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Sara Davis Buechner

SD Buechner Photo

 

 

 

 

 

 

 

 

Buechner was awarded the first Beethoven Fellowship of the American Pianists Association in 1981. She was a prizewinner for piano at the 1983 Queen Elisabeth Music Competition. She was awarded the Gold Medal at the 1984 Gina Bachauer International Piano Competition, and won a Bronze Medal in the 1986 Tchaikovsky International Piano Competition.

Early interest in music

I grew up in a suburban household where my mother was greatly concerned — as were many American parents of the time — that my brother and I should attain a good education and cultural exposure to which she and my father did not have ready access. In addition to a pronounced emphasis on good schoolwork and study, we were both given piano lessons from a local teacher who, fortunately, was a marvellous young musician herself. Her name was Veronika Wolf (now Veronika Cohen), and later she made her mark as a pioneering composer of electronic music and Dean of the Jerusalem Academy of Music and Dance. At age 18, she was pursuing a degree at the Peabody Conservatory in Baltimore, and earning side money teaching piano to children. Miss Wolf brought me to — or should I say, brought to me — the world of rhythmic clapping exercises, “A Dozen a Day,” and Bartók’s Mikrokosmos. She did not want to teach me at first, as I was just 3 years old (my brother was 5), but when she tested me at the piano, I could read the notes without any instruction at all, and could play all of my brother’s pieces from the Leila Fletcher Book I. Many years later, she told me that my touch was “soft and sure.” I’m still proud of that quote.

I had another teacher in the form of our living room radio, which my mother set to the classical station in our house, every day. And I can recall learning to tell the time of 4:30 p.m. each weekday afternoon, when the radio tag for that time was Mozart’s Overture to “The Marriage of Figaro.”

My mother noticed that I would stand, glued to the spot in front of the radio at that time daily — the music just galvanized me so. Even today, when I hear the rustling string 16th notes of that Overture, my chest begins to palpitate with excitement. Call it the splendour of knowing that one is alive.

Competitions

My main teacher as a youth (after Veronika) was the Filipino virtuoso Reynaldo Reyes, and from the age of 11 onwards he trained me to perform not only in student recitals but also by way of competitions — local, then national. After I left Baltimore for New York City and Juilliard (where I worked primarily with Rudolf Firkušný), I entered a fair number of international competitions. I was fortunate to gain some prizes, which spread my name and reputation, and eased my way to establishing a performance career.

I was the Gold Medalist of the 1984 Gina Bachauer International Competition, and got a Bronze Medal in the Tschaikowsky Competition in Moscow as the highest-ranking American pianist, in 1986.

There are too many music competitions overall, and these days it seems that everyone has a prize on their resumé from some place — so that the meaning of a competition prize is pretty much de-natured. Moreover, the way of attaining a prize is usually in a polar opposite way of establishing oneself as a unique artist.

So many pianists simply playing the same old same old repertoire (Beethoven Sonatas, Chopin Ballades, Prokofieff showpieces) in the same way, fearful of offending someone with an original approach. So many judges (many of them failed performers, I might add) expecting to hear that repertoire played in the same way, so they can easily opine on what they hear as validating their own thoughts about it. None of this is good for young musicians, and it is certainly not good for classical music in general.

One thing I used to do when I entered competitions, was to make myself learn new repertoire that was infrequently programmed. Consequently, I often found myself playing pieces in competitions that no one else was playing, and often the judges did not know — Bartók’s Etudes, Janacek’s Sonata, Busoni’s Toccata, Martinu’s Fantasy and Toccata, et al. If there was a recital component of free choice, I looked at that as a tremendous opportunity to expand my boundaries in terms of stage presentation.

Off the top of my head, I can surely name 10 fantastic composers (not including contemporary living ones) whose keyboard music is never played in competitions — Frescobaldi, Sweelinck, Byrd, Weber, Dussek, Dvorak, Szymanowski, Turina, Krenek, Yashiro — there are many, many more.

Giving sound to neglected masterpieces is one way of reaching your ultimate artistic goal — not be merely replicating that which has come before, but finding new ways of expression and creativity. If a competition can further this process, then it can be a good experience.

