Interview with Elizabeth and Marcel Bergmann (Piano Duo)

The Winner of 2007 International Web Concert Hall Competition

(Honorary Mention)

Tell us about your musical background?

Elizabeth: I began piano lessons at age seven. My parents had already purchased a piano and as a young girl, I was very intrigued by it. So when it came time for me to start the lessons, I was ready for it.

Marcel: My parents enrolled me in an early childhood music education class when I was five. Soon after, I showed an interest in piano and percussion instruments and so I started piano lessons at the age of six.

Did you study any other musical instrument?

Elizabeth: Yes, I took one year of violin lessons and a year of guitar. In high school, I played flute and I took voice lessons for many years.

Marcel: As a teenager, I taught myself to play the guitar so that I would be able to play some Beatles and Folk tunes. I also had half a year of Cello lessons in high school and took Saxophone as my second instrument during my undergraduate music studies.

Who were your teachers?

Elizabeth: My main teachers include Cameron Watson (Medicine Hat College), Helmut Brauss (University of Alberta), Arie Vardi (Hochschule fuer Musik und Theater, Hannover), Pat Parr (University of Toronto) and Jean-Eudes Vaillancourt (University of Montreal).

Marcel: My main teachers include Ellen Etzold, Jo Havenith, Rainer Fuchs (Musikhochschule Muenchen), Begonia Uriarte, Arie Vardi and Jean-Eudes Vaillancourt.

… and what are the first and best qualities you remember?

Elizabeth: All my teachers cared very much about guiding me in the right direction. They always talked about the importance of not separating technique and musicality- as they go hand in hand. All my teachers encouraged me but at the same time being critical and demanding the most from me.

Marcel: I agree … all our teachers had a great sense of integrity- both, musically and as human beings. They always encouraged us to pursue our own path and to develop our specific musical interests

How did your teacher influence you as a musician?

Elizabeth: I think each teacher influenced me in a particular way. For example, from one teacher, I received a great background information about the German composers such as Beethoven, Mozart and Bach; from another, I was introduced to Keith Jarrett and that ignited my love for jazz; yet another, I learned to focus more on the spiritual part of performing and what it means to be a performer; and the later, I became more focused on ton production etc. It seems that each one offered me to become the musician who I am today and they certainly did.

Marcel: Pretty much the same way for me too…

How did your friend, parents, etc. influence you as a musician?

Elizabeth: When I was young, my parents listened to classical music at home. I remember often listening to Bach and Beethoven, since those were my parent’s favorite. That is probably why I identify with them well; my childhood friends were very supportive of me as a musician. They came to my concerts and were always proud of my accomplishment. The friends in University were the ones who I probably received the most support. We would sight-read through things and listen to music for hours. I was introduced to a lot of ‘stuff’ during that period of my life.

Marcel: My parents were quite interested in both classical and popular music - especially Jazz and French Chansons. So I grew up with a large collection of records, ranging from Bach to Ravel to Oscar Peterson etc. Also, one of my uncles played trumpet in a popular Dixieland Band for over 25 years-and I listened to all of his recordings on a regular basis as well.

How long have you performed as a duo?
Our first performance together was in 1989 when we had the opportunity to play Bach concerto for two pianos with orchestra in Greece. However, we seriously started to perform intensely in 1991.

Your thesis title for the DMA?

Our degrees are the European equivalent to a DMA awarded in the US. However, in Germany, one does not write a thesis since this is a specialized performance degree. Our area of specialization was duo piano.

Can you elaborate on this topic for the American audience?

In order for us to acquire this degree, we had to perform several recitals on two pianos, a chamber music concert with 2 pianos, and finally, a performance with orchestra.

Did you both decided to enroll to this program because you started the duo?

We were already playing as a duo and decided to pursue further studies in Hannover where we studied previously. The 'Solistenklasse' was designed originally for solo performers only, therefore, the administration at the school was interested in having us be the first duo to be admitted. They started this program and we were the first to be admitted and completed the degree. Since then, several duos have done the same.

What are some of your upcoming musical project?
We have many projects in progress. In addition to our scheduled performances, we will be recording a CD on chamber works by Canadian composer R. Murray Schafer with our contemporary chamber ensemble, Land’s End.

We are also very excited to be a part of a theatre festival in Calgary in the month of January where we will be performing Marcel’s 4 piano arrangement of Mike Oldfield’s Tubular Bells. We will be collaborating with the Alberta Ballet who will be dancing to our live performances. Also, we are thrilled that our recording of this work will be released shortly on Brilliant Classics.

Tell us more about your contemporary chamber ensemble Land’s End.
We joined the ensemble in 2001. We came to Calgary in 1999 and started to play with them on a regular basis. At one point, they asked us if we would be interested joining the group. Of course, we said we would love to!

‘Land's End’? Can you tell us more about the ensemble name?
Land's End refers to Land's End in Cornwall, England, which reaches out into the Atlantic Ocean into what were uncharted waters before the time of Columbus. The chamber ensemble of the same name was created to explore the boundaries of contemporary music, and to create compelling aural experiences.

Marcel: A new CD of works for cello & piano, which the cellist of our group (Land’s End Chamber Ensemble)-Beth Root Sandvoss –and I recorded at the Banff Center last December will be released soon on the Arktos label. I contributed a composition as part of this project.
As a composer, I have a very exciting long-term project that will keep me busy throughout the next year. It’s a kind of chamber opera and will involve our Land’s End ensemble as well as four singers/actors. The premiere will be in January 2009 as part of the annual Calgary High Performance Rodeo.

