For Adam Jackson, the piano represents endless possibilities.
“The repertoire that pianists have is just so vast. So many composers wrote some of best music for piano and even composers who didn’t write so much for piano were often composing their orchestra works at the piano, so it is the instrument for some of the greatest composers who have ever lived. The piano take responsibility of the melody, harmony and rhythm. It kind of has lots of jobs, so I just get to experience more of music at the piano,” Jackson said.
Watch 온라인카지노사이트 5 free wherever you are
WATCH HEREJackson, winner of the Dallas International Piano Competition 2024, returns to Dallas to perform Beethoven’s Piano Concerto No. 4 in G major with the Dallas Chamber Symphony on April 29 at the Moody Performance Hall in the Dallas Arts District. The concert also features the world premiere of Joe Kraemer’s Rivers and Dust and Schumann’s Symphony No. 1 in B-flat major, "Spring."
Get top local stories delivered to you every morning with 온라인카지노사이트 DFW's News Headlines newsletter.
SIGN UP Born in the United Kingdom, Jackson began playing the piano at age seven when his family returned to the United States. In 2017, he was admitted Kaufman Music Center High and in 2019, he entered Juilliard Pre-College. He is currently at The Juilliard School of Music, pursuing piano performance studies, and he will soon begin the Master of Music program at Juilliard.
He is currently under the tutelage of Profs. Orli Shaham and Julian Martin at Juilliard. He has also participated in master classes with Richard Goode, Mikhail Voskresensky, Alexandre Moutouzkine, Boris Slutsky, and Ilana Vered.
These masters shape how Jackson approaches his performances and thinks about the universal principles of music.
The Scene
“Sometimes it’s just the way someone phrases a similar idea that I’ve heard before that unlocks something that allows me to resonate with that and apply it to my practice,” Jackson said, reflecting on Vered’s guidance. “Some pieces of advice have lasted for years and years.”
He has performed with the Amadeus Chamber Orchestra of Polish Radio in Poznan, Poland, the Siletz Bay, Oregon Festival Orchestra, the New York Chamber Players, the Park Avenue Chamber Symphony, and the Symphony of Westchester.
Jackson is the winner of the International Young Musicians competition at the Llangollen International Musical Eisteddfod, Wales in 2017. He also won second prize in the Leschetizky International Concerto Competition and third prize in the Kaufman International Youth Piano Competition, New York. In 2019, he won first place in the Special Music School Concerto Competition.
Jackson thinks of the multiple rounds of competition as a series of performance opportunities in rapid succession.
“Competitions I approach just like performances. I remind myself that I’m not going to play differently because it is a competition,” Jackson said.
When he was 11 years old, Jackson competed in the National Eisteddfod of Wales, winning first prize in the Under-16 category and appearing live on British television in an unusual setting.
“It was in a tent. It was just a giant tent, so acoustically it was very different, although from the stage, it felt and sounded similar because there were microphones and the sound production was generally good,” Jackson said. “The feeling was the same. I didn’t think about the TV aspect of it. I just approached it like a performance. It was one of the earliest experiences of mine that I can think, ‘This felt like being a professional pianist.’ It excited me having that experience.”
An 1809 review of Beethoven’s Piano Concerto No. 4 in G major called it “the most admirable, singular, artistic and complex Beethoven concerto ever.”
“Beethoven is often so complex, so always the main thing is how do I make this accessible to everyone in the audience,” Jackson said. “What emotion do I want to conjure in the audience?”
The concerto consists of three movements: Allegro moderato, Andante con moto, and Rondo (Vivace).
“With the first movement, what I particularly love, is the relationship between the piano and the orchestra. Right from the beginning, it’s a conversation. The piano enters also with the opening theme in G major, in the home key, and the orchestra immediately responds in B major. In words, it doesn’t sound striking, but it is very striking in music, and it is a bold way for Beethoven to start a concerto,” Jackson said.
The second movement is inspired by Orpheus, represented by the piano, appealing to the Furies at the gates of Hades, as represented by the orchestra.
“It is a tragic movement. It is a back-and-forth conversation where the piano is vulnerable, and it pleads to the orchestra. The orchestra is powerful and unwavering,” Jackson said.
The third movement reintroduces themes from the first movement.
“The third movement is so elegant, so playful. Also, there are so many motifs, musical melodic fragments, from the first movement that are used in third movement, so it connects the first to the third, and because of that connection, it makes the second movement even more special,” Jackson said.
As he returns to Dallas, Jackson is eager to reconnect with the audience that welcomed him so enthusiastically during the final round of the Dallas International Piano Competition.
“What I loved most about it was right before I walked onstage, all of my nerves dissipated because it felt like the audience genuinely wanted to be there and were excited. You don’t always feel that with the audience and the excitement and support from the audience, I’ve never felt it like that,” Jackson said. “I hope to see some familiar faces there because that was a special experience.
Learn more:
