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Roger Woodward (born 20 December 1942) is an Australian classical pianist, composer, conductor and teacher.
Woodward's early studies of Bach organ works with Peter Verco led to his immersion in Bach's cantatas and passion music and training in church music with Kenneth R. Long, music master at St Andrew's Cathedral, Sydney. He performed for the papal organist Fernando Germani and Sir Eugene Aynsley Goossens, Eugene Goossens, chief conductor of the Sydney Symphony Orchestra, after which he entered the Sydney Conservatorium in the piano class of Alexander Sverjensky (pupil of Alexander Glazunov, Sergei Rachmaninoff and Alexander Siloti) and the composition class of Raymond Hanson (composer), Raymond Hanson.
In 1963, Woodward graduated with distinction from the Sydney Conservatorium and the Sydney Teachers' College. In the same year, he founded and developed plans for the housing and funding of a competitive, international and quadrennial rostrum originally named the Sydney Piano Competition, together with the support of a wide circle of Sydney musicians and enthusiasts, which was achieved during 1972 to 76.
From 1963 to 1965, Woodward continued his organ studies with Faunce Allman while carrying out full-time duties as a choir director and secondary school teacher. During this period he mastered works by Australian composers and Tōru Takemitsu, John Cage Olivier Messiaen and his pupils: Alexander Goehr, Karlheinz Stockhausen, Iannis Xenakis, Pierre Boulez and Jean Barraqué. In 1964, he won the Commonwealth Finals of the Australian Broadcasting Corporation's Instrumental and Vocal Competition, the prize for which was to perform throughout Australia with the six ABC State Radio orchestras and in multiple radio and television broadcasts.
From 1965–69, he pursued postgraduate studies at the Chopin University of Music, National Chopin Academy of Music, Warsaw, with Zbigniew Drzewiecki. There he befriended the Cuban pedagogue Jorge Luis Herrero Dante and soon after, began working with Cuban composers Sergio Barroso, Juan Blanco, Leo Brouwer, and Carlos Fariñas.
During visits to London (1966–68), Woodward prepared Chopin manuscripts owned by British musicologist Arthur Hedley, before including them in recitals at the Wigmore Hall and South Bank. Contrary to some reports, Woodward did not enter the International Chopin Piano Competition. However, he regularly performed Chopin's music in Poland: at the Twenty-Third Chopin Festival, International Chopin Festival, Duszniki-Zdrój (1968), at Żelazowa Wola (Chopin's birthplace), at the Kraków Spring Festival (1968) and at the Ostrowski Palace on several occasions. He also performed the complete works of Chopin (by heart) at the Sydney Festival 1983-1985 in support of the Solidarity (Polish trade union), Solidarność Movement to raise public awareness of the importance of Poland's struggle for human rights.
In 1967, Woodward played for Lina Prokofieva in Warsaw and was soon invited to perform with the Warsaw National Philharmonic Orchestra throughout Poland. Two years later, he toured extensively with the Wiener Trio performed in Cuba as guest of ''Casa de las Américas'' and at the Paris ''Jeunesses Musicales'' where the UNESCO Rostrum's two principal jury members, Yehudi Menuhin and Jack Lang, noticed Woodward's performances of his own compositions alongside works of J. S. Bach, Frédéric Chopin, Chopin, Alexander Scriabin, Scriabin and Sergei Prokofiev, Prokofiev. Soon after he made his debut with the Royal Philharmonic Orchestra at the Royal Festival Hall, London and on Menuhin's recommendation, his first four recordings for EMI.
In 1971, Woodward performed his first recital at London's Queen Elizabeth Hall with premieres of works by Richard Meale, Ross Edwards (composer), Ross Edwards, Leo Brouwer, Tōru Takemitsu, Takemitsu and Jean Barraqué, Barraqué, after which he was invited by Robert Slotover, CEO, Allied Artists Management, to co-found a series of new music concerts known as the ''London Music Digest'' at the Roundhouse (venue), Roundhouse.
