The girl who beat Trifonov

Last night I had my first introduction (live) to the playing of Yulianna Avdeeva, winner of the 2010 Chopin Competition in Warsaw. She took first prize as Daniil Trifonov pulled in third (and second prize was shared between Wunder and Geniusas, two contestants with fine names in every sense). To say that the competition sent waves of controversy through the pianophile community at the time probably isn't saying enough. The petite Russian girl from Munich is 28 years old, clad in a tailcoat, not much taller than I am and, unless I'm much mistaken, the first woman to win the Chopin since Argerich. And I'm very glad to report that she is the real deal, plus some.

She played Brahms Piano Concerto No.1 at the Royal Festival Hall last night with the LPO and Jurowski. They are all now on a plane to Spain, where late-night audiences in Madrid can catch them this evening.

From the very first entry Avdeeva showed a musical and intellectual sophistication that is several cuts above the average. She has an astonishing sense of the ineffable in sound: she can conjure a mezza voce that is both translucent and mysterious, filled with Brahmsian innigkeit, for instance; it's somewhat Kaufmannesque in concept. She spins long, wonderfully shaped melodic lines, but builds the music from the bass up, through the harmonic structure, and has the full compass of counterpoint, voicing and balance (listen to the close-knitted coda of the Chopin Fourth Ballade above, for example - it's carefully managed yet never loses fire). She may be slender, but her power, when fully unleashed, is thunderous; and that unleashing only happens when the music calls for it.

I can think of few pianists who can blend with the orchestral texture so ideally - many wouldn't even think of doing so, but at times this mighty concerto became nearly a concertante piece as Avdeeva duetted with the solo horn, accompanying, exchanging, playing chamber music, assuming a collegial role as one part of the massive and inspiring whole. There's a mesmerising beauty and intelligence to her interpretation and something that I don't mind classifying as an old-fashioned classiness of the best type: fully informed and intellectually aware yet deeply intuitive as well and with the ability to find not only the right sound for Brahms but the right sounds for every shade of his very considerable spectrum. It's worth adding that the players adored her awareness of orchestral sound and interaction, and one violinist declared it one of the best Brahms Firsts he's played in in 28 years.

Given this level of musicianship, the cruelty of some of the 2010 competition reviews is simply  staggering. But John Allison from the Telegraph was there and was hugely impressed with her. Let's hope she will come back soon.

The other Lloyd Webber

That was Aurora by William Lloyd Webber - the most substantial piece of orchestral music, as far as we know, by the father of Andrew and Julian. His centenary falls this year, on 11 March, and there's to be a big celebratory concert that day in St Martin-in-the-Fields, led by Julian. I've been exploring William's music and, in short, am quite in love with it. The other day I had a good chat with Julian about life with his father and the legacy of William's music - personified by his influence on Andrew.

I also had a wonderful talk with John Lill, who knew the family extremely well as a young man, and as I'd like this celebration to be an ongoing thing, I will post that interview here a little closer to the anniversary date. In the meantime, here is my introduction to William Lloyd Webber in today's Independent. Enjoy.

New baton announced for the LPO

Born in Colombia, living in Vienna, flexing his muscles and charming the everything off everyone, to judge from this video from Portland, here comes the new boy at the London Philharmonic. Andrés Orozco-Estrada (he pronounces his own name Orozcestrada) has today been announced as the band's new principal guest conductor, taking over when Yannick Nézet-Séguin's tenure concludes at the end of this season. I haven't seen him in action live yet. He only conducted the LPO for the first time a couple of months ago.

Here he is conducting the Tonkunstler Orchestra in the Figaro overture.

We look forward to getting to know him. 

We could live and learn, given half a chance...

This is my latest Soapbox post for Amati.com: http://www.amati.com/articles/1053-we-could-live-and-learn-given-half-a-chance.html
The gist of it is that classical music's obsession with attracting youth may be a little misplaced...

My top ten wishes for music in the new year

1. Re performers, I wish we might see the return to these shores of the pianists Grigory Sokolov, Krystian Zimerman, Martha Argerich and Menahem Pressler.

2. Re audiences, I wish for the principle to be established that you have a responsibility to consider other people as well as yourself - you may have bought a ticket, but so have they. Therefore during the concert you don't talk, you switch off all functions of your phone and you - er - listen to the music.

3. Re orchestras and other ensembles, I wish that those who depend on their local councils for life-giving tranches of funding could find alternative sources, fast. I fear they will need them. Here is the first of what will be many such problems: the BBC Philharmonic's grant is being slashed by Salford Council, which - shamefully - is also ending its contribution to music and performing arts in schools, according to this report from the Manchester Evening News.

4. Re programming, I wish for scope, breadth and depth. I am sick of pianists in particular programming same old same old. Do you know how much piano repertoire there is? More than any of us could possibly read through in one lifetime. So no more Schumann Etudes Symphoniques; why not Gesange der Fruhe? And enough of the last three Schubert sonatas; why not the G major or the big D major instead, or, if you can face its challenges, the "little" A minor? This could go on, but you get my drift.

5. I also wish for plenty of Andrzej Panufnik, whose centenary falls this year. He is a neglected master and he's due for a big-time return to the concert hall. Watch this space for further details of the centenary plans so far. At least there's a good chance of this wish being fulfilled.

6. I wish that Sir Simon Rattle would confirm or deny, definitively, whether or not he is coming to head the LSO. Preferably the former.

7. An end to witch-hunting and bullying in all its forms. The notion that a composer/performer/any individual who does something artistic/creative/literary/etc should be judged in that activity first by his/her personal beliefs/sayings/doings in matters of religion/sex/politics/etc is insidious and daft.

8. I wish that along with endeavouring to increase levels of sponsorship, membership, Friends schemes etc, there could be an increased sense of responsibility to those who can't afford to be among them. Venues exist that sell out to their members before anyone else gets a look in. Some of those venues keep day seats for which you can queue. Those that don't currently do this should start. The ones that already do should keep more day seats.


9. I wish that some doughty, important and fearless conductor would decide that it is OK to perform Mozart operas with a bit of vibrato and an orchestra that's non-microscopic in size.

10. Last but by no means least, I wish for the realisation of my dream of an awards ceremony to celebrate and raise the profile of the great achievements of women in music. And I'm sure Fanny Mendelssohn (right) would approve.