JOEY CALDERAZZO

PETRONEL MALAN

ALEXANDER PALEY

CLEMENS UNTERREINER

OVIDIO DE FERRARI

MIKHAIL PLETNEV

 

Lauded by reviewers as an unmistakably creative force in the classical music industry, Ms. Malan’s critical acclaim culminated in the nomination of three Grammy® Awards, including “Best Instrumental Solo Album 2004” for her debut disc “Transfigured Bach: The Complete Bach Transcriptions of Bartok, Lipatti and Friedman.” As an exclusive recording artist for the internationally award-winning label Hänssler Classic, 2006 saw the release of “Transfigured Mozart.” Her latest disc in the “Transfigured –“ series is slated for international release in 2007.

In addition to her recording activities, Ms. Malan maintains a full performance schedule as recitalist, orchestral soloist and chamber musician in major venues throughout the world. After her European debut in Rome, in 1987, further highlights include Carnegie Hall, Salle Cortot (Paris), Mozarteum (Salzburg), Liszt Museum (Budapest), Orchestra Hall (Chicago), Bass Hall (Fort Worth), as well as appearances at both Ravinia and Gilmore International Piano Festivals. Petronel Malan has appeared with such orchestras as the St. Petersburg State Academy, Sicilian Chamber, Fort Collins, Elgin and Bellevue Symphonies and the Cape Town and Johannesburg Philharmonic Orchestras, under the batons of Vasily Petrenko, Dmitry Manilov, Yoshimi Takeda, Omri Hadari, Bernhard Gueller, Wolfgang Bothe, James Brooks, Robert Hanson, Don Freund and Fuzao Kajima.

Ms. Malan’s career was launched following five gold medals in 2000 at international piano competitions throughout the United States. These included the Louise McMahon, Missouri Southern, Los Angeles Liszt “Budapest Concert” and Hilton Head International Piano Competitions. In addition, she garnered the grand prize in the 2000 Web Concert Hall Competition and gold medals in both the Grace Welsh Piano Competition and the Entergy Young Artist Award.

Born in South Africa, Petronel Malan began lessons with her mother at age four, continuing with Adolph Hallis, a student of both Matthay and Leschetizky. Having debuted with the Johannesburg Symphony at age ten and subsequently winning all major national competitions in her native country, Ms. Malan moved to the United States to further her studies. Following a degree at Michigan State University, Petronel Malan completed her graduate work at the University of North Texas. Her teachers have included Steven de Groote, Ralph Votapek and Joseph Banowetz.

Although a permanent resident of the United States, Ms. Malan continues her strong ties to her native South Africa. In 2003, she received the “Rapport/City Press Prestige Award” as one of the “10 Most Inspirational Women in South Africa.” A popular celebrity in her home country, she has appeared on magazine covers and features, as well as a picture-clue in crossword puzzles. Apart from a love for vintage gowns, Ms. Malan’s stage wardrobe is designed by foremost South African designers such as Henja Schaap. A frequent speaker and promoter for classical music in schools, music scholarships in her name are awarded annually to promising young South African musicians.

Historical Composers & Artists

"After my coffee and cigar we went to one of the recording rooms where they had a Blüthner piano Well, this Blüthner had the most beautiful singing tone I had ever found. I became quite enthusiastic and decided to play my beloved Barcarolle of Chopin. The piano inspired me. I don’t think I ever played better in my life.“

Arthur Rubinstein 

„My Many Years“ (page 281)

 

„In das Exil nach Amerika begleiteten mich nur zwei Wesen von Bedeutung: meine Frau Natalja und mein kostbarer Blüthner.“

“There are only two important things which I took with me on my way to America. My wife Natalia and my precious Blüthner.”

Sergei Rachmaninoff

 

 “Almost in the middle of the room, the black Blüthner grand stood, free of music, book or photographs. Debussy was proud of his grand piano, and before I played he showed me a new device invented by Blüthner: an extra string set on top of the others. Although not touched by the hammers, it caught the overtones, thus increasing the vibrations and enriching the sonority. This was a piano he had rented during a stay in Bournemouth, and liked so well that he had bought it and had it shipped to Paris.” “He played a number of passages and the tone he extracted from the Blüthner was the loveliest, the most elusive and ethereal I have ever heard”. 

letter from Maurice Dumesnil, friend

Claude Debussy

Debussy's Blüthner at the Musée Labenche