Pat Waltman Feuchtenberger holds a Bachelor of Music from the St. Louis Institute of Music, a Master of Arts, from Radford University, and has pursued post graduate studies in various universities. Her teachers include Lois Baptiste Harsh, Evelyn Mitchell, Leo Sirota, Miklos Ivanich, and Lloyd Zurbrigg. She has performed as soloist, recitalist, and chamber musician in the Midwest and Southeast.
She established Feuchtenberger Artists' Management Company in 1983. This company has become well-known internationally, representing pianists, Enrique Graf, Beatrice Long, and the Long Duo, with sisters, Beatrice and Christina Long.
She has held faculty positions at Concord College at Athens, WV. and Bluefield College in Bluefield, Virginia, where she founded the Bluefield College Preparatory Department. She continues to teach privately.
Besides serving as the Director of Feuchtenberger Management, she is an adjudicator for various festivals and competitions, and is a member of the International Society of Performing Arts, American Symphony Orchestra League, National Association of Performing Arts Managers and Presenters, National College of Musicians, Virginia Music Teachers Association, Virginia Federation of Music Clubs, and Phi Kappa Phi. In 2005 Pat formed the Black and White Classics Recording Company to provide an artist-friendly recording experience emphasizing integrity in music, artists, and engineering. She made the first compact disk, â€œPebbles in the Pond,â€ which includes music of Bach, Scarlatti, Debussy, Chopin, and Gershwin.
She is a consultant for performing arts and arts management, and a speaker in colleges for career days, representing the performing arts. She is listed in Who's Who in the World, and Who's Who in Entertainment, has been the subject of several interviews as WGMS in D. C. and articles in magazines such as Radford Magazine, A Music Partnership, and newspapers. She was nominated in 2000 for The Governor's Award for the Arts in Virginia.
She was born in Jacksonville, Illinois, and has three sons, and four granddaughters. She enjoys family, music, travel, gardening, reading, cooking, walking, especially in the mountains, people.
Pebbles in the Pond
Music can be but a small speck in the scheme of things, but still make a profound influence heard â€˜round the world.
The exceptional characteristic about classical music is there is no right or wrong way to listen to it, and no one dictates what you should hear. It depends on what is in your life to relate to it. That is the correct interpretation for you. As Charlie Parker said: â€œMusic is your own experience, your thoughts, your wisdom. If you donâ€™t live it, it wonâ€™t come out of your horn.â€ Of course, it is a little like eating peanuts, the more you try it, the more you enjoy it.
Reflections on the Water has been one of my favorite pieces to play for many years, and audiences have always loved it. It invites us to imagine all kinds of waterâ€“fountains, pools, great oceans, sprays with the sun glistening, and a trip back to childhood, throwing pebbles in the pond to watch the ripples grow in outward, in ever enlarging circles. Debussyâ€™s impressionistic sounds conjure images similar to the paintings of Renoir, Manet, and Monet. He was influenced by
American jazz, and his music had a profound influence on all composers after him.
The music of Scarlatti was such fun to work on after doing Chopin and Gerswhin, just like a refreshing dip in a pool, after the steamy summer day. Scarlattiâ€™s sound reflects the cool blue of the Mediterranean, and simple joys of life. unique usage of dissonance, and remarkably original sonorities, deep expressive range, from humor and wit to passions and despair.
The Sonata in F Minor represents one of Scarlattiâ€™s more thoughtful, quiet pieces which constantly seems to reach upward, striving for an unknown sublime entity only the listener can understand for himself.
Chopin wrote music that changed the way the world wrote music, heard music, and performed music. Considering he found the piano complete for the expression of his creative spirit, pianists revel in his music, and audiences have responded to that love.
It was not always so. His editors told him, his music was â€œtoo difficult,â€ and people couldnâ€™t read it. Indeed, if one approaches Chopinâ€™s music with a mind set on a classical style, it is pretty dreadful!
And so, we change gears, and enter into the Romantic mode, where we have lyrical phrases, influenced by Chopinâ€™s admiration of Bachâ€™s music, love of the opera, flowing accompaniments, full use of the piano including pedaling which becomes an art in itself, and importantly, we must enter into the heart and mind of the composer to communicate his feelings to the listeners.
Many find Chopin at his best in his small pieces, and so I have chosen an unusual Nocturneâ€“one which has a surprise ending, a Mazurka not too often heard, and the lovely Etude in E Major, which is said to be a melody Chopin claimed to be his best, along with the Waltz in G Flat.
The Chromatic Fantasy and Fugue by Bach is a piece sometimes avoided by performers and teachers, because it takes a good deal of research to come up with what the performer believes is a credible version. I used three editions, listened to several recordings, and referred to some notes from Evelyn Mitchell, a fine teacher who had been a child prodigy and studied with Maurice Rosenthal. The Fantasy progresses through chromatic chords and cadenza-like runs which are a real trip! Going back to the Urtext edition, it is easier to understand the structure which Bach uses to create his improvisations. The Fugue begins with a soft, noble subject in the right hand and progresses relentlessly to a majestic finale with octaves using the whole keyboard.
George Gershwin, one of Americaâ€™s greatest composers, died at the age of 39. He was a talented pianist, who made his way on Tin Pan Alley at the age of 15. He could sight read anything put in front of him, and transpose it, and then improvise on it. He had large hands and much of his music contains intervals of 10ths and 12ths. These three Preludes were written to bring the syncopation and craggy rhythms and lyrical blues of jazz to the concert stage and reach â€œseriousâ€ audiences.
â€œMusic washes away from the soul the dust of everyday life.â€ (Red Auerbach (1812 - 1882) and quoted again by Pat Conroy â€“and now, by me. It is my deepest wish that those who hear this music experience some of what I felt in making this CD â€”no worries, no fearsâ€”I was invincible. I felt connected â€”to the past and the present. Happy Listening!
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1. Reflects dan l'leau (Reflections on the Water): Debussy
2. Sonata in F Minor, K 481: D. Scarlatti
3. Etude, No. 3, Op. 10, in E Major: Chopin
4. Nocturne No. 9, Op.32, No. 1 in B Major: Chopin
5. Mazurka, No 4, Op. 68 in F Minor: Chopin
6. Waltz in G Flat, Op. 70, No. 1: Chopin
7. Chromatic Fantasy: J.S. Bach
8. Fugue: J. S. Bach
9. Allegro ben ritmato e deciso: Gershwin
10. Andante con moto e poco rubato: Gershwin
11. Allegro ben ritmatoe deciso: Gershwin