''Digest'' performances with Jean Barraqué, Barraqué were followed by a close working relationship with the composer on his ''Piano Sonata (Barraqué), Sonate pour piano'' at the EMI Abbey Road Studios, then in Paris and at the Royan Festival. Woodward also worked with John Cage at the Roundhouse (venue), Roundhouse for the British premiere of ''HPSCHD'' for ICES (International Carnival of Experimental Sound) and the BBC Proms. Further collaborations were undertaken with Karlheinz Stockhausen, Stockhausen at the Festival Hall, London, and with Tōru Takemitsu, Takemitsu at the Roundhouse, London's Decca Studios, and the Music Today Festival, Tokyo.
A partnership also began with Pierre Boulez and the BBC Symphony Orchestra at the Roundhouse, the Cheltenham Festival, and with Bernard Rands for the premiere of ''Mésallianz'' for piano and orchestra. His collaboration with Iannis Xenakis 1974–96 extended from France to the UK, Austria, Italy, and the United States, during which Xenakis dedicated three works to him, as did Rolf Gehlhaar, Tōru Takemitsu, Takemitsu, Anne Boyd, and Morton Feldman. Performing their works established his reputation as the leading exponent of new music of his time.
Steeped in church music and traditional repertoire, Woodward trained throughout his early life to perform established works side by side with more recent music as part of a belief that music was the essential expression of an experimental process. His concerts reflected this belief even though such programming was widely considered unorthodox for the time. He placed new works by Anne Boyd and Richard Meale alongside those of Scriabin, late Ludwig van Beethoven, Beethoven and Johann Sebastian Bach, J.S. Bach at the List of Edinburgh festivals, Edinburgh Festival. In Los Angeles, for the first half of three Los Angeles Philharmonic concerts, he performed Liszt's ''Totentanz'' and Xenakis alongside J.S. Bach solo harpsichord concertos with the Tokyo String Quartet. In recital, he often programmed traditional eighteenth- and nineteenth-century repertoire with new, little known, or neglected works such as those he championed by experimental fin de siècle Russian, Ukrainian and early Soviet composers Alexander Scriabin, Alexander Mosolov, Nikolai Roslavets, Ivan Vyshnegradsky, Nikolai Obukhov, Alexei Stanchinsky, Aleksei Stanchinsky. His performances of the complete works of Alexander Scriabin, Scriabin attracted exceptional critical reviews.
January 1974 saw Woodward invited by Witold Rowicki on an extensive tour of the US with the Warsaw Philharmonic Orchestra, during which he made his debut at Carnegie Hall. That year, Woodward founded Music Rostrum Australia at the Sydney Opera House where he collaborated with Australian composer Richard Meale and guests Luciano Berio, Cathy Berberian, David Gulpilil and Yūji Takahashi, Yuji Takahashi. He began performing with the Cleveland Orchestra directed by Lorin Maazel, and became a regular guest in Los Angeles with the Philharmonic directed by Zubin Mehta, with whom he subsequently performed (1972–89) in New York, Tel Aviv, and Paris. He appeared regularly at BBC Promenade Concerts, at Teatro La Fenice for La Biennale di Venezia (with Péter Eötvös and the Norddeutscher Rundfunkorchester), Warszawska Jesień, Festival Internacional Cervantino, Wien Modern with Claudio Abbado, at the New York Piano Festival, Festival de La Roque-d'Anthéron, Festival de la Roque d'Anthéron and at the , Touraine, at the invitation of its artistic director, Sviatoslav Richter.In 1992, Woodward directed an all-Xenakis program at La Scala, Scala di Milano. He also performed at outdoor venues including the Hollywood Bowl (Stravinsky); Odeon of Herodes Atticus, Odéon of Herodes Atticus, Athens On four occasions he performed with Cecil Taylor in the Gulbenkian Park, Lisbon (1986–92) and on several occasions at The Domain, Sydney, The Domain with the Sydney Symphony Orchestra (Beethoven and Tchaikovsky). In traditions pioneered by Dame Nellie Melba and Percy Grainger, he performed extensively throughout Central and Regional Australia, often in outdoor venues.
In 1975, he premiered Morton Feldman's ''Piano and Orchestra'' with the Saarbrücken Rundfunkorchester at the (Metz Festival) (in the composer's presence) directed by Hans Zender. It was the year when Woodward first encountered Anne Boyd's a cappella masterpiece: ''As I Crossed a Bridge of Dreams'', which made a profound impact upon him. Then in June and July, as Dmitri Shostakovich lay dying in a Moscow Cancer Clinic, he made the first complete recording in the West of his 24 ''Preludes and Fugues'', Op. 87, in tribute to the great Russian composer.