It is always good to learn how to perform on stage with pressure and control — this must be done all through a musician’s life, so to cope with it early is a good thing. Probably the best outcome of entering a competition, regardless of prizes won or lost, is to develop a feeling for the stage. Such experience is crucial.

But when a competition is entered just to make some money or get your name around, then the focus on the big picture — the calling of musical artistry — is lost.

New Music

I have played and recorded a fair amount of new music, because I do think it is important to know the new generation of rising voices, and to help promote those whose vision seems enlightened. Two years ago I commissioned the Japanese composer Yukiko Nishimura to write me a set of Études, and I am now playing that set (of ten) on many of my concerts. I’m also very keen on the young composer-pianists Jared Miller and Michael Brown, both of whose scores I have played in public.

Of the older American composers, to my mind John Corigliano towers over all — his Piano Concerto of 1967 is the greatest American work in that mold after Barber’s. And I think the piano music of Leon Kirchner is stunning, as well, and should be better known.

In my college days I was very aware of contemporary music, mostly in a negative way as the dominant attitude in 1970s-80s New York was simply, well, either you liked and handled hideously complex atonal scores, or you weren’t smart enough to play new music. It was a relief to me when Minimalism came of age and re-booted young composers to the idea that there’s one than one way to express things sonically.

Young composers today write in a wide variety of styles. So there’s really no excuse for pianists today to shrug off the obligation of promoting music of our time, with the phrase “I don’t like contemporary music because it’s atonal / too complex / ugly.” Anyone who says such a thing, hasn’t kept up with music responsibly.

 

I am nevertheless wary of new music “specialists,” who sometimes become so because their technical insufficiencies are easily exposed when they play Bach or Beethoven. Some of the least competent concerts I have heard, were of contemporary scores whose composers should have been incensed about what the inadequate performer did to their work.

And I don’t enjoy the feeling when I attend a new music concert, often surrounded by composers and new music fans, that I should display enthusiasm for everything performed. Like baseball games, a lot of new music concerts are dull, with music of little inspiration or feeling for audience connection. If you experience the hearing of a masterpiece in its first performance — as I did with the première Gyorgy Ligeti’s Piano Concerto in New York City — you will know it, I guarantee you.

In listening to new music, or in choosing new music to play or new composers to champion, I keep this dictum in mind: that the technique of expression is not important compared to the value of the message or emotions being expressed. If music does not speak and touch the heart as well as the mind, then it is not good music.

The connection of music across cultures and centuries is of utmost importance. Sometimes I fashion my own recitals with a curator’s mind, which is why I might pair works of Bach with those of Schoenberg due to the shared emphasis on polyphony; or late Beethoven with Fauré and Thomas Adès because of their spiritual natures; or play Rhapsodies by Tomasek, Liszt, Brahms, and Gershwin. It’s like going to the art museum — how wonderful to see the Virgin Mary as portrayed by El Greco, by Picasso, by Chris Ofili (of elephant dung fame!) — see the connections and contrasts. Hear the universal search of humankind.

So to say, I’m not interested in New Music. I’m interested in All Music.

Teachers

I do feel uniquely blessed to have had a wide array of astounding teachers, and I could write for a very long time about them all. My technical approach is very much derived from the Busoni School through his pupils and grand-pupils that I worked with: Mieczyslaw Münz, Reynaldo Reyes, Ann Schein, Edward Weiss, Gunnar Johansen. In my adult years, my most influential teachers were Byron Janis and Rudolf Firkušný. The latter in particular, with whom I studied for four years at Juilliard — playing for this magnificent artist was simply the most inspiring and unforgettable experience of my entire musical life.

Firkušný taught in the way that I consider the most efficient and informative, by means of demonstration. When he sat at the second piano to show me something (he always played perfectly, at any given hour, and with the modest disclaimer “well, I do it like this”), my eyes and ears perked to maximum awareness, so that I might be able to effectively copy his beautiful sound and inimitable timing. Münz and Reyes taught in similar fashion. Byron Janis could not, because of his rheumatoid arthritis, but his gruntful singing accomplished almost as much! You must depend upon a teacher as a role model, and later fashion your own approach upon that sturdy foundation. I think it is crucial to study the piano with someone who knows well the experience of playing successfully in concert.

