TAMARA STEFANOVICH

photo: Marco Borggreve

photo: Marco Borggreve

Known for captivating interpretations of a wide variety of repertoire, Tamara Stefanovich performs at the world’s major concert venues including New York’s Carnegie Hall, Berlin’s Philharmonie, Tokyo’s Suntory Hall and London’s Royal Albert Hall, Barbican Centre and Wigmore Hall. She features regularly in international festivals such as Lucerne, La Roque d’Antheron, Aldeburgh, Salzburger Festspiele, Klavier-Festival Ruhr and Beethovenfest Bonn.

Highlights of the current season include an extensive US recital tour marking the 90th birthday of Pierre Boulez, recitals at Konzerthaus Berlin, Southbank Centre London and Muziekgebouw Amsterdam as well as performances with Bochumer Symphonieorchester under the baton of Anu Tali. She performs Ligeti’s Piano Concerto with Stuttgarter Kammerorchester and Matthias Foremny.

Recent engagements have included performances with the Symphonieorchester des Bayerischen Rundfunks/Susanna Mälkki, MDR Symphonieorchester Leipzig/Kristjan Järvi, WDR Symphonieorchester Köln, Chamber Orchestra of Europe/Thomas Zehetmair, Asko | Schönberg and Iceland Symphony Orchestra. Stefanovich has also appeared with orchestras including The Cleveland, Chicago Symphony, London Symphony, London Philharmonic and Philharmonia, Bamberger Symphoniker, Britten Sinfonia, Deutsche Kammerphilharmonie Bremen, Swedish Chamber Orchestra and London Sinfonietta. In spring 2012 she toured Germany with the Junge Deutsche Philharmonie, performing Messiaen’s Turangalîla Symphony to much critical acclaim.

Tamara Stefanovich has collaborated with conductors such as Esa-Pekka Salonen, Vladimir Ashkenazy, Osmo Vänskä and Vladimir Jurowski as well as leading composers including Pierre Boulez, Peter Eötvös and György Kurtág. She teaches at the Hochschule für Musik Köln and regularly leads educational projects at Klavier-Festival Ruhr, Barbican in London and Philharmonie Köln.

Her discography includes the Grammy-nominated recording of Bartók’s Concerto for Two Pianos, Percussion and Orchestra with Pierre-Laurent Aimard, Pierre Boulez and the London Symphony Orchestra for Deutsche Grammophon (which also received a MIDEM nomination and Gold Record Academy Award) and Mozart’s Concerto for Two Pianos with Aimard, Jonathan Nott and Camerata Salzburg for the ARTE. Stefanovich has also recorded for the AVI and harmonia mundi labels, including her latest release featuring works by Thomas Larcher.

Taught by Lili Petrović, Tamara Stefanovich gave her first public recital at the age of 7 and became the youngest student at the University of Belgrade at the age of 13. As well as music, her broad university education encompassed several other disciplines – psychology, education, sociology – and she received her Masters degree in piano at the age of 19. She also studied at the Curtis Institute with Claude Frank, and subsequently studied with Pierre-Laurent Aimard at the Hochschule Köln.

 

 

OCT 19, 2014

SUN 4 PM

LINCOLN HALL

Beethoven:

  • Bagatelles, Op. 119 Nos. 3, 6, 7, 10, 11
  • Bagatelles, Op. 126 No. 6

Bartok:

  • 14 Bagatelles, Sz. 38 (Op. 6)

 Ives:

  • Sonata No. 1

Encores

György Kurtág: Pantomime 

György Kurtág: Preludio and Waltz in C 

(both from Játékok (Games))


OCT 20, 2014

MON 7:30 PM

LINCOLN HALL

MessiaenLe Courlis cendré

  • Île de Feu 1 
  • Île de Feu 2

Liszt: Variations on Weinen, Klagen, Sorgen, Zagen

Rachmaninov: Étude-tableau, Op. 33 No. 1 in F minor

Ligeti: Étude No. 3 Touches bloquées

Rachmaninov: Étude-tableau, Op. 33 No. 2 in C Major

Ligeti: Étude No. 10 Die Zaubereihrling (Wizard Apprentice)

Rachmaninov: Étude-tableau, Op. 39 No. 1 in C Minor

Ligeti: Étude No. 15 White on White

Rachmaninov: Étude-tableau, Op. 39 No. 4 in B minor

Ligeti: Étude No. 8 Fém

RachmaninovÉtude-tableau, Op. 39 No. 8 in D minor

Ligeti: Étude No. 2 Cordes à vide

RachmaninovÉtude-tableau, Op. 39 No. 19 in D Major

Ligeti: Étude No. 13 L'escalier du diable

Encores

Scriabin: Étude Op. 42, No. 3 in F# Major

Debussy: Étude pour les huit doigts (L. 136, No. 6)


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