In 1977, he premiered Feldman's solo work Piano (1977), ''Piano'' (which was dedicated to Woodward)"Morton Feldman: The Johannesburg Masterclasses, July 1983- Session 5: Works by Feldman (Piano)"https://www.cnvill.net/mfmasterclasses05.pdf in Baden- Baden, commissioned Elisabeth Lutyens for a work for solo piano and two chamber orchestras, (''Nox'', Op.118), and, following the Valldemosa Festival, began a collaboration with Alberto Ginastera which continued until 1979. 1978 saw his first performance of the complete cycle of Beethoven's 32 Piano Sonatas at the Adelaide Festival, repeated at Kenwood House, London, the following year and in 1980 for the Sydney Festival. In the same year he premiered the Xenakis solo piano work ''Mists (Xenakis), Mists'' in Edinburgh (in the composer's presence). A further performance of the Beethoven cycle followed at the Queen Elizabeth Hall, London. At London's Institute of Contemporary Arts, he gave the world premiere of Morton Feldman's ''Triadic Memories (1981), Triadic Memories'' in the presence of the composer—a ninety-minute masterpiece which heralded the composer's late period.
In 1982, Woodward performed the five Beethoven Piano Concertos on three occasions: with Elyakum Shapirra and the Adelaide Chamber Orchestra, and twice with Georg Tintner, first with the Melbourne Symphony Orchestra and then with the Queensland Theatre Orchestra. During this time he was active for the Solidarity (Polish trade union), Polish Solidarność Trades Union Movement, leading to his being banned from performing throughout Eastern Europe. As the ban took hold elsewhere. it was accompanied by misleading statements, rumours and damaging criticism from the Eastern Bloc, Soviet Block. Throughout this period the artist remained loyal to the Solidarity (Polish trade union), Solidarność Trades Union Movement, leading to his being banned not only in Eastern Europe but, unexpectedly, by some leading Western concert managements, festival directors, and symphony orchestra administrators. Despite this, he was the recipient of a second work (of three dedicated to him) by Xenakis—his third and final composition for piano and orchestra—''Keqrops'', which was premiered in November 1986 at the Lincoln Center, NY, with New York Philharmonic, New York Philharmonic Orchestra under Zubin Mehta, Mehta, The following year, he repeated ''Keqrops'' for the BBC Proms (again in the composer's presence). That year, he also performed Barraqué at , Amsterdam, premiered Áskell Másson's Piano Concerto in Reykjavik (again in the composer's presence), and, in 1989 Rolf Gehlhaar' ''Diagonal Flying'' in Geneva together with the composer. That same year Woodward founded the Sydney Spring International Festival of New Music which continued until 2001.
Despite the downfall of Communism, the former Soviet disinformation campaign continued, with repeated attempts to remove Solidarność activists' credibility and careers through an ongoing embargo. Nevertheless, Woodward worked with the New York, Los Angeles, Beijing and Israel Philharmonic orchestras, five London orchestras, the Hallé Orchestra, London Sinfonietta, London Mozart Players, London Brass, RTE Radio, the BBC Northern Symphony Orchestra, the Scottish National Orchestra, the Estonian National Orchestra, the Latvian National Symphony Orchestra, the Leipzig Gewandhaus Orchestra and Berlin Radio Orchestra, L'orchestre National de Paris, L'orchestre National de Lille, Orchestre Philharmonique de Radio France, the Mahlerjugendorchester, EEC Youth Orchestra, the Australian Youth Orchestra, and the Budapest and Prague Chamber Orchestras. He also collaborated with the following artists: Charles Dutoit, Lorin Maazel, Yoel Levi, Edo de Waart, Sir Charles Mackerras, Enrique Bátiz, Enrique Bátiz Campbell, Kurt Masur, Nello Santi, Paavo Berglund, Moshe Atzmon, Marin Alsop, Henry Krips (conductor), Henry Kripps, Tibor Paul, Albert Rosen, Werner Andreas Albert, Matthias Bamert, Henry Lewis (musician), Henry Lewis, Isaiah Jackson, Dean Dixon, Georg Tintner, Hans-Hubert Schönzeler, Tan Lihua, Sir William Southgate, Simon Romanos, Gyula Németh, David Atherton, Erich Leinsdorf, Eliahu Inbal, James Judd, Walter Susskind, Herbert Blomstedt, Georges Tzipine, Arturo Tamayo, Robert Busan, Lukas Foss, Péter Eötvös, Zakarias Grafilo, Sir John Pritchard (conductor), John Pritchard, Sir Roger Norrington, Sir Andrew Davis (conductor), Andrew Davis, Willem van Otterloo, Hiroyuki Iwaki, Lamberto Gardelli, Colman Pearce, and Sir Alexander Gibson (conductor), Alexander Gibson. Although the embargo was extensive, Woodward and other Australian artists were invited by Symphony Australia to perform a limited number of orchestral concerts, after the personal intervention of Prime Minister Paul Keating.