Research into the lives and musical careers of my own teachers led me to a lot of revelations about pedagogy and different schools of pianism. It amazed me, for example, to see film of the French virtuoso Jacques Février playing (the Poulenc Double Piano Concerto with the composer) — for his hands and fingers, and the way in which he used them on the keys, looked like mirror images of his pupil Reynaldo Reyes’ hands, and of course Reynaldo taught me to shape my hands the same way. The sense of apprenticeship in music teaching is fundamental. Whenever someone plays the piano, there are echoes of teachers and grand-teachers in the fingers, the body, the phrasing and sound.

Pianists today

I must admit that I rarely listen to piano concerts these days, as my own hours are so full of my own practicing, that my ears are already overworked! When I have some free time, I’d much rather take a long hike, visit the bookstore or art museum, see a movie, or go to a baseball game (I am a longtime fan of teams on both sides of the Pacific). I’m more likely to attend symphonic or choral concerts than piano recitals.

And it has been a long time since I went to concerts to study, copy or learn, as I did often in my Juilliard days. I feel like I have my own style of playing now, and when I listen to other pianists, regardless of how good they are, my critical teaching ears start to grind and churn. I truly hate that! — It’s a bar to true enjoyment. When I hear jazz pianists, I am much happier for I can relax and really listen the music, as an audience member should.

I don’t want to give the impression that I’m not aware or appreciative of other pianists’ work, of course. There are so many fine pianists performing publicly now, and of course the Internet is awash in them. For myself, I love the recordings of Dinu Lipatti and Clara Haskil in particular, in addition to those by my teachers Janis and Firkušný. The sounds they make are familiar and serendipitous to my ears.

And I still play for other pianists, too — for the legendary American pianist Reah Sadowsky who was a dear friend until her death two years ago, and most recently for the great Austrian pianist Paul Badura-Skoda, both in the USA and in Vienna. He’s an astounding inspiration to me, and I feel so grateful to learn from such an artist. I heard him play two recitals in Japan last year that I’ll never forget, so spiritually powerful they were.

SDB face cartoon

Sara Davis Buechner

Advice to Young Pianists 

Perhaps your toughest question. For we live in times of diminished appreciation of all culture, and blind veneration of technology — quite to the detriment of our minds, our hearts, our hands (I wonder if the next generation of humans will be able to do anything with their hands at all, besides swiping a screen and poking with their thumbs).

Young musicians today, in addition to working for 20+ years to master their craft, coping with social media, and finding money for rent and food, must fight the possibly unwinnable battle of survival for good music itself. They must be prepared to make enormous sacrifices, so that succeeding generations will have the desire to sit in contemplation for decent lengths of time, to concentrate, to appreciate messages of inward spiritual grace, to value the time and energy and commitment it takes to make personal discoveries in art.

The audience for great music is simply disappearing, and it must not. For the very worth of our society, in cultural terms, is at stake.

I’m not at all confident about this, by the way. But I know the rewards of struggling for quality, as opposed to shrugging shoulders and giving in to the ever-changing banal tastes of ones’ time. Bach, Mozart and Schubert knew that same struggle, very well.

Difficult experiences and challenges 

Every human being experiences the rough ride of existence, if they live long enough — personal relationships gone bad, deaths of friends and family, work difficulties, health issues. I have dealt with all of this, in addition to coming to grips with being transgender. I was 38 years old when I transitioned from male to female, stopped playing concerts as David Buechner and began to play the piano as myself, Sara Davis Buechner.

It would be impossible to understate how enormous that challenge was, and I would need a book to describe the inner journey of it all. For this interview, I’ll just say that the effect upon my performance career was horrendous — concerts dried up, invitations disappeared, lucrative teaching offers pulled off the table. At the lowest point of my life, I was dead broke at age 42, teaching little children in an upstate New York music school where my faculty colleagues had been my own students just a couple of years before.

And you know, I learned to love teaching, and teaching small children, at that time. Partially because I needed to do so, in order to survive and thrive. But also because all my previous expectations as a privileged white male musician with big time manager and orchestral concerts and a big conservatory job was just wrecked beyond fixing — well, it enabled me to start building a true house upon a real foundation. And into that new house came these wonderful, beautiful, sublimely untalented little kids whose piano lessons became for me the opportunity to teach them not to play an instrument they had mixed emotions about, but rather simply to love music. I played games with them at the piano, chased them around the room when they got a little bored, shared candy with them, got them to laugh and smile and clap and sing. And within the context of that job which many musicians would consider lowly, I learned all about what is most important in music — just as I learned from being transgender and outcast, what is most important in life — to live, to enjoy, to be true to yourself and to others, regardless of others’ judgments upon you.