How is this ensemble being funded?
Land's End Chamber Ensemble performs several concerts as part of its own series in Calgary as well as records and tours. We receive funding from several government agencies both provincially and federally as well as local foundations. In addition, we also rely on our ticket sales and receive private sponsorship.

How do you select repertoire for the concerts?
Generally, we gather information on who we are performing for. If it requires us to perform series contemporary works, then we are restricted to include such repertoire. We also try and look at what other programs we are preparing for and attempt to ‘double up’ on those works as well. We always try to find a balance of works from the mainstream piano duo repertoire to include some crossover and more contemporary things as well. Since we support the development of new works, we also try to include something Canadian on our programs as well. Marcel has written a number of works for us over the past years and so we often feature some of his pieces as well.

How many concerts do you have a year?
On average between 20 and 30

Do you perform for any youth programs for promoting the interest of classical music?

Yes, we always try to plan an extra 'outreach' performance where we can, in combination with our main concerts. Just last week, we played for more than 300 children in Toronto at the Royal Conservatory of Music. We very much enjoy this kind of an audience because of the interaction with the children. We talk about the music we are about to play in an informal way and always leave much time for questions.

What period music do you enjoy playing the most and why?
We enjoy playing almost everything but we especially enjoy performing our own works and arrangements of other works.

In your opinion, what is your strength in your playing as a piano duo?
Our strength lies in our communication with one another on stage, our communication with our audience as well as our versatility as performers. We love the interaction with the audiences and very much enjoy introducing the pieces we play. We think that our varied repertoire, including Marcel’s compositions and arrangements that he made specifically for our duo is something that is quite unique in the duo piano world.

What do you hope to accomplish as a musician and as an ensemble?
We hope to reach as many audiences as possible. We realize that music is a very powerful tool that can give people hope, strength and enjoyment.

Can you give an example on what type of hope and strength do you believe music can deliver to people?
Years ago, we were involved with Yehudi Menuhin's - Live Music Now concerts. We played many concerts in Germany for those less fortunate and for those who did not have the possibility to hear classical concerts. Perhaps some of them had never heard a classical concert before they heard us. We played for refugees and for those who were very lonely and isolated. Although we could not necessarily speak their language, the music made it possible for us to reach them. We found that many people were moved by listening to music and uplifted them to a level they have never experienced before while giving them positive hope for their unknown futures. Music can transcends all barriers and unites people on a level that is not describable in terms of words and definitions. This is why it can be such a powerful spiritual tool in helping people also cope with trauma and stress. It is also used as a therapeutic tool in music therapy. Everything found in human emotion can be expressed through music and this is what we believe is the thing that people can identify with when listening to music. It doesn't really matter whether you are playing for an audience of inner-city children or sophisticated educated western European listeners- we are all the same on some level and that is the very thing that unites us all as human beings. We suppose that, in a way, we are therapists of a sort.

Sometimes it is simply wonderful for them to come and leave their worries and cares behind and let them be taken to another world just sitting back and listening. We hope to maintain an active career for a long time and will continue to enjoy performing as we do today! We also hope to include more and more of our own arrangements and works for two pianos.

Do you like any other forms of art?
We love art and literature in general- whenever we have a chance visit a good museum, we try to do that. We are also interested in the important architectural accomplishments in each place we visit. Some of our favorite writers include: Goethe, Tolstoy, Proust, Thomas Mann, Max Frisch, Marquez….and of course many others (including contemporary authors).

Do you have a hobby?
We wish we had more time for our hobbies! Elizabeth enjoys painting, cooking and gardening. Both of us enjoy watching movies and like hiking, biking, cross-country skiing and spending time at the beach and ocean.

What was the music that changed your life?
Elizabeth: Brahms d-minor piano concerto, Bach St. Matthaeus Passion, and Beethoven late string quartets

Marcel: Beethoven piano sonatas, Mozart’s late symphonies and his Don Giovanni, Chopin’s preludes op.28, Schumann’s Carnival, Schubert’s Impromptus, just to name a few…

What was the event that changed your life?

Marcel: In terms of musical experiences, there were certainly some incredible concerts that had deepen and intensify my passion for music - e.g. a performance of the Jacques Loussier Trio, a number of performances by the pianist Friedrich Gulda (among them a memorable concert on two pianos together with Chick Corea), the Alban Berg String Quartet…and pianists Igor Shukow and Radu Lupu. My first performance with orchestra had substantial impact on my later choice to become a musician as well.

In your opinion, what are the characteristics of a good performer?

Elizabeth: I think a good performer must be a convincing communicator first and foremost. Of course, he/she must have something they want to say, but if they do not have the ability to demonstrate and articulate this, then all the wonderful ideas in the world are in vain. A good performer must have a strong vision, understand musical style and structure, have a sound technical ability, a concept of sound and tonal production and love what they do.

Marcel: Yes, stage presence is definitely very important –all important artists seem to have a high degree on that, a charismatic quality that the audience feels immediately when they appear on stage..way before they actually start to play.

How did you learn about the International Web Concert Hall Competition?
We happened to read about the competition one day as we were researching other possibilities to increase our profile on the web and thought it would be a good idea for us to apply... and we think this is a wonderful way of reaching other audiences and opening up the possibilities to those who might have these difficulties in attending a competition normally. However, experiencing the live concert performance whether as a performer or audience member is something very unique and perhaps cannot be completely simulated using the digital environment.

On be half of the Web Concert Hall, we would like to thank you for your time and we wish all the success.
 

Visit Bergmann Duo - www.bergmannduo.com

Interviewed by Webconcerthall in November, 2007