Throughout this period, he performed with the Arditti Quartet, Arditti, Tokyo String Quartet, Tokyo, New Zealand, Australian and Sydney string quartets, the Australia Ensemble, the Edinburgh String Quartet, JACK Quartet and the Alexander String Quartet, with whom he recorded Beethoven, Chopin, Shostakovich, and Robert Greenberg. He also collaborated with harpsichordist George Malcolm (musician), George Malcolm and jazz pianist Cecil Taylor in Lisbon, Paris, for the Patras Festival, and for extensive tours of the UK Contemporary Music Network from 1987–94. He worked with musicologists Charles Rosen, Paul Griffiths (writer), Paul Griffiths, H. C. Robbins Landon, H. C. Robbins-Landon, Richard Toop, Paul M. Ellison, Nouritza Matossian and Sharon Kanach; violinists Philippe Hirschhorn, Ivry Gitlis, Ilya Grubert, Winfried Rademacher, Asmira-Woodward-Page and Wanda Wiłkomirska; violist ; cellists Rohan de Saram, Nathan Waks, Jacopo Scalfi and David Pereira; Synergy Percussion, Chris Dench, Adrian Jack, Elena Kats-Chernin, Alessandro Solbiati; the flautists Laura Chislett, Pierre-Yves Artaud, Pierre Yves- Artaud; pianists: Yūji Takahashi, Yuji Takahashi, Alexander Gavrylyuk, Stephanie McCallum, Robert Curry, Noël Lee, Noel Lee and Simon Tedeschi. He also worked with James Dillon (composer), James Dillon, James Morrison (jazz musician), James Morrison, David Gulpilil, Robyn Archer and Frank Zappa. Nominated by Prime Minister Gough Whitlam and Premier Neville Wran, Woodward became a Order of Australia, Companion of the Order of Australia (AC) in 1992. The following year, Polish President Lech Wałęsa, conferred his nation's highest honour upon a foreigner—the Order of Merit of the Republic of Poland (OM).
During the 1990s Woodward toured China twice, co-founded and directed the Kötschach-Mauthner Musikfest, Kötschach-Mauthner ''Musikfest'' (1992–97), the ''Joie et Lumière'' concert series (under the patronage of Lord Paul Hamlyn and Lady Helen Hamlyn) at Château de Bagnols, Bourgogne 1997–2004, in tribute to the memory of Sviatoslav Richter, and an annual concert series—the Sydney Spring International Festival of New Music 1989–2001, when he collaborated with Arvo Pärt and Horațiu Rădulescu, Horatiu Radulescu. He commissioned a series of three piano concertos from Larry Sitsky. The first was premiered at the 1994 Sydney Spring International Festival of New Music and recorded in 1997. In 1995 it was selected by the UNESCO International Rostrum of Composers for citation. Between 1992-98 he was awarded four doctorates ''honoris causa'' and in 1999, completed the degree of Doctor of Music at the University of Sydney.
Woodward's performances as a conductor received wide critical acclaim: with the Adelaide Chamber Orchestra; the Sydney Dance Company at the Sydney Opera House in a collaboration with its artistic director Graeme Murphy in twenty-five performances of the Xenakis ballet ''Kraanerg''; the Shanghai Conservatory of Music, Shanghai Conservatory Orchestra; in the UK for BBC2 Television; with the Alpha Centauri Ensemble (twenty-three musicians) at Scala di Milano; and in the the Accademia Nazionale di Santa Cecilia, Academia Santa Cecilia, Rome; at the Biblioteca Salaborsa, Bologna; and for the Sydney Spring International Festival of New Music (1989–2001). His compositions have been performed in Poland, Australia, Cuba, the Netherlands, France, and the UK at the Almeida International New Music Festival (August, 1990). His work ''Sound by Sound''—for live and recorded pianos, percussion and live electronics—was commissioned by the Festival d'automne à Paris for the bicentennial celebrations of the French Revolution.
