//Json index for use with feed widgets.  Define a unique object name for each blog using the variable jsonObjName. 
pttfFeed = {
    "channel": {
		"title": "Performance Today - Today\'s Fredlines",
		"link": "http://www.publicradio.org/columns/performancetoday/fredlines/?refid=0",
		"description": "",
		"published": "Mon, 31 Aug 2009 21:25:24 -0600",
		"language": "en",
		"items": [{
	  		"title": "Music and Silence",
			"description": "\<p\>\<a href=\"http://www.dgmlive.com/diaries.htm?entry=15465\"\>Robert Fripp\<\/a\>: &#8220;Music is the wine that fills the cup of silence.&#8221;\<\/p\>\n\n\<p\>\<a href=\"http://somaweb.org/w/huxbio.html\"\>Aldous Huxley\<\/a\>: &#8220;After silence, that which comes nearest to expressing the inexpressible is music.&#8221;\<\/p\>\n\n\<p\>\<a href=\"http://www.mime.info/encyclopedia/marceau.html\"\>Marcel Marceau\<\/a\>: &#8220;Music and silence combine strongly because music is done with silence, and silence is full of music.&#8221;\<\/p\>\n\n\<p\>\<a href=\"http://www.stokowskisociety.net/welcome.html\"\>Leopold Stokowski\<\/a\> (to an audience not providing enough silence): &#8220;A painter paints his pictures on canvas. But musicians paint their pictures on silence. We provide the music, and you provide the silence.&#8221;\<\/p\>\n\n\<p\>\<a href=\"http://www.theatlantic.com/issues/97oct/silence.htm\"\>Former pianist, now anonymous monk\<\/a\>: &#8220;Silence is my music now.&#8221;\<\/p\>\n\n\<p\>\<a href=\"http://www.poetryfoundation.org/archive/poet.html?id=6318\"\>Edith Sitwell\<\/a\>: &#8220;My personal hobbies are reading, listening to music, and silence.&#8221;\<\/p\>\n\n\<p\>Music theorist \<a href=\"http://dailyheadlines.uark.edu/10842.htm\"\>Elizabeth Hellmuth Margulis\<\/a\>: &#8220;The same acoustic silence, embedded in two different excerpts, can be perceived dramatically differently.&#8221;\<\/p\>\n\n\<p\>\<a href=\"http://www.pbs.org/wnet/americanmasters/episodes/john-cage/about-the-composer/471/\"\>John Cage\<\/a\>, on reaction to his &#8216;silent&#8217; piece 4&#8217;33&#8221;: &#8220;They missed the point. There&#8217;s no such thing as silence. What they thought was silence, because they didn&#8217;t know how to listen, was full of accidental sounds. You could hear the wind stirring outside during the first movement. During the second, raindrops began patterning the roof, and during the third the people themselves made all kinds of interesting sounds as they talked or walked out.&#8221;\nQuoted by \<a href=\"http://www.richardkostelanetz.com/\"\>Richard Kostelanetz\<\/a\> in his 2003 book, \<a href=\"http://www.amazon.com/Conversing-Cage-Richard-Kostelanetz/dp/0879101008\"\>&#8220;Conversing with John Cage.&#8221;\<\/a\>\<\/p\>\n\n\<p\>\<object width=\"445\" height=\"364\"\>\<param name=\"movie\" value=\"http://www.youtube.com/v/pcHnL7aS64Y&amp;hl=en&amp;fs=1&amp;color1=0x234900&amp;color2=0x4e9e00&amp;border=1\"\>\<\/param\>\<param name=\"allowFullScreen\" value=\"true\"\>\<\/param\>\<param name=\"allows\criptaccess\" value=\"always\"\>\<\/param\>\<embed src=\"http://www.youtube.com/v/pcHnL7aS64Y&amp;hl=en&amp;fs=1&amp;color1=0x234900&amp;color2=0x4e9e00&amp;border=1\" type=\"application/x-shockwave-flash\" allows\criptaccess=\"always\" allowfullscreen=\"true\" width=\"445\" height=\"364\"\>\<\/embed\>\<\/object\>\<\/p\>\n",
			"link": "http://www.publicradio.org/columns/performancetoday/fredlines/archive/2009/08/music_and_silence.shtml?refid=0",
			"pubDate": "Mon, 31 Aug 2009 21:25:24 -0600"
			},{
	  		"title": "Respighi\'s Inspiration",
			"description": "\<p\>Ottorino Respighi composed his &#8220;Three Botticelli Pictures&#8221; with these paintings by Sandro Botticelli in mind.\n(Click on images to enlarge.)\<\/p\>\n\n\<p\>Spring:\<\/p\>\n\n\<p\>\<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"\>\<a href=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/09_Primavera_jpg.shtml\" onclick=\"window.open(\'http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/09_Primavera_jpg.shtml\',\'popup\',\'width=800,height=545,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0\'); return false\"\>\<img src=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/09_Primavera_jpg-thumb-270x183.jpg\" width=\"270\" height=\"183\" alt=\"09_Primavera_jpg.jpg\" class=\"mt-image-center\" style=\"text-align: center; display: block; margin: 0 auto 20px;\" /\>\<\/a\>\<\/span\>\<\/p\>\n\n\<p\>Adoration of the Magi:\<\/p\>\n\n\<p\>\<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"\>\<a href=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/Botticelli_Magi_c.shtml\" onclick=\"window.open(\'http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/Botticelli_Magi_c.shtml\',\'popup\',\'width=839,height=550,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0\'); return false\"\>\<img src=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/Botticelli_Magi_c-thumb-270x176.jpg\" width=\"270\" height=\"176\" alt=\"Botticelli_Magi_c.jpg\" class=\"mt-image-center\" style=\"text-align: center; display: block; margin: 0 auto 20px;\" /\>\<\/a\>\<\/span\>\<\/p\>\n\n\<p\>Birth of Venus:\<\/p\>\n\n\<p\>\<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"\>\<a href=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/botticelli-birth-of-venus-1024x601.shtml\" onclick=\"window.open(\'http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/botticelli-birth-of-venus-1024x601.shtml\',\'popup\',\'width=1024,height=601,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0\'); return false\"\>\<img src=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/botticelli-birth-of-venus-1024x601-thumb-270x158.jpg\" width=\"270\" height=\"158\" alt=\"botticelli-birth-of-venus-1024x601.jpg\" class=\"mt-image-center\" style=\"text-align: center; display: block; margin: 0 auto 20px;\" /\>\<\/a\>\<\/span\>\<\/p\>\n",
			"link": "http://www.publicradio.org/columns/performancetoday/fredlines/archive/2009/08/respighis_inspiration.shtml?refid=0",
			"pubDate": "Wed, 26 Aug 2009 19:00:34 -0600"
			},{
	  		"title": "Served in the green room: tuna",
