Date: 20 March 2014, Thursday
Venue: Recital Hall, South wing campus
Disclaimer: The guest reserves the right to alter the format of the session.
Performers for the clinic:
Note: Performers were chosen based on an audition conducted by the Institute.
American pianist Julie Bees is Professor of Piano and Director of the Konrad Wolff-Ilse Bing Chamber Music Endowment Award at Wichita State University in Wichita, Kansas. She is a founding member of The Orfeo Trio.
Julie Bees has played solo recital debuts in New York City at Merkin Hall, in Chicago on the Dame Myra Hess series, and in Washington, D.C. at the Phillips Collection. She has performed solo recitals in major European cities including Edinburgh, Glasgow, Vienna, Brussels, The Hague, Leipzig, Milan, Helsinki, Warsaw, and St. Petersburg, and taught master classes in Hungary and Finland. In Asia, she has played recitals and taught master classes in China, Japan, Malaysia, Singapore, Thailand, and Hong Kong.
As a collaborative pianist, she has performed with the Vermeer Quartet, the St. Petersburg String Quartet, bass-baritone Alan Held, the Viotti Trio, American Chamber Players, and other ensembles and soloists. Her piano students have been successful in competitions at every level, and include Christopher Taylor, who won the bronze medal at the 1993 Van Cliburn International Piano Competition.
Recent appearances as concerto soloist with orchestra include several performances with the SAR Philharmonic in Hong Kong. She performed the Ravel Concerto in G Major with the WSU Symphony Orchestra on their recent tour of Spain. Earlier she performed concertos with the Denver, Dallas, and Augusta symphony orchestras, and with the Santa Barbara Festival Orchestra. In 1981 she gave two performances of the Mozart Piano Concerto, K. 488, with the Youth Symphony of New York, at Carnegie Hall and at Lehman College. That same year, she was guest artist on the “Discovery” Recital Series recorded for broadcast in New York City on WNYC and on National Public Radio.
Dr. Bees was a semifinalist in the 1983 Clara Haskil International Piano Competition in Montreux-Vevey, Switzerland. In 1978 she was the national winner of the MTNA Collegiate Competition in Chicago, was awarded the Olga Samaroff Prize in the University of Maryland William Kapell International Piano Competition, Fourth Prize in the Washington International Competition for Pianists at the Kennedy Center, and was a finalist in the Beethoven Foundation Auditions. She was also a semifinalist in the 1979 Gina Bachauer International Competition (Utah) and both the 1974 and 1975 G.B. Dealey Awards Competition (Dallas). Earlier successes include First Prize in the William S. Boyd National Piano Competition, Grand Prize of both the 1975 International Piano Recording Competition and the 1970 Dallas Symphonic Festival, and finalist in the 1968 New York Philharmonic Auditions for Leonard Bernstein’s televised “Young People’s Concerts.”
A native of Miami, Florida, Dr. Bees graduated cum laude from the Hockaday School in Dallas, Texas. She earned the B.M. Performance degree in piano (as a full scholarship student of Leon Fleisher) from the Johns Hopkins/Peabody Conservatory of Music in Baltimore (1974). After two years of further study at the Hochschule für Musik in Vienna, Austria (Artist Diploma, 1977), she was awarded a doctoral fellowship at the University of Colorado in Boulder, where she earned the Doctor of Musical Arts Degree (1982). Her teachers have included Leon Fleisher, Maria Curcio-Diamand, Dieter Weber, Noel Flores, Alexander Uninsky, Alfred Mouledous, Konrad Wolff, Peggy Neighbors Erwin, and Nelita True.
Miss Bees opened her program with sober, measured performances of two Busoni transcriptions of chorale preludes by Bach. A fleet, splendidly good-humored rendition of Beethoven’s Sonata No. 2 in A (Op. 2, No. 2) followed. Miss Bees tailors her interpretations to the music she plays: Chopin’s Ballade No. 4 in F minor (Op. 52) was realized with a hitherto unsuspected luxuriance of tone that would have seemed overly romantic in the Beethoven and downright decadent in the Bach Busoni but was here just about perfect.
— New York Times, Tim Page, 1984