Hopes for the future… 

That’s a long laundry list. Record more Bach-Busoni; record the complete Mozart Sonatas; record Japanese piano music of Nishimura, Nakada and Taku; record the three Brahms Violin Sonatas with Stephanie Chase (these are all in the planning stages now). Keep studying Japanese (I’m at intermediate level, struggling with the kanji at about 500 so far). Learn Spanish for my concerts in Latin and South America (I’ve started). Watch all the DVDs I’ve accumulated and never have time for. Take Latin ballroom dancing. Pick up my pencils and brushes again and draw and paint, not just doodle cartoons. Spend more time in Prague and Kyoto and Honolulu and El Barrio del Bronx and San Juan. Visit Indonesia and Vietnam and Cuba. Smoke fewer cigars, but better quality ones like the Trinidad (Fidel Castro’s fave). Learn how to make a reliable Gin Martini and Blue Hawaii. See the Osaka Hanshin Tigers win the Japan Series. I guess if I get to witness that, I can climb into my grave happily. That should be many, many years from now, if they keep playing like they are this season.

SaraDavisBuechner.com.

YouTube Channel: www.YouTube.com/SaraDavisBuechner

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Raffi Besalyan

Armenian-born American pianist Raffi Besalyan made his formal New York debut in Carnegie Hall after winning the Artists International Competition and was subsequently invited to perform at Merkin Concert Hall on the Artists International “Outstanding Alumni-Winners” series.  

Besalyan has won top prizes in several national and international competitions. Among them are MTNA National Competition, Josef Hofmann International Piano Competition, Frinna Awerbuch International Competition, and Artists International Competition in New York. Besalyan made his New York Recital Debut in Carnegie Recital Hall in 2003 to high critical acclaim. He regularly performs throughout North America, Europe, Russia and Asia.

“Technically brilliant… audacious spirit and poetic substance, deeply felt tenderness.” 
- NEW YORK CONCERT REVIEW

“true heir of the mainstream of Russian pianism, like Horowitz” 
- CHOPIN MAGAZINE, JAPAN

 

Raffi Besalyan by Strider Jordan

Raffi Besalyan by Strider Jordan

How did your interest in piano playing start?

I think I have always liked classical music. When I was very little I remember being drawn to the radio or TV whenever they had classical concerts on, or opera broadcasts. I was particularly fond of Puccini and Rachmaninoff…now it seems odd, as at the time I was probably only three. An interesting fact is that I am from a completely non-musical family, to be more specific, from a family of engineers. I am the only one who pursued classical music professionally.

My interest in piano started when I was about five years old. At the time my older brother was attending a music school for violin, and my parents had to purchase a piano to aid his studies. I was immediately attracted to the sound of the piano. I first began playing by ear, and soon at the suggestion of my brother’s theory and solfege teacher who briefly auditioned me and thought I am talented, my parents enrolled me in to a professional music school.

Few years later I was accepted in to the Tchaikovsky Special Music School for Gifted Children in my native Yerevan, Armenia. There I received really superb education. I feel very fortunate to have had the opportunity to be trained in the Great Russian tradition of piano playing! The Russian/Soviet curriculum was very demanding, intense and extremely thorough in every aspect from the very early stages.

Did any tutors/professors create a special impression on you? Who and why?

I would say that every teacher I have had since the very beginning left a profound impression. However, one of my main teachers, Sergei Barseghyan, with whom I began at the Tchaikovsky school and studied throughout my conservatory years, and under whom I received my Doctorate (Aspirantura), is the one who molded me into the musician I am today. He patiently worked on building and refining my technique and musicianship.Mr. Barseghiyan is a person of a very subtle taste, which I believe he passed on to me.

The other two pianists whom I have had the great fortune to study with and who left a great impact on me are the legendary American pianist and Vladimir Horowitz protégé, Byron Janis and concert pianists Sara Davis Buechner.