			"description": "\<p\>\<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"\>\<a href=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/nora2.shtml\" onclick=\"window.open(\'http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/nora2.shtml\',\'popup\',\'width=364,height=243,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0\'); return false\"\>\<img src=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/nora2-thumb-270x180.jpg\" width=\"270\" height=\"180\" alt=\"nora2.jpg\" class=\"mt-image-right\" style=\"float: right; margin: 0 0 20px 20px;\" /\>\<\/a\>\<\/span\>\<\/p\>\n\n\<p\>\<a href=\"http://www.ravenswingstudio.com/NoraWeb/nora_home.html\"\>Nora \<\/a\> lives in Cherry Hills, New Jersey.  One of her human companions (Betsy Alexander) is a pianist and composer.  According to \<a href=\"http://www.ravenswingstudio.com/NoraWeb/docs/theStory.html\"\>Nora&#8217;s online autobiography\<\/a\>, she&#8217;s been playing piano for several years now:\<\/p\>\n\n\<blockquote\>I jumped up on the bench of the big black piano and put my paws on the keys&#8230;I discovered I could make beautiful music, just like the humans. It was easy&#8230;\<\/blockquote\>\n\n\<p\>\<a href=\"http://www.youtube.com/watch?v=TZ860P4iTaM\"\>Nora&#8217;s first youtube video\<\/a\> has been viewed about 15 million times.  Which led to \<a href=\"http://www.youtube.com/watch?v=v0zgQAp7EYw\"\>sequels\<\/a\>, \<a href=\"http://www.ravenswingstudio.com/NoraWeb/docs/TheShop.html\"\>a full product line\<\/a\>, and even \<a href=\"http://www.ravenswingstudio.com/NoraWeb/docs/LicensingInfo.html\"\>licensing availabilities\<\/a\>.  None too surprising these days&#8230;but then \<a href=\"http://www.youtube.com/watch?v=zeoT66v4EHg&amp;feature=related\"\>this \<\/a\>happened in June.  Lithuanian conductor \<a href=\"http://www.piecaitis.eu/eng/index_en.htm\"\>Mindaugas Piecaitis\<\/a\> wrote a 4-minute orchestral piece around recordings of Nora at the piano.  And at a concert by the Klaipeda Chamber Orchestra in Lithuania, he projected videos of Nora overhead while the orchestra played.  This made the viral rounds in June, but if you haven&#8217;t seen it yet&#8230;\<\/p\>\n\n\<p\>\<object width=\"480\" height=\"300\"\>\<param name=\"movie\" value=\"http://www.youtube.com/v/zeoT66v4EHg&amp;hl=en&amp;fs=1&amp;rel=0&amp;border=1\"\>\<\/param\>\<param name=\"allowFullScreen\" value=\"true\"\>\<\/param\>\<param name=\"allows\criptaccess\" value=\"always\"\>\<\/param\>\<embed src=\"http://www.youtube.com/v/zeoT66v4EHg&amp;hl=en&amp;fs=1&amp;rel=0&amp;border=1\" type=\"application/x-shockwave-flash\" allows\criptaccess=\"always\" allowfullscreen=\"true\" width=\"480\" height=\"300\"\>\<\/embed\>\<\/object\>\<\/p\>\n\n\<p\>The result takes the cute-cuddly-cat-video genre into a completely new realm.  All at once, I find myself wondering &#8220;what is Nora thinking while she plays, what is she really DOING?&#8221;, appreciating the use of video at a &#8220;classical&#8221; concert, loving the carefully-timed combination of technology and acoustic orchestra (tango at 2:16, key change at 2:49, flute answers Nora at 2:54!), secretly wishing \<em\>I&#8217;d\<\/em\> thought of this first, saying &#8220;ooooo, that&#8217;s so cuuuuute&#8221;&#8230;and enjoying the music as music.\<\/p\>\n",
			"link": "http://www.publicradio.org/columns/performancetoday/fredlines/archive/2009/08/tonights_soloist_nora.shtml?refid=0",
			"pubDate": "Tue, 25 Aug 2009 11:03:50 -0600"
			},{
	  		"title": "Aspen Music Festival: I don\'t want to go home",
			"description": "\<p\>\<em\>Suzanne Schaffer is the features producer for Performance Today and coordinates the in-studio performances with musicians. She went to the Aspen Music Festival in July on behalf of PT and is stepping into Fred&#8217;s blogging shoes this week to share some of her experiences there.\<\/em\>\<\/p\>\n\n\<p\>\<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"\>\<a href=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_21_01.shtml\" onclick=\"window.open(\'http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_21_01.shtml\',\'popup\',\'width=600,height=450,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0\'); return false\"\>\<img src=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_21_01-thumb-220x165.jpg\" border=\"0\" width=\"220\" height=\"165\" alt=\"aspen_21_01.jpg\" class=\"mt-image-left\" style=\"float: left; margin: 0 20px 20px 0;\" /\>\<\/a\>\<\/span\>\nThis Sunday night I imagine there will a lot of tears in the eyes of the audience members and performers at the \<a href=\"http://www.aspenmusicfestival.com/\" target=\"_blank\"\>Aspen Music Festival&#8217;s\<\/a\> final concert of the summer. The students and their teachers will pack up their instruments, their cameras, their hiking gear and head home to the real world.\<\/p\>\n\n\<!--#include virtual=\"/www_publicradio/tools/media_player/get_player.php?audio=performance_today/2009/08/20/aspen_21_01_20090820_128&class=audio&link_text=Chris Carroll practices by Castle Creek&type=POPUP\" --\>\n\n\<p\>In talking with the music students in Aspen I was struck by what a sense of belonging they feel at &#8220;camp&#8221; as some of them call it. \<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"\>\<a href=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_21_02.shtml\" onclick=\"window.open(\'http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_21_02.shtml\',\'popup\',\'width=600,height=450,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0\'); return false\"\>\<img src=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_21_02-thumb-220x165.jpg\" border=\"0\" width=\"220\" height=\"165\" alt=\"aspen_21_02.jpg\" class=\"mt-image-right\" style=\"float: right; margin: 0 0 20px 20px;\" /\>\<\/a\>\<\/span\>In Aspen these young adults make friends that share the same passion for music so they&#8217;re excited to talk about music, to play for each other, and maybe to compete a little, pushing each other to improve their technique. It was as if many of these students were trying to bottle up this creative energy so that when they go home and the rest of their friends are involved in sports or art or drama, they can ration out a little of this musical energy all year long until refueling at next year&#8217;s Aspen Music Festival.\<\/p\>\n\n\<!--#include virtual=\"/www_publicradio/tools/media_player/get_player.php?audio=performance_today/2009/08/20/aspen_21_02_20090820_128&class=audio&link_text=Pianist David Mamedov is not homesick&type=POPUP\" --\>\n\n\<p\>I had a great time touring the Aspen Music Festival campus with shuttle driver Dick Miller. \<\/p\>\n\n\<!--#include virtual=\"/www_publicradio/tools/media_player/get_player.php?audio=performance_today/2009/08/20/aspen_21_03_20090820_128&class=audio&link_text=Listen to my bus tour of Aspen&type=POPUP\" --\>\n\n\<p\>\<a href=\"http://performancetoday.publicradio.org/features/2009/08/aspen/21/\"\>See pictures of the tour\<\/a\>\<\/p\>\n",
