuttisarn Akarapol Pongsarsauwaphak Tachinee Patarateeranon Anantasit Na-ngam Chinnaworn Siriwat 2nd Violin Kamolmas Charoensook* Tanawan Tanakkasaeranee Karuna Boonyuen+ Polyiam Palitponganpim Punyawas Manomaiphibul Ittipat Pisalchaiyapol Pranchanok Tangtaweewipat Pichanika Areeras Kantida Sangsavang Tansinee Rujipasakul Khajeepaan Jangjamras Atiyut Pipatkulsawat Pacharapol Techatanachai Viola Danny Keasler* Colin Wrubleski+ Suvijak Chotikool

Giacomo Visintin Nawattasit Kanjanajai Surachon Lerdlop Tachapol Sanphawat Settawut Wongyongsil Krit Supabpanich Cello Juris Lakutis* Marcin Szawelski+ Guntiga Comenaphatt Nantanat Supawibool Boonyarat Nimchokchaicharoen Neeranuch Pothipattananon Vorapon Thannuekmeesinkul Teerakiat Kerdlarp Phongpat Ungkasupon Chayuth Khunapinya Double Bass Maris Arents* Siwawut Wattanawongkeeree+ Rapeepatana Phongsub Xiao Yi He Rachapol Khumpiranond Saranyoo Charoenjai Watcharapong Supattarachaiyawong Padol Sopacharoen Piccolo Vichit Teerawongwiwat* Flute Hiroshi Matsushima * Yu Jin Jung+ Bunnaphat Tangpaiboon

71 THAILAND PHILHARMONIC ORCHESTRA

Oboe Cooper Wright* Somchai Tongboon+ English Horn Pratchaya Khemnark* Clarinet Worawut Khamchuanchuen* Le Dai+ Nattawat Titipornkajit Bass Clarinet Grzegorz Grzeszcyk* Bassoon Patrawut Punputhaphong * Christopher G.Schaub+ Kittima Molee Contrabassoon Intouch Lerkyen* Horn Suparchai Sorathorn* Nantawat Waranich+ Daren Robbins Chaiyanan Wan-in Krit Vikornvongvanich

Director General Sugree Charoensook General Manager Noppadol Tirataradol Marketing Communication Manager Linda Cheng Orchestra Administration Sittinon Ponngam Wannisa Suntalunai Panpaporn Jantrasakaowong Orchestra Operation Pakorn Buathong Sittinon Ponngam

Trumpet Surasi Chanoksakul* Somjate Pookaew+ Alongkorn Laosaichuea Joseph Bowman Kueakool Jaisom

* Principal + Co - Principal

Trombone Satit Chomchewchan+ Suttipong Mainaikij Bass Trombone Philip Brink* Thanapoom Sriwiset Tuba Kitti Sawetkittikul* Timpani Kyle Acuncius* Percussion Thayarat Sopolpong* Anusorn Prabnongbua+ Kraisit Suwanlao Nawapat Chatdamrongmongkol Harp Phuttaraksa Kamnirdratana* Piano Bakhtiyor Allaberganov

Librarian Pakorn Buathong Veerapong Krasin

Music Auditorium Manager & Front of House Jittiya Naovapen

Stage Pakorn Buathong Veerapong Krasin Sittinon Ponngam

Sound Technician Chayut Jessadavaranon Warawuth Thawilvang Sorapol Assawakarnjanakit Thitiwut Siribenjawan

Researchers Borwonpong Supasopon Rattanai Bampenyou Editorial Committee Joseph Bowman Rattiya Kanchanapinyokul Thunyawan Rattanapop Graphic Designer Jaroon Kakarndee

Visual & Lighting Kongka Khumlaitong Customer Relation & Ticketing Pornsawan Mudchim

College of Music, Mahidol University 25/25 Phutthamonthon Road, Salaya, Phutthamonthon Nakhonpathom 73170 Tel. 02 800 2525-34 Fax. 02 800 2530 www.music.mahidol.ac.th