I have met them both in New York. Mr. Janis’ dazzling technique, his electrifying performances and his colors at the instrument are incomparable. The qualities that impress the most in Mrs. Buechner’s playing are the fluidity, excitement, and her subtle and nuanced approach to the pedaling, phrasing and structure.

Which living pianists do you admire today and why?  

Well, I have already mentioned two of my own teachers Janis and Buechner in the previous question.

The living pianist that I admire the most is Martha Argerich. To me she has a very special “golden” musical aura. There is certain naturalness to her incredible technique that no other pianist possesses. Her tone is gorgeous, colors are extremely subtle, and the fluidity of her legato is out of this world. I can go on…she is simply special!

There are others that I like in certain repertoire, but the ones that I really admire are already gone-Cortot, Horowitz, Arrau, Gilels.

Advice to young pianists…

Since this is a very competitive world, just being a polished pianist is not enough. One needs to have charisma and personality in his/her playing, the ability to draw in and command the audience with a unique style and manner.

I would also advise to learn some tricks of marketing and networking using all the social media available today. Most schools offer classes in management; perhaps it would be helpful to take a semester of an introductory course.

Commitment, hard work and persistence are as important as the God’s gift. Never give up if you really love what you are doing, believe in yourself and your time will come! Take chances; never say “No” to any opportunity that comes your way, especially when you are young.

What is the most difficult experience/challenge that you have overcome as a pianist?

I am a perfectionist by nature and my own worst critic. So trying to finally realize that nothing in life (…and for that matter in playing the piano) is perfect, and embracing/accepting things as they are and not getting easily discouraged is something that I had to overcome.

Career highlights up to now? What are your hopes for the future?

My New York recital debut in Carnegie Hall and a return performance at the Merkin Concert Hall; Chicago debut in the famed Orchestra Hall at Symphony Center with the Rhapsody in Blue; concert tours in Japan (the country I truly love), including my debut in 2001 in Osaka with an All-American program, performance of Rachmaninoff’s Third Concerto with the Osaka Symphony in Izumi Hall, multi-city concert tour in celebration of Niigata Nippo newspaper’s 70th Anniversary, performances in Tokyo; performance of Brahms’ First Concerto in Venice, Italy; release of my award-winning, critically acclaimed debut album “Dance, Drama, Decadence” (IMC Music, Japan, 2012) and now, “The Return” (Sono Luminus, 2015), which was most recently broadcast on several classical radio stations across the U.S. (WFMT Chicago, WRUV Seattle, WGBH Boston, Wisconsin Public Radio, SiriusXM Classical Symphony Hall Channel in Washington D.C.), and it just received a wonderful review from the UK on Classical CD Reviews.com (http://www.classical-cd-reviews.com/search/label/Raffi%20Besalyan); most recently, my Detroit recital debut for ProMusica of Detroit at Max M. Fisher Music Center and a concert for the 30th Anniversary of The Distinguished Artists Concert Series in beautiful Santa Cruz, CA.

I am very pleased to announce that I will make my debut as a soloist in Grieg’s Piano Concerto with the great Atlanta Symphony Orchestra in a special concert on June 20, 2015.

My hopes for the future are to play with more orchestras here in the U.S. and abroad, have more recital engagements and continue the recording collaboration with the superb Sono Luminus.

In recent years, You have dazzled your audiences in North and South America, Europe, Russia, and Asia, appearing as a soloist with the Osaka Symphony Orchestra (Japan), the Orchestra Sinfonica Del Festival Di Chioggia in Venice (Italy), the Yerevan Symphony Orchestra (Armenia), the Belgorod Symphony (Russia), the Kharkov Symphony (Ukraine), the New Jersey Festival Orchestra, the Owensboro Symphony (Kentucky), and the Moscow Chamber Orchestra. Does classical music critique/appreciation differ in these various countries/continents? If so, how?

I think the classical music appreciation is pretty much the same everywhere. However, the audiences in Europe, Russia and Japan are a bit more knowledgeable about classical music, art and literature in general. Many people in these countries have some musical background, thus the classical genre is more accessible to them and less intimidating.

raffibesalyan.com

http://www.youtube.com/user/TAOmusicarts

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