			"link": "http://www.publicradio.org/columns/performancetoday/fredlines/archive/2009/08/aspen_music_festival_i_dont_wa.shtml?refid=0",
			"pubDate": "Fri, 21 Aug 2009 00:00:00 -0600"
			},{
	  		"title": "I\'ll take fried chicken with my concerto, please",
			"description": "\<p\>\<em\>Suzanne Schaffer is the features producer for Performance Today and coordinates the in-studio performances with musicians. She went to the Aspen Music Festival in July on behalf of PT and is stepping into Fred&#8217;s blogging shoes this week to share some of her experiences there.\<\/em\>\<\/p\>\n\n\<p\>The \<a href=\"http://www.aspenmusicfestival.com\" target=\"_blank\"\>Aspen Music Festival\<\/a\> has one of the coolest concert venues: the Benedict Music Tent (quite fitting for a state as outdoorsy as Colorado). Sure, you can sit inside the theater is assigned concert seats with a great view of the orchestra and soloist, but lots of people prefer to sit outside on the lawn. You can still hear the music pretty well and volunteer &#8220;shushers&#8221; walk around to keep kids, pets and candy wrappers relatively quiet. It&#8217;s a beautiful way to spend an evening, unless the savory smell of fried chicken wafting to you from two blankets over creates a distraction from listening to the music. \<a href=\"http://performancetoday.publicradio.org/features/2009/08/aspen/20/\"\>See images\<\/a\>.\<\/p\>\n\n\<!--#include virtual=\"/www_publicradio/tools/media_player/get_player.php?audio=performance_today/2009/08/20/aspen_20_01_20090820_128&class=audio&link_text=Listen to our interviews with listeners on the lawn&type=POPUP\" --\>\n",
			"link": "http://www.publicradio.org/columns/performancetoday/fredlines/archive/2009/08/ill_take_fried_chicken_with_my.shtml?refid=0",
			"pubDate": "Thu, 20 Aug 2009 00:00:00 -0600"
			},{
	  		"title": "Multi-talented Musicians at Aspen",
			"description": "\<p\>\<em\>Suzanne Schaffer is the features producer for Performance Today and coordinates the in-studio performances with musicians. She went to the Aspen Music Festival in July on behalf of PT and is stepping into Fred&#8217;s blogging shoes this week to share some of her experiences there.\<\/em\>\<\/p\>\n\n\<p\>\<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"\>\<a href=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_iphone.shtml\" onclick=\"window.open(\'http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_iphone.shtml\',\'popup\',\'width=500,height=333,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0\'); return false\"\>\<img src=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_iphone-thumb-220x146.jpg\" border=\"0\" width=\"220\" height=\"146\" alt=\"aspen_iphone.jpg\" class=\"mt-image-left\" style=\"float: left; margin: 0 20px 20px 0;\" /\>\<\/a\>\<\/span\>\<\/p\>\n\n\<p\>On today&#8217;s program you&#8217;ll hear a snippet of a conversation I recorded between Fred and the \<a href=\"http://www.aspenmusicfestival.com/\" target=\"_blank\"\>Aspen Music Festival\<\/a\> Music Director \<a href=\"http://www.aspenmusicfestival.com/index.cfm?method=c.festivalLeadership\" target=\"_blank\"\>David Zinman\<\/a\> about his musical interests that go beyond the concert hall. Fred had just finished the interview, covering a range of topics from the role of the conductor to Mahler, when I asked Zinman about the Aspen iPhone application (this is in addition to the \<a href=\"http://twitter.com/aspenmusic\" target=\"_blank\"\>Aspen Music twitter feed\<\/a\>). I was truly flabbergasted when Zinman whipped out his very own iPhone and started scrolling through the music applications. Fred shot me a look without saying, &#8220;are you recording this?&#8221; I was and I kept going.\<\/p\>\n\n\<!--#include virtual=\"/www_publicradio/tools/media_player/get_player.php?audio=performance_today/2009/08/19/aspen_19_01_20090819_128&class=audio&link_text=Listen to the iPhone Rumble between David Zinman and Fred Child.&type=POPUP\" --\>\n\n\<p\>That&#8217;s one of the great things about the Aspen Music Festival and School: In a community the size of Aspen you can&#8217;t help but run into musicians you may have just seen perform a concerto at a restaurant across the street. You find out about their other musical and non-musical interests.\n\<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"\>\<a href=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_cho_liang_lin.shtml\" onclick=\"window.open(\'http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_cho_liang_lin.shtml\',\'popup\',\'width=500,height=375,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0\'); return false\"\>\<img src=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_cho_liang_lin-thumb-220x165.jpg\" border=\"0\" width=\"220\" height=\"165\" alt=\"aspen_cho_liang_lin.jpg\" class=\"mt-image-right\" style=\"float: right; margin: 0 0 20px 20px;\" /\>\<\/a\>\<\/span\>\<\/p\>\n\n\<p\>One of the best conversations I had during my reporting trip to the festival was with violinist \<a href=\"http://www.opus3artists.com/artists/cho-liang-lin\" target=\"_blank\"\>Cho-Liang Lin\<\/a\>, or Jimmy Lin to his friends. The night before I met up with him, I had seen Lin perform a new piece by \<a href=\"http://www.schifrin.com/main.htm\" target=\"_blank\"\>Lalo Schifrin\<\/a\> called Tangos Concertantes. It was an electrifying concerto full of pyrotechnics written just for Lin. I was delighted to discover the next day during our interview that this Taiwanese-born violinist who teaches in Texas when he&#8217;s not performing around the world loves the Argentine tango above all else. \<\/p\>\n\n\<!--#include virtual=\"/www_publicradio/tools/media_player/get_player.php?audio=performance_today/2009/08/19/aspen_19_02_20090819_128&class=audio&link_text=Listen to my interview with tanguero Jimmy Lin\n&type=POPUP\" --\>\n",