From eighteen Woodward taught in Sydney, then in Warsaw, during his studies at the Chopin National University. He taught in London and at the BBC Dartington master classes, was chair of Music at the University of New England (Australia), University of New England (Australia) and chair of the School of Music, San Francisco State University where he is currently professor. Woodward lectured and/or gave master classes in Germany, Finland, Poland, Cuba, Mexico, the UK, US, China, New Zealand and Australia. He is a regular guest of international piano competition juries. Some of his students include Norman Lawrence, Carmel Gammal (née Ettinger), Geoffrey Abdallah, Peter Donohoe (pianist), Peter Donohoe and Alan Kogosowski.
lecture
managed by Allied Artists (London); filmed at Imperial College, London July 19, 1973. Sylvano Bussotti, John Cage, Morton Feldman, Anne Boyd, and Tōru Takemitsu, Toru Takemitsu are established classics, characterized by unusual precision and penetrating insight. Innovative interpretations of Johann Sebastian Bach, J.S. Bach, Ludwig van Beethoven, Beethoven, Claude Debussy, Debussy, Alexander Scriabin, Scriabin, and Dmitri Shostakovich, Shostakovich provide a strong and original direction in a redefinition of traditions, sometimes reviewed as unorthodox for their modernity.
Three Celestial Harmonies compact disc recordings were named "Record of the Month" by ''MusicWeb International'': Debussy ''Préludes Books 1 and 2'' (March 2010); ''Roger Woodward In Concert'' (October 2013) and ''Prokofiev Works for Solo Piano 1908-1938'' (April 2013),this recording was nominated Best Classical Album at Australia's 1992 Aria awards. A recording for Etcetera BV of ''Scriabin's Piano Works'' was "Record of the Month" on ''Musicweb International'' (July 2002).The Etcetera BV release (1989) of Xenakis' ''Kraanerg'' with the Alpha Centauri Ensemble directed by Roger Woodward was selected by the music critics of The Sunday Times, UK, as one of the most outstanding releases of that year: " A stringent and sustained electro acoustical experience."
Woodward was the recipient of the ''Preis der Deutschen Schallplattenkritik'' (2007), for performances of J. S. Bach's ''Partitas'' BWV 826 and 830, and ''Chromatic Fantasia and Fugue'', BWV 903. This recording was also named one of the finest of the year by ''MusicWeb International'' (2008) and nominated as Best Classical Album at Australia's 1993 Aria awards. His performances of J. S. Bach's ''Well-Tempered-Clavier'' was Editor's Choice for ''The Gramophone'', UK (February 2010). Both were recorded by Ulrich Kraus and produced by Eckart Rahn as part of twelve projects for Celestial Harmonies (2006–15).
In 1991, Woodward shared the Diapason d'Or, Diapason d'or with fellow Australian and senior ABC recording producer Ralph Lane, for their recording of Morton Feldman's solo piano music (ABC Classics). This recording was Record of the Month in April 1991 (''Télérama'', Paris) and reviewed: "Roger Woodward – à qui ''Triadic Memories'' est dédiée – est tout bonnement sublime." In June, 1991, it was reviewed by ''Le monde de la musique'': "Il fallait un pianiste rompu à toutes les difficultés, et doté de moyens pianistiques supérieurs pour rendre justice à ces oeuvres-limits; c'est Roger Woodward, et il est parfaite."
Ralph Lane recorded a wide range of live and studio projects with Woodward (1988-2018) some of which were named Record of the Month, including the aforementioned Prokofiev, Scriabin and Xenakis recordings. In 1991, he was recipient of the Ritmo Prize (Spain) for his Etcetera BV recording of Takemitsu's piano music (also produced by Lane). In June 1991, the same recording was Record of the Month (Télérama, Paris (January, 1991) and reviewed: "Roger Woodward est épatant. Enregistrement essentiel". In 2008, his recording of ''The Music of Frédéric Chopin'' was nominated Best Classical Album at Australia's Aria Awards.
In 2015, ABC Classics/Universal released ''A Concerto Collection'' comprising ten live concert and four studio performances of: J. S. Bach ''Keyboard Concerto in D minor'', BWV 1052, Haydn ''Keyboard Concerto in F major'', Hob XVIII, 6, Beethoven ''Piano Concerto No. 3 in C minor'', Op.37, Beethoven ''Piano Concerto No. 4 in G major'', Op. 58, Chopin ''Piano Concerto No. 1 in E minor'', Op.11, Rachmaninoff ''Piano Concerto No. 2 in C minor'' Op.18, Scriabin ''Piano Concerto in F-sharp major,'' Op. 20, Scriabin ''Symphony No. 5'' Op. 60 (''Prometheus''), Prokofiev ''Piano Concerto No. 3 in C major'' Op.26, Schoenberg ''Piano Concerto'' Op. 42, Larry Sitsky ''Piano Concerto No. 1'', Barry Conyngham ''Double Concerto for violin and piano'', Qu Xiao-Song ''Huang'', and Xenakis ''Kraanerg''.
He is published by Routledge, Routledge Press, UK, HarperCollins, Amazon Kindle, Kindle, the Greenway Press, N.Y., the Pendragon Press, NY, Praeger Publishing, Praeger, New York and the E. R. P. Musikverlag, Berlin. He has published chapters in two monographs for the University of Sydney, ''Jean Barraqué'' in ''Matters of the Mind'', edited by Catherine Runcey (2001), and ''Music And Change: Some Considerations of the Sonata quasi una fantasia in C-sharp minor, Op.27, No.2, in ''Literature and Aesthetics'' (1998).
Woodward has three children: Asmira, a concert violinist (mother, Prudence Page). Benjamin, director of Academy Tennis (mother, Patricia Ludgate to whom Woodward was married from 1989 to 2009), and foster son, Elroy Palmer.
Roger Woodward Homepage
* * * * Woodward's official Youtube channel:https://youtube.com/c/RogerWoodwardPiano {{DEFAULTSORT:Woodward, Roger 1942 births Living people Australian classical pianists Male classical pianists San Francisco State University faculty Sydney Conservatorium of Music alumni North Sydney Technical High School alumni Chopin University of Music alumni Musicians from Sydney Fellows of the Australian Academy of the Humanities Companions of the Order of Australia Australian Officers of the Order of the British Empire Recipients of the Centenary Medal Chevaliers of the Ordre des Arts et des Lettres Recipients of the Medal for Merit to Culture – Gloria Artis, Class 1 Recipients of the Gold Medal for Merit to Culture – Gloria Artis Australian musicians 21st-century classical pianists 21st-century Australian musicians
Life and career
Early life
The youngest of four children, Roger Woodward was born in Sydney where he received first piano lessons from Winifred Pope. His mother and second sister were amateur violinists and his father and elder sister sang in the local Chatswood Church of Christ choir. On his first day at Chatswood Public School, he sat next to Peter Kraus, a boy who had survived the Auschwitz train four years before. The six-year olds became lifelong friends and, as he came to know Peter, his brother Paul, and the Kraus family, their story impacted his emerging vision and personal development. He attended the Conservatorium High School and matriculated from North Sydney Technical High School, North Sydney Boys' Technical High School with a Commonwealth scholarship.
Woodward's early studies of Bach organ works with Peter Verco led to his immersion in Bach's cantatas and passion music and training in church music with Kenneth R. Long, music master at St Andrew's Cathedral, Sydney. He performed for the papal organist Fernando Germani and Sir Eugene Aynsley Goossens, Eugene Goossens, chief conductor of the Sydney Symphony Orchestra, after which he entered the Sydney Conservatorium in the piano class of Alexander Sverjensky (pupil of Alexander Glazunov, Sergei Rachmaninoff and Alexander Siloti) and the composition class of Raymond Hanson (composer), Raymond Hanson.
In 1963, Woodward graduated with distinction from the Sydney Conservatorium and the Sydney Teachers' College. In the same year, he founded and developed plans for the housing and funding of a competitive, international and quadrennial rostrum originally named the Sydney Piano Competition, together with the support of a wide circle of Sydney musicians and enthusiasts, which was achieved during 1972 to 76.
From 1963 to 1965, Woodward continued his organ studies with Faunce Allman while carrying out full-time duties as a choir director and secondary school teacher. During this period he mastered works by Australian composers and Tōru Takemitsu, John Cage Olivier Messiaen and his pupils: Alexander Goehr, Karlheinz Stockhausen, Iannis Xenakis, Pierre Boulez and Jean Barraqué. In 1964, he won the Commonwealth Finals of the Australian Broadcasting Corporation's Instrumental and Vocal Competition, the prize for which was to perform throughout Australia with the six ABC State Radio orchestras and in multiple radio and television broadcasts.From 1965–69, he pursued postgraduate studies at the Chopin University of Music, National Chopin Academy of Music, Warsaw, with Zbigniew Drzewiecki. There he befriended the Cuban pedagogue Jorge Luis Herrero Dante and soon after, began working with Cuban composers Sergio Barroso, Juan Blanco, Leo Brouwer, and Carlos Fariñas.
During visits to London (1966–68), Woodward prepared Chopin manuscripts owned by British musicologist Arthur Hedley, before including them in recitals at the Wigmore Hall and South Bank. Contrary to some reports, Woodward did not enter the International Chopin Piano Competition. However, he regularly performed Chopin's music in Poland: at the Twenty-Third Chopin Festival, International Chopin Festival, Duszniki-Zdrój (1968), at Żelazowa Wola (Chopin's birthplace), at the Kraków Spring Festival (1968) and at the Ostrowski Palace on several occasions. He also performed the complete works of Chopin (by heart) at the Sydney Festival 1983-1985 in support of the Solidarity (Polish trade union), Solidarność Movement to raise public awareness of the importance of Poland's struggle for human rights.
In 1967, Woodward played for Lina Prokofieva in Warsaw and was soon invited to perform with the Warsaw National Philharmonic Orchestra throughout Poland. Two years later, he toured extensively with the Wiener Trio performed in Cuba as guest of ''Casa de las Américas'' and at the Paris ''Jeunesses Musicales'' where the UNESCO Rostrum's two principal jury members, Yehudi Menuhin and Jack Lang, noticed Woodward's performances of his own compositions alongside works of J. S. Bach, Frédéric Chopin, Chopin, Alexander Scriabin, Scriabin and Sergei Prokofiev, Prokofiev. Soon after he made his debut with the Royal Philharmonic Orchestra at the Royal Festival Hall, London and on Menuhin's recommendation, his first four recordings for EMI.
In 1971, Woodward performed his first recital at London's Queen Elizabeth Hall with premieres of works by Richard Meale, Ross Edwards (composer), Ross Edwards, Leo Brouwer, Tōru Takemitsu, Takemitsu and Jean Barraqué, Barraqué, after which he was invited by Robert Slotover, CEO, Allied Artists Management, to co-found a series of new music concerts known as the ''London Music Digest'' at the Roundhouse (venue), Roundhouse.
''Digest'' performances with Jean Barraqué, Barraqué were followed by a close working relationship with the composer on his ''Piano Sonata (Barraqué), Sonate pour piano'' at the EMI Abbey Road Studios, then in Paris and at the Royan Festival. Woodward also worked with John Cage at the Roundhouse (venue), Roundhouse for the British premiere of ''HPSCHD'' for ICES (International Carnival of Experimental Sound) and the BBC Proms. Further collaborations were undertaken with Karlheinz Stockhausen, Stockhausen at the Festival Hall, London, and with Tōru Takemitsu, Takemitsu at the Roundhouse, London's Decca Studios, and the Music Today Festival, Tokyo.A partnership also began with Pierre Boulez and the BBC Symphony Orchestra at the Roundhouse, the Cheltenham Festival, and with Bernard Rands for the premiere of ''Mésallianz'' for piano and orchestra. His collaboration with Iannis Xenakis 1974–96 extended from France to the UK, Austria, Italy, and the United States, during which Xenakis dedicated three works to him, as did Rolf Gehlhaar, Tōru Takemitsu, Takemitsu, Anne Boyd, and Morton Feldman. Performing their works established his reputation as the leading exponent of new music of his time.
Steeped in church music and traditional repertoire, Woodward trained throughout his early life to perform established works side by side with more recent music as part of a belief that music was the essential expression of an experimental process. His concerts reflected this belief even though such programming was widely considered unorthodox for the time. He placed new works by Anne Boyd and Richard Meale alongside those of Scriabin, late Ludwig van Beethoven, Beethoven and Johann Sebastian Bach, J.S. Bach at the List of Edinburgh festivals, Edinburgh Festival. In Los Angeles, for the first half of three Los Angeles Philharmonic concerts, he performed Liszt's ''Totentanz'' and Xenakis alongside J.S. Bach solo harpsichord concertos with the Tokyo String Quartet. In recital, he often programmed traditional eighteenth- and nineteenth-century repertoire with new, little known, or neglected works such as those he championed by experimental fin de siècle Russian, Ukrainian and early Soviet composers Alexander Scriabin, Alexander Mosolov, Nikolai Roslavets, Ivan Vyshnegradsky, Nikolai Obukhov, Alexei Stanchinsky, Aleksei Stanchinsky. His performances of the complete works of Alexander Scriabin, Scriabin attracted exceptional critical reviews.
Middle years
In 1973, Woodward worked with Stockhausen and on ''Mantra'' for two ring-modulated pianos at Imperial College London (Lecture 7 in 3 parts), with Anne Boyd in Sussex, UK, on ''Angklung'', and with Takemitsu on the premiere of ''For Away, Corona ("London version")'', and the recording of his complete piano music to that point in London's Decca studios. That September, he participated in the inaugural celebrations of the Sydney Opera House as soloist for an extended tour with the six principal Australian Broadcasting Commission orchestras and premiered a series of ABC commissions, including a septet, ''As It Leaves the Bell'', by Anne Boyd for piano, two harps and percussion.
January 1974 saw Woodward invited by Witold Rowicki on an extensive tour of the US with the Warsaw Philharmonic Orchestra, during which he made his debut at Carnegie Hall. That year, Woodward founded Music Rostrum Australia at the Sydney Opera House where he collaborated with Australian composer Richard Meale and guests Luciano Berio, Cathy Berberian, David Gulpilil and Yūji Takahashi, Yuji Takahashi. He began performing with the Cleveland Orchestra directed by Lorin Maazel, and became a regular guest in Los Angeles with the Philharmonic directed by Zubin Mehta, with whom he subsequently performed (1972–89) in New York, Tel Aviv, and Paris. He appeared regularly at BBC Promenade Concerts, at Teatro La Fenice for La Biennale di Venezia (with Péter Eötvös and the Norddeutscher Rundfunkorchester), Warszawska Jesień, Festival Internacional Cervantino, Wien Modern with Claudio Abbado, at the New York Piano Festival, Festival de La Roque-d'Anthéron, Festival de la Roque d'Anthéron and at the , Touraine, at the invitation of its artistic director, Sviatoslav Richter.In 1992, Woodward directed an all-Xenakis program at La Scala, Scala di Milano. He also performed at outdoor venues including the Hollywood Bowl (Stravinsky); Odeon of Herodes Atticus, Odéon of Herodes Atticus, Athens On four occasions he performed with Cecil Taylor in the Gulbenkian Park, Lisbon (1986–92) and on several occasions at The Domain, Sydney, The Domain with the Sydney Symphony Orchestra (Beethoven and Tchaikovsky). In traditions pioneered by Dame Nellie Melba and Percy Grainger, he performed extensively throughout Central and Regional Australia, often in outdoor venues.
In 1975, he premiered Morton Feldman's ''Piano and Orchestra'' with the Saarbrücken Rundfunkorchester at the (Metz Festival) (in the composer's presence) directed by Hans Zender. It was the year when Woodward first encountered Anne Boyd's a cappella masterpiece: ''As I Crossed a Bridge of Dreams'', which made a profound impact upon him. Then in June and July, as Dmitri Shostakovich lay dying in a Moscow Cancer Clinic, he made the first complete recording in the West of his 24 ''Preludes and Fugues'', Op. 87, in tribute to the great Russian composer.
In 1977, he premiered Feldman's solo work Piano (1977), ''Piano'' (which was dedicated to Woodward)"Morton Feldman: The Johannesburg Masterclasses, July 1983- Session 5: Works by Feldman (Piano)"https://www.cnvill.net/mfmasterclasses05.pdf in Baden- Baden, commissioned Elisabeth Lutyens for a work for solo piano and two chamber orchestras, (''Nox'', