Gallery MC, Piano Recital of Mimoza Keka in New York City
On Wednesday, June 15th, Mimoza Keka performed a Piano Recital at Gallery MC, New York City
Pianist Mimoza Keka, born in Skopje, earned acclaim as a recitalist, chamber musician, piano accompanist and recording artist with her numerous projects and concerts across the country and abroad. Since studying at the Faculty of Music in Skopje with Prof. Todor Svetiev and Prof. Lilya Zilberstein, obtaining a Bachelor of Music (2015) and a Master of Music Arts (2017), as well as being awarded in 2021 with a PhD in Music Arts, Mimoza has launched into a successful concert career as a solo artist, with concerto appearances, solo recitals and chamber concerts. In 2022 she published her book “The use of digital technologies in quantitative analysis of piano performance” available at Amazon.com, as well as she published her first solo album named NON-FUNGIBLE, which is available on all streaming platforms.
Mimoza has collaborated with distinguished conductors including Sasha Nikolovski-Gjumar, under whose baton she performed the Piano concerto no. 2 from Camille Saint-Saens, conductor Sasho Tatarchevski, as well as conductor Bisera Chadlovska with whom she has an active collaboration at the Faculty of Music in Skopje. As a chamber musician she joined the Ensemble for contemporary music Contempora from SOKOM. Additionally, she has active engagements playing piano duo with pianist Francesca Orlando. Furthermore, she has enjoyed performing recitals in many European Cities including Paris, Rome, Bristol, Milan, Trieste, Siena, Punta Ala, Sovicille, Montrond-les-Baines, Sozopol, Sarajevo. Mimoza has performed at Concerti del Tempietto in Rome, Les dimanches musicaux in Paris, International Festival Akordeon Art Plus in Sarajevo, at the International Francophone Festival Soleil in Sozopol, Bulgaria, Siena Summer Festival, having performed in the renowned hall of Palazzo Chigi Saracini in Siena, Italy (2015, 2016, 2017), Festival international de piano Jeunеs Talents in Montrond-les-Baïnes, France, as well as she participated in the spring concert season of the Bristol Music Club in Bristol, United Kingdom.
In 2019 she was chosen to participate as one of the ten participants of TEME Project (Transnational European Music Entrepreneur) held in Trieste and Camerino, Italy, a project approved and supported by the European Commission and part of the program Creative Europe and Music Moves Europe. In April 2022 Mimoza took part in the initiative “Europe for Ukraine” of Amelia Ray, and participated in the recording of the original song of Amelia Ray “Hands in Hearts”. Mimoza has also performed in a number of master classes with highly acclaimed pianists and has participated in professional trainings at prestigious music academies, including Accademia Musicale Chigiana in Siena, Italy with maestra Lilya Zilberstein from 2015 to 2017.
ABOUT THE WORKS BY MACEDONIAN COMPOSERS
The suite as a musical form was especially important in the Baroque era and was used by the composers Francois Couperin, Georg Philipp Telemann and Johann Sebastian Bach, but with the advent of classicism it fell out of use. Tomislav Zografski with the Suite for Piano Solo op. 27 won the 1st prize at the first competition for classical music in 1960 in Skopje.
New album by pianist Mimoza Keka
Non Fungible Album
The use of digital technologies in quantitative analysis of piano performance
Literature "The use of digital technologies in quantitative analysis of piano performance"
This book is the first of its kind and scope in the history of piano performance’s analysis. The book is intended for musicians, pianists, professional piano teachers, performing pianists, college students who would like to pursue their education in the field of music performance, as well as for all the adult amateurs who would like to broaden their knowledge.
This dissertation book shows how to design a pattern for quantitative analysis of the piano performance using the digital technologies, starting with review towards the analysis of piano performance and the use of digital technologies, historical review of the treatises on piano performance, defining the problems of the pianistic performance, review of the digital technologies applied in music, continuing with presentation of the research methodology (sample, instrument, procedure, database structure, processing of data obtained from MIDI, audio and video recordings, and presenting the results of the analysis of MIDI, audio and video recordings. The book offers useful information about the treatises for piano technique and music performance, the implementation of the digital technologies and their connection with the music performance analysis. It also deals with related piano playing techniques, the interval/melodic and metric/rhythmic plan, as well as the interpretive plans – dynamic, articulation and tempo/agogic. The text is illustrated with score samples, pictures (amplitude and spectral envelopes) and graphical representations.
This doctoral dissertation research work by virtuoso concert pianist Mimoza Keka ”The use of digital technologies in quantitative analysis of piano performance” is available now in English language.
Endorsements/Reviews:
“Firstly, I would like to express my greatest pleasure for the completion of this doctoral dissertation, for the choice of the subject, which is a significant novelty for the piano theory. The research itself is extraordinary, being written with great detail and quality. It has clear and concise review of the evolution of the pianism, from its very beginnings to the modern achievements in the field of use and application of digital technologies and quantitative analysis. I must make a statement about the extraordinary structure of the work, with its rich bibliography, lavish elements and parameters of modern, scientific research work. This work represents significant contribution to the modern digitalization, which opens up new perspectives not only in the music theory, but also in the piano theory and piano pedagogy for further scientific researches of this kind.”
– Prof. Mr.art. Todor Svetiev, Professor of Piano, University Ss. Cyril and Methodius in Skopje.
“I must say that this research and the way it was done was very fascinating. Firstly we wanted to do this research with the use of the Disklavier, but since there is not any instrument of its kind here in the country, nor in the Balkans, therefore we used both MIDI controller and piano (piano performance on a Bösendorfer). This work is revolutionary and first of its kind not only here in the country but also abroad.”
– Prof. PhD. Dimitrije Buzharovski, Professor of Musicology, University Ss. Cyril and Methodius in Skopje.
“It is an honor for me to be part of the evaluation committee. This book reaches new heights in the creation of the doctoral dissertations at our Faculty, which will serve as both as a guideline and a challenge to the new candidates which will enroll to this study program. The structure and the content of this work is excellent, which will be of great guidance for the new researchers. This is how one doctoral dissertation should look like. ”
– Prof. Dr.аrt. Marija Gjoshevska, Professor of Piano, University Ss. Cyril and Methodius in Skopje.
“Congratulations for the creation of this book. This work is of extreme importance for the performing pianists because it shows completely new approach to the piano performance analysis, as well as new method of analyzing the dynamic, tempo/agogic, in order to improve the overall piano performance. ”
– Prof. Dr.аrt. Emilija Potevska Popivoda, Professor of Piano, University Goce Delčev in Štip
“Many congratulations to Ms. Keka for this revolutionary work in which she, along with her mentor, created new approach to the analysis of music interpretation, in this case the piano interpretation itself, and for the first time with the use of the digital technologies. I am delighted to assume that the goal of this research is completely and fully accomplished. This research with its remarkable interdisciplinary approach, it is exemplary not only in the country but also abroad. Throughout the creation of this work, Mimoza also mastered an elite piano repertoire which makes this doctoral dissertation complete.”
– Prof. Dr.sc. Trena Jordanoska, Professor of Musicology, University Ss. Cyril and Methodius in Skopje.
You must not miss this outstanding book on piano performance analysis using the digital technologies. Mimoza Keka’s comprehensive coverage of the subject belongs in every piano teacher’s and music researcher’s library. Reward yourself with this book on piano performance analysis. Read this review and then order it promptly. You will not only be richly rewarded with a resource you will refer to frequently but also take great pleasure in reading its clear, intriguing text. Highly recommended. Though this is the first book devoted to the use of digital technologies in quantitative analysis of piano performance, it sets a high standard with its clear, comprehensive coverage of the subject.
Explore it here
Mimoza Keka plays Benjamin Britten Piano Concerto op.13
Live Performance of Benjamin Britten’s Piano Concerto
Watch this live music video recorded at the Philharmonic Hall in Skopje, performing Benjamin Britten’s piano concerto as part of my doctoral dissertation. The video captures the essence of the performance and the hall’s ambiance adds depth to the music, creating a captivating experience for viewers. Benjamin Britten’s Piano Concerto, a masterpiece of 20th-century classical music, combines intricate melodies and rhythmic brilliance. Composed in 1938, it showcases Britten’s innovative approach, blending lyrical elegance with vibrant orchestration, leaving an indelible mark on the classical repertoire.
Music Review: Society of Musical Artists of North Macedonia Press
Towards the concert of Mimoza Keka – piano, at the Golden Lyre Festival 2017
First, some important references for the young pianist Mimoza Keka, who in the hall of the Museum of the City of Skopje, most pleasantly surprised the audience, especially the author of this text. Coming directly from our piano school, which by the way ranks very high with the quality of the educational system, tradition and an excellent pedagogical staff, graduated in the class of Prof. Todor Svetiev, then received a master’s degree under the guidance of Prof. Lilya Zilberstein, we should remember this pianist name very well, because in fact her artistic appearance, with all the interpretive baggage she spilled on the stage, will lift her into the world of the big art stages.
Keka, fascinates with the emotional and physical strength that are obviously the strongest steam for her to deal sovereignly with the very demanding works, this time with the imposing sonata in h-moll of the great Franz Liszt, a work which by its tonal and technical handwriting convincingly approaches the so-called piano symphony, which she overcame with an inexplicably easy approach the ingenious artistic nature of Liszt, in which at one moment the piano sings the most lyrical melody and immediately that same lyric grows into a huge and unstoppable wave of bravura technique that throws the artist on a dangerous field to fight that inexhaustible virtuosity – a training ground where you can easily lose your way. But that sublime artistic act of visible exposure of very detailed performed music score was obvious for Mimoza Keka, she with her own artistic fanaticism conquered that grandiose Liszt’s challenge called the terrible Sonata in h-moll, to which even more experienced piano masters do not come close because it is really too difficult to perform – plus for our young and very promising pianist, who was easy to recognize as an extremely serious artist, who completely surrendered to her majesty – the Music. And her wisdom that the impressive Liszt is reached through the impressionist spectrum of the pianistic color of Ravel (Jeux d’eau) and Debussy (Images, book 1; L’isle joyeuse) was just a virtue of respect. Her piano filling of these two Impressionist giants was a great interpretive performance, a significant warm-up for the Piano Marathon in the Musical Score of the Sonata that rightfully took the central place in the program of the concert session.
And with curiosity in the future we will expect this young gifted pianist on stage, because she deserves it, indebting our music public with her high quality artistic profile, for whose real face to experience as a rare revelation on the piano scene, justifies the Golden Lyre Festival, whose subtle mission of this years edition was essentially fulfilled – to present to the Macedonian concert scene new great young artists, a generation of quality performers who convincingly announce freshness in the reproductive art in our musical life. We wish them bright and successful artistic careers not only on our concert stage, but also on the stages of the world capitals, where they will dignifiedly celebrate their art, but also the country where they sailed in the musical waters.
Vaska Naumova Tomovska
Golden Lyre Festival,
Skopje City Museum,
Skopje,
25.10.2017