			"link": "http://www.publicradio.org/columns/performancetoday/fredlines/archive/2009/08/multi-talented_musicians_at_as.shtml?refid=0",
			"pubDate": "Wed, 19 Aug 2009 09:00:00 -0600"
			},{
	  		"title": "Music and life lessons at the Aspen Music Festival",
			"description": "\<p\>\<em\>Suzanne Schaffer is the features producer for Performance Today and coordinates the in-studio performances with musicians. She went to the Aspen Music Festival in July on behalf of PT and is stepping into Fred&#8217;s blogging shoes this week to share some of her experiences there.\<\/em\>\<\/p\>\n\n\<p\>I can&#8217;t imagine anything much more intimidating than having a one-on-one music lesson with someone you greatly admire. You want the teacher to be impressed with your sound, but you&#8217;re bracing yourself for the constructive criticism that will, in the end, make you a better musician but in the short term may jar your confidence a bit. One of the biggest lessons taught at the \<a href=\"http://www.aspenmusicfestival.com\" target=\"_blank\"\>Aspen Music Festival and School\<\/a\> seems to be how to overcome fear and find confidence. \<\/p\>\n\n\<p\>\<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"\>\<a href=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_mayne.shtml\" onclick=\"window.open(\'http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_mayne.shtml\',\'popup\',\'width=600,height=450,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0\'); return false\"\>\<img src=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_mayne-thumb-220x165.jpg\" border=\"0\" width=\"220\" height=\"165\" alt=\"aspen_mayne.jpg\" class=\"mt-image-left\" style=\"float: left; margin: 0 20px 20px 0;\" /\>\<\/a\>\<\/span\>\<\/p\>\n\n\<p\>Clarinetist Adele Mayne handled the lesson with grace. She was at the Aspen Festival this summer studying with \<a href=\"http://www.minnesotaorchestra.org/music/artist_detail.cfm?id_artist=15523878\" target=\"_blank\"\>Burt Hara\<\/a\>, principal clarinetist with the Minnesota Orchestra. I happened to sit in on her last private lesson with Hara that was scheduled just a few hours before a big audition with the \<a href=\"http://www.nws.edu/\" target=\"_blank\"\>New World Symphony\<\/a\> to be on their substitute clarinet list. At one point, I think Mayne was getting a little overwhelmed with all of Hara&#8217;s suggestions and realized that she could have been a lot more prepared for that afternoon&#8217;s audition. Hara could see those nerves creep in and said point blank, &#8220;There&#8217;s only so much you fix right now. After that you just have to go in with confidence and let them hear how you hear the music.&#8221; \<\/p\>\n\n\<p\>It was a great moment of teaching. Hara told Mayne how to be much more prepared for the next audition, but in the meantime, she needed to be confident with where she was at. And guess what? She was selected to be on call in case the New World Symphony needs another clarinetist.\<\/p\>\n\n\<!--#include virtual=\"/www_publicradio/tools/media_player/get_player.php?audio=performance_today/2009/08/17/aspen_18_01_20090817_128&link_text=Listen to Burt Hara talk about teaching and hear highlights from Adele Mayne\'s lesson&class=audio&type=POPUP\" --\>\n\n\<p\>\<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"\>\<a href=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_shaham.shtml\" onclick=\"window.open(\'http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_shaham.shtml\',\'popup\',\'width=400,height=533,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0\'); return false\"\>\<img src=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_shaham-thumb-120x159.jpg\" border=\"0\" width=\"120\" height=\"159\" alt=\"aspen_shaham.jpg\" class=\"mt-image-right\" style=\"float: right; margin: 0 0 20px 20px;\" /\>\<\/a\>\<\/span\>\<\/p\>\n\n\<p\>One lesson we didn&#8217;t have time to broadcast was a piano masterclass led by pianist \<a href=\"http://www.orlishaham.com/\" target=\"_blank\"\>Orli Shaham\<\/a\>. She worked with three students on finding the climax of a phrase, bringing on the middle voices of a chord and their posture. The last student to perform, Fan-Ya Lin, played Chopin&#8217;s Ballade No. 4 in f minor. When I closed my eyes I could have easily believed that I was at a recital of a professional, touring musician. Even with a musician so mature in her expression and restraint, Shaham helped Lin put even more soul into the performance with stunning results.\<\/p\>\n\n\<p\>\<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"\>\<a href=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_yalin.shtml\" onclick=\"window.open(\'http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_yalin.shtml\',\'popup\',\'width=600,height=450,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0\'); return false\"\>\<img src=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_yalin-thumb-220x165.jpg\" border=\"0\" width=\"220\" height=\"165\" alt=\"aspen_yalin.jpg\" class=\"mt-image-left\" style=\"float: left; margin: 0 20px 20px 0;\" /\>\<\/a\>\<\/span\>\<\/p\>\n\n\<!--#include virtual=\"/www_publicradio/tools/media_player/get_player.php?audio=performance_today/2009/08/17/aspen_18_02_20090817_128&link_text=Listen to my interview with pianist Orli Shaham&class=audio&type=POPUP\" --\>\n\n\<!--#include virtual=\"/www_publicradio/tools/media_player/get_player.php?audio=performance_today/2009/08/17/aspen_18_03_20090817_128&link_text=Listen to my interview with Fan-Ya Lin&class=audio&type=POPUP\" --\>\n",
			"link": "http://www.publicradio.org/columns/performancetoday/fredlines/archive/2009/08/music_and_life_lessons_at_the.shtml?refid=0",
			"pubDate": "Tue, 18 Aug 2009 07:50:00 -0600"
			},{
	  		"title": "Performance Today goes to the Aspen Music Festival",
			"description": "\<p\>This is Suzanne, features producer for Performance Today. I went to the \<a href=\"http://www.aspenmusicfestival.com\" target=\"_blank\"\>Aspen Music Festival\<\/a\> in July on behalf of PT and I&#8217;m stepping into Fred&#8217;s blogging shoes this week to share with you some of my experiences there. I had never been to Aspen before so everything was a discovery and, truth be told, this was my favorite one: music on a mountain. \<\/p\>\n\n\<p\>\<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"\>\<a href=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_011.shtml\" onclick=\"window.open(\'http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_011.shtml\',\'popup\',\'width=400,height=533,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0\'); return false\"\>\<img src=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/08/aspen_01-thumb-175x233.jpg\" width=\"175\" height=\"233\" border=\"0\" alt=\"aspen_01.jpg\" class=\"mt-image-left\" style=\"float: left; margin: 0 20px 20px 0;\" /\>\<\/a\>\<\/span\>\<\/p\>\n\n\<p\>First of all, I loved the originality of having the concert at the top of the mountain. Secondly, I appreciated the reminder that music is about adventure. Here were five young musicians going to extreme lengths, or heights, to get other people as excited about music as they were. &#8220;Feel free to clap whenever you feel like it,&#8221; they said. &#8220;Go ahead and walk around, take pictures while we play,&#8221; they said. But I took their message to say music isn&#8217;t stuffy, it&#8217;s fun. Go ahead and enjoy it. \<a href=\"http://performancetoday.publicradio.org/features/2009/08/aspen/\"\>See more images.\<\/a\>\<\/p\>\n\n\<!--#include virtual=\"/www_publicradio/tools/media_player/get_player.php?audio=performance_today/2009/08/16/17_aspen_20090816_128&class=audio&link_text=Listen to Music on the Mountain&type=POPUP\" --\>\n",
			"link": "http://www.publicradio.org/columns/performancetoday/fredlines/archive/2009/08/performance_today_goes_to_the.shtml?refid=0",
			"pubDate": "Mon, 17 Aug 2009 14:00:00 -0600"
			},{
	  		"title": "Roberto Plano\'s toy Piano",
			"description": "\<p\>\<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"\>\<a href=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/07/plano2.shtml\" onclick=\"window.open(\'http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/07/plano2.shtml\',\'popup\',\'width=470,height=310,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0\'); return false\"\>\<img src=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/07/plano2-thumb-270x178.jpg\" width=\"270\" height=\"178\" alt=\"plano2.jpg\" class=\"mt-image-left\" style=\"float: left; margin: 0 20px 20px 0;\" /\>\<\/a\>\<\/span\>\<\/p\>\n\n\<p\>\<a href=\"http://www.robertoplano.com/i_index.asp\"\>Roberto Plano\<\/a\> is a fine young Italian pianist, and a sweet soul.  He cherishes living in \<a href=\"http://www.comune.travedonamonate.va.it/\"\>a small town in Italy\<\/a\>, rather than in a big musical capital like Vienna or New York.  He&#8217;s impeccably polite, soft-spoken, articulate, charmingly shy.  But when he sits at the piano, he unleashes a cascade of sound, and a torrent of emotion.\<\/p\>\n\n\<p\>You can hear my conversation with Plano, and his wild performances in our studios&#8230;\<a href=\"http://www.publicradio.org/tools/media/player/performance_today/features/2009/04/16_plano_01\"\>part one is here\<\/a\>, with Liszt&#8217;s hair-raising Transcendental Etude No. 11, and \<a href=\"http://www.publicradio.org/tools/media/player/performance_today/features/2009/04/16_plano_02\"\>part two is here\<\/a\>, with more Liszt and a Piazzolla tango.\<\/p\>\n\n\<p\>Plano&#8217;s first instrument was a tiny red and white toy piano.  His parents knew nothing about classical music, the piano was a gift from his godfather.  Plano taught himself to play, plunking out melodies with one finger.\<\/p\>\n\n\<p\>\<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"\>\<a href=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/07/Planotoypiano.shtml\" onclick=\"window.open(\'http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/07/Planotoypiano.shtml\',\'popup\',\'width=543,height=591,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0\'); return false\"\>\<img src=\"http://www.publicradio.org/columns/performancetoday/fredlines/assets_c/2009/07/Planotoypiano-thumb-270x293.jpg\" width=\"270\" height=\"293\" alt=\"Planotoypiano.jpg\" class=\"mt-image-right\" style=\"float: right; margin: 0 0 20px 20px;\" /\>\<\/a\>\<\/span\>\<\/p\>\n",
			"link": "http://www.publicradio.org/columns/performancetoday/fredlines/archive/2009/07/roberto_planos_toy_piano.shtml?refid=0",
			"pubDate": "Tue, 07 Jul 2009 15:25:28 -0600"
			},{
	  		"title": "The Poet who Hates Mozart",
			"description": "\<p\>Her name is \<a href=\"http://www.laureannebosselaar.com/\"\>Laure-Anne Bosselaar\<\/a\>, and I hope I say her name right on the radio&#8230;not because I want to be correct, but because she&#8217;ll be listening and has a degree in elocution.  (Check out her \<a href=\"http://www.laureannebosselaar.com/bio.html\"\>remarkable bio\<\/a\>.)\<\/p\>\n\n\<p\>The Pleasures of Hating\<\/p\>\n\n\<p\>I hate Mozart. Hate him with that healthy\npleasure one feels when exasperation has \<\/p\>\n\n\<p\>crescendoed, when lungs, heart, throat, \nand voice explode at once: I hate that! -  \<\/p\>\n\n\<p\>there&#8217;s bliss in this, rapture. My shrink\ntried to disabuse me, convinced I use Amadeus  \<\/p\>\n\n\<p\>as a prop: Think further, your father perhaps?\nI won&#8217;t go back, think of the shrink  \<\/p\>\n\n\<p\>with a powdered wig, pinched lips, mole:\na transference, he&#8217;d say, a relapse: so be it.  \<\/p\>\n\n\<p\>I hate broccoli, chain saws, patchouli, bra-\nclasps that draw dents in your back, roadblocks,  \<\/p\>\n\n\<p\>men in black kneesocks, sandals and shorts-\nI love hating that. Loathe stickers on tomatoes,  \<\/p\>\n\n\<p\>jerky, deconstruction, nazis, doilies. I delight\nin detesting. And love loving so much after that.\<\/p\>\n\n\<p\>(Laure-Anne Bosselaar, &#8220;The Pleasures of Hating&#8221; from Small Gods of Grief.  Copyright © 2001 by Laure-Anne Bosselaar.  Used by permission of the poet and BOA Editions, Ltd., www.boaeditions.org.)\<\/p\>\n\n\<p\>Laure-Anne Bosselaar joins us on PT on Tuesday the 16th to read &#8220;The Pleasures of Hating&#8221;&#8230;and it&#8217;s an evocative, rhythmic, churning read, you gotta hear it!  I&#8217;ll post a link to the audio as soon as I get my hands on it.\<\/p\>\n\n\<p\>Very curious to hear if there&#8217;s music you love to hate?  Leave a comment.\<\/p\>\n\n\<p\>More poems by Laure-Anne Bosselaar \<a href=\"http://www.laureannebosselaar.com/poems.html\"\>here\<\/a\>.  Interview with her \<a href=\"http://www.pmc.edu/laure-anne-bosselaar-interview\"\>here\<\/a\>.\<\/p\>\n",
			"link": "http://www.publicradio.org/columns/performancetoday/fredlines/archive/2009/06/the_poet_who_hates_mozart.shtml?refid=0",
			"pubDate": "Mon, 15 Jun 2009 20:56:21 -0600"
			},{
	  		"title": "Wrapping it all up",
			"description": "\<p\>\<em\>This Cliburn Festival entry written by Gregory Allen, Professor of Piano, University of Texas at Austin, exclusively for Performance Today&#8217;s Fredlines.\n\<\/em\>\<\/p\>\n\n\<p\>Travel and exhaustion have prevented my posting since the Awards Ceremony. Yes, it&#8217;s old news by now, but here are my thoughts about Sunday&#8217;s final performances, as well as reactions to the outcome and to the competition as a whole.\<\/p\>\n\n\<p\>\<strong\>Nobu Tsujii\<\/strong\>&#8217;s recital was thoroughly professional, if not as compelling as his previous work. Sorry to say,  the \<em\>Appassionata\<\/em\> sounded a bit \<em\>too\<\/em\> much like Rubinstein - clean, sober and grounded, to be sure, but not quite to the manner born. (Let&#8217;s face it, Rubinstein was never considered the greatest Beethoven player of all time.) Surprisingly, the Chopin \<em\>Berceuse\<\/em\> was rather prosaic, and the Liszt Rhapsody seemed overly, um, is \<em\>respectful\<\/em\> the right word? Is it possible that the poor guy was just tired??\<\/p\>\n\n\<p\>\<strong\>Haochen Zhang\<\/strong\> sure didn&#8217;t sound tired - if anything he burned up more calories in the Prokofiev 2nd than in all the other rounds combined. Not to put down Yeol Eum Son&#8217;s admirable achievement in the same work, but I thought Zhang&#8217;s was more disciplined, more accurate, more rhythmically secure, and at least as powerful relative to the orchestra. If I had to quibble, it would be that he didn&#8217;t appear to be moved by the dark Slavic narrative that constitutes the last movement&#8217;s middle section. (That&#8217;s really the only part of this concerto that asks for some degree of poetry.) Otherwise, a stunning performance!\<\/p\>\n\n\<p\>I got pretty much what I expected from \<strong\>Di Wu\<\/strong\>&#8217;s Rachmaninoff Third. This piece has become such a rite of passage among competition players that surmounting its immense technical challenges is no longer a big deal (sort of like the Liszt Sonata). She did that adequately, for the most part. But her control of tempo and sonorities was spotty, and the architectural organization was erratic at best. As I&#8217;ve noted before, I think her playing is very attractive on a superficial - and visual - level, but trying to find deeper significance is, for me, a futile search.\<\/p\>\n\n\<p\>So&#8230; The awards have been announced, and the jury has pretty much validated my educated guess as to the medalists, notwithstanding the first-place tie. To them is due all possible gratitude, for their expertise, professionalism and stamina. I personally think they got it right, insofar as Cliburn winners have always been the pianists who play a broad range of repertoire accurately, tastefully, and consistently, with just the right degree of imagination and dignified showmanship - \<em\>just like Van himself\<\/em\>.  (To those who look at this tendency with disdain, who see boring propriety trumping unconventional individuality over and over, I say - you&#8217;re not entirely wrong.  Lang Lang would \<em\>never\<\/em\> win this competition&#8230;) In this case we had Bozhanov, who seemed to fit the mold and was well positioned to win a medal, until his idiosyncrasies went berserk. Vacatello might have been a prime candidate if not for inconsistencies that, unfortunately, may have been beyond her control. Wu, with all her audience appeal, was lucky just to make the finals. (My opinion, of course.) Several of the others who didn&#8217;t, like Kunz, Lifits, Deljavan, Lam, Myer et al, showed distinctive personalities as well as respectable integrity. Ultimately, though, it \<em\>is\<\/em\> these three medalists who are best suited to represent the ideals of the Cliburn Competition. In the real world, for better or worse, ya gotta have a hook, a defining image, and each of them has one. The diminutive Samurai warrior, triumphant over adversity. The shy youth, guileless, humble and wise. The serene diva, draped in radiant robes. These things \<em\>can\<\/em\> help a career, and shouldn&#8217;t be completely discounted, but of course they&#8217;re ultimately peripheral to the qualities of outstanding pianism and musicianship that really speak to us. I&#8217;m thinking that all three of them have an abundance of these assets, and that we&#8217;ll be hearing from them a lot in the future.\<\/p\>\n\n\<p\>It&#8217;s been a special privilege for me to be able to share my experiences here. Many thanks to Sevan Melikyan at the Cliburn, and Fred Child right here at Performance Today, for having faith in my untested abilities as a music critic - I hope I&#8217;ve shown some progress in the quality of my grousing and sniping! Thanks also to you faithful readers, and especially to those who have posted comments.  And so, with the figurative flourish of a fermata over the final double-bar, \<em\>I&#8217;m outta here&#8230;\<\/em\>\nGA\<\/p\>\n",
			"link": "http://www.publicradio.org/columns/performancetoday/fredlines/archive/2009/06/wrapping_it_all_up.shtml?refid=0",
			"pubDate": "Wed, 10 Jun 2009 18:48:15 -0600"
			},{
	  		"title": "It Won\'t Be Long Now...",
			"description": "\<p\>The finals of the Cliburn have just finished. It&#8217;s been an exciting competition, with an extraordinarily fluid dynamic over the past five days. Each performance has added a new wrinkle, and to my mind, the jury could decide in a number of plausible ways. For the record, though, here&#8217;s how I think it \<em\>might\<\/em\> come out:\<\/p\>\n\n\<p\>Gold: Haochen Zhang\nSilver: Nobuyuki Tsujii\nCrystal: Yeol Eum Son\<\/p\>\n\n\<p\>Chamber Music Award(s): Zhang (Schumann) &amp; Bozhanov (Franck)\<\/p\>\n\n\<p\>New Work Award(s): Kunz, \<em\>White Lies\<\/em\>; Lifits, Hagen \<em\>Suite\<\/em\>\<\/p\>\n\n\<p\>There may be a Jury Discretionary Award. My guess would be Andrea Lam.\<\/p\>\n\n\<p\>Again, this is only one of several possible outcomes&#8230;we&#8217;ll know soon enough!\nGA\<\/p\>\n",
			"link": "http://www.publicradio.org/columns/performancetoday/fredlines/archive/2009/06/it_wont_be_long_now.shtml?refid=0",
			"pubDate": "Sun, 07 Jun 2009 16:47:09 -0600"
			},{
	  		"title": "Saturday\'s Double-header",
			"description": "\<p\>\<em\>This Cliburn Festival entry written by Gregory Allen, Professor of Piano, University of Texas at Austin, exclusively for Performance Today&#8217;s Fredlines.\n\<\/em\>\<\/p\>\n\n\<p\>Time constraints require xtreme twitter mode&#8230;\<\/p\>\n\n\<p\>Recitals: Zhang&#8217;s Brahms Handel was modest in scope but persuasive on its own terms. \<em\>Gaspard\<\/em\> was technically superb, if not especially colorful: tonal palette in stark grays and blacks. (\<em\>Le Gibet\<\/em\> benefited from that in an unexpected way.) \<em\>Scarbo\<\/em\> unleashed more animal instinct than we&#8217;ve heard before from Zhang. It&#8217;s been noted that he almost never misses a note; what struck me today was that he also pays scrupulous attention to pedaling.\<\/p\>\n\n\<p\>Di Wu&#8217;s \<em\>Gaspard\<\/em\> was overly liberal with rubato; \<em\>Ondine\<\/em\> can take it, but the other two pieces suffered. \<em\>Le Gibet\<\/em\> was not a success. She does a lot of hand redistribution in \<em\>Scarbo\<\/em\> - which is fine by me - but she also fakes a bit too much. Her Bach was tasteful but boring; it seemed out of place in the finals. Schoenberg&#8217;s Op. 11 was an intriguing choice; she played it well, but needed better textural layering: I wasn&#8217;t always sure where the \<em\>Hauptstimme\<\/em\> was.\<\/p\>\n\n\<p\>Prokofiev Concertos: Both 2nd (Son) and 3rd (Vacatello) were solid and commanding. Son gets a prize for quickest turnaround - three performances in less than 48 hours. It&#8217;s astounding that she could have enough strength to get through one of the most athletic concertos in the repertoire.  In places she caused some avoidable ensemble glitches, though&#8230; Ditto, in spades, for Vacatello - she frequently seemed unaware that she was making almost impossible demands from Conlon and the orchestra. But it was certainly exciting - after two underpowered performances she seemed fired up and ready to go for the jugular.\<\/p\>\n\n\<p\>Rachmaninoff 2nd: One of the two performances was disappointing - and it wasn&#8217;t Bozhanov&#8217;s. (His was, unfortunately, quite predictable: eccentric, fractured, grotesque, faked, narcissistic, vulgar, and - oh, me, I don&#8217;t have time to go on&#8230;) No, sorry to say, it was Tsujii who has met his match in the Big Concerto category - and here it&#8217;s impossible to disregard his handicap. Because he has to play so close to the keys, he&#8217;s not able to get enough upper arm and shoulder into his sound: up against a massive orchestra he&#8217;s underpowered. And his ears, marvelous as they are, weren&#8217;t able to pick out the essential rhythmic elements in Rachmaninoff&#8217;s murky orchestration.  (And I thought Conlon was pretty insensitive, especially at the very beginning.) It was a valiant effort, but I&#8217;d have to say that he probably should stay away from this rep, at least in live performance - in a studio recording, of course, balances can be adjusted and ensemble problems edited&#8230;\nGA\<\/p\>\n",
			"link": "http://www.publicradio.org/columns/performancetoday/fredlines/archive/2009/06/saturdays_double-header.shtml?refid=0",
			"pubDate": "Sun, 07 Jun 2009 11:10:22 -0600"
			},{
	  		"title": "Finals Day Three: Disappointments",
			"description": "\<p\>\<em\>This Cliburn Festival entry written by Gregory Allen, Professor of Piano, University of Texas at Austin, exclusively for Performance Today&#8217;s Fredlines.\n\<\/em\>\<\/p\>\n\n\<p\>\<em\>&#8220;Con onor muore chi non può serbar vita con onore.&#8221;\<\/em\>  This line from the end of \<em\>Madama Butterfly\<\/em\> came to mind during the most profoundly quiet moment of the Beethoven 4th  tonight.  (It&#8217;s the ins\cription on the blade that she reads just before doing the deed.) Why on earth would I think of that? Because, if I had a cell phone (which I don&#8217;t!), and I forgot to silence it, and it went off at such a moment, shattering the spell for countless thousands of music-lovers worldwide, I think there would be no choice for me but to commit \<em\>hara-kiri\<\/em\>. Do you read me, thoughtless perpetrator??\<\/p\>\n\n\<p\>What made it so infinitely annoying was that it happened during one of the few really inspired moments of \<strong\>Mariangela Vacatello\<\/strong\>&#8217;s performance. Sorry to say, she seemed out of sorts - again - and mostly fell short of conveying the uniquely spiritual character of the work. Were the extravagant swirls and waves of the first movement magically ethereal? Not really; as in a lot of performances I hear, they sounded like scales and arpeggios dressed in their Sunday best - sort of like looking at Seurat&#8217;s \<em\>Grande Jatte\<\/em\> up too close. Did the slow movement have the choked-off, suffering quality we associate with the lamenting Orpheus? Well, no, in part because she played it without soft pedal, which Beethoven asks for. And does her score indicate \<em\>presto\<\/em\> for the last movement? Mine says only \<em\>vivace\<\/em\>&#8230; I couldn&#8217;t help feeling that her stoic manner got in the way of experiencing the full magnificence of this piece; as in some of her other performances, I wished she would unmask her artistic vision more candidly. (I also think she would do well to treat her conductor with more respect&#8230;)\<\/p\>\n\n\<p\>Speaking of respect, \<strong\>Yeol Eum Son\<\/strong\> continues to earn mine: she has consistently been reliable, secure, and serenely unflappable. That&#8217;s not to say that her Chopin F minor Concerto was the performance of my dreams, but she&#8217;s a pro, no question about it. Here and there she was able to plug into the special sense of communicative long-term thinking that I&#8217;ve noticed before; when she gets in that mode I find her playing irresistibly involving. (I was looking for it in the 2nd movement of Op. 111 last night, but didn&#8217;t find it.) It does bother me that she doesn&#8217;t seem to have the imaginative, discriminating ear for sound that has distinguished so much of the playing in this competition; I keep thinking it&#8217;s the instrument that sounds so tired and tarnished, but even her earlier performances (e.g. Schumann&#8217;s \<em\>Fantasiestücke\<\/em\>, the Debussy Preludes) were kind of monochrome. In sum, then, this was a minor, if not unexpected, disappointment.\<\/p\>\n\n\<p\>But the award for outstanding achievement in the category Most Majorly Distressing Disappointment goes to - ta-daah! - \<strong\>Evgeni Bozhanov\<\/strong\>.  Remember the first round, when I wrote &#8220;a fresh, direct approach without affectation?&#8221; Well, I think he&#8217;s decided he should maybe invest heavily in affectation.  In the semifinals his &#8220;extraordinary clarity&#8221; has now been traded for cryptic obfuscation; the &#8220;stupefying intensity&#8221; has become shocking perversity; and no previous notice has been made of the glaring chinks in his technical armor that were brazenly on display in this recital. (Come to think of it, they were fairly obvious in the Chopin Concerto, but it went by in such a blur that we didn&#8217;t notice.) No, I&#8217;m afraid I wrote, &#8220;he&#8217;s on track to win this competition, so he can do what he likes!&#8221;  At this point I would suggest that we collectively rescind that invitation; Mr. Bozhanov has revealed a creepy megalomania that should not be condoned&#8230;\nGA\<\/p\>\n",
			"link": "http://www.publicradio.org/columns/performancetoday/fredlines/archive/2009/06/finals_day_three_disappointmen.shtml?refid=0",
			"pubDate": "Sat, 06 Jun 2009 11:03:23 -0600"
			},
	  	{
	  		"title": "The Finals, Session Two: Youth will have its Day...",
			"description": "\<p\>\<em\>This Cliburn Festival entry written by Gregory Allen, Professor of Piano, University of Texas at Austin, exclusively for Performance Today&#8217;s Fredlines.\n\<\/em\>\<\/p\>\n\n\<p\>I heard Arthur Rubinstein only once live in concert: Houston, spring 1976, during his last tour (at age 89). But last night I swear I heard him again, channeled into the Bass Hall by \<strong\>Nobuyuki Tsujii\<\/strong\> (age 20), the phenomenon of this competition. In an earlier post I mentioned that I don&#8217;t think it&#8217;s a bad thing for an artist to develop his/her interpretive views based on great performers of the past; after all, we don&#8217;t create art in a vacuum, and there&#8217;s much truth in tradition. We don&#8217;t have to slavishly adhere to it, and there&#8217;s always room for fresh insights, but we should be aware of our roots, and respect them. I often sum up this philosophy with what I thought was a facetious hypothesis: If you can really, truly sound like Rubinstein by listening to recordings, I&#8217;m not gonna complain! Well, to my mind, Mr. Tsujii has accomplished something amazingly close to just that. (Of course it&#8217;s just a facile convenience to say that he emulates Rubinstein to the exclusion of all others; I&#8217;m certain that he listens to and assimilates qualities of many wonderful pianists.) But there it is: what I heard in this Chopin E minor Concerto was an elegant old-style performance, a virtual reincarnation of the spirit of an earlier time, delivered without affectation, posturing, prettification or apology. Like I said yesterday, it&#8217;s a rare achievement to just Get It Right. This one did, and I&#8217;m in awe.\n(Did I mention his, um, handicap? I didn&#8217;t? Oh well, never mind&#8230;)\<\/p\>\n\n\<p\>For the second time, \<strong\>Haochen Zhang\<\/strong\> was put in the unenviable position of following Mr. Tsujii, but somehow I doubt that he&#8217;s susceptible to neurosis or superstition - he&#8217;s just a brilliant young man on a mission, and it seems to me that his mission has very little to do with competitive one-upsmanship. He showed up at 10 p.m. to play his Mozart D minor, which he did with his customary precision and self-assurance. But what wowed me was his three-dimensional immersion in the emotional drama of the piece. Without ever stepping outside the boundaries of good Mozart style (except in the cadenzas, which were appropriately done in good Beethoven style), he found wonderfully varied shapes, articulations and sonorities - which were matched with striking vitality by Maestro Conlon and the orchestra - adding up to one of the most compelling journeys through the D minor that I&#8217;ve ever experienced. I think I&#8217;ll try to emulate Zhang the next time I play this piece!\n(Oh darn, I see I haven&#8217;t mentioned that he just turned 19&#8230; how careless of me!)\<\/p\>\n\n\<p\>I mean no disrespect to \<strong\>Yeol Eum Son\<\/strong\> by leaving discussion of her recital til last. Remember that she was on my list of picks for the finals, and that her Spanish Rhapsody and Barber Sonata were really outstanding - even her Brahms Quintet has gained in my estimation with a few days&#8217; hindsight.  Her program was skillfully planned as a cohesive progression: Lyrical Bach (in B-flat) leading directly into song-like B-flat Schubert variations; stormy F minor Schubert setting up angry C minor Beethoven, followed by ethereal C major variations. She played with style, finesse and great concentration. What I missed, though (and I know you saw this coming), was a convincing overview of each piece; the remarkable sense of architecture and inevitability that was evident before seemed to be undermined by too much attention to local detail - and that in turn was hampered by sonorities that were, to my ears, less than ravishing. This recital demonstrated the difference between eminently respectable, professional-level pianism and gripping, inspired artistry - with fatigue no doubt being a major issue in the equation. Ms. Son is the only one of the six who has to play her three portions of the finals on consecutive days - one can&#8217;t help but sympathize with her&#8230;\nGA \<\/p\>\n",
			"link": "http://www.publicradio.org/columns/performancetoday/fredlines/archive/2009/06/the_finals_session_two_youth_w.shtml?refid=0",
			"pubDate": "Fri, 05 Jun 2009 14:58:52 -0600"
			}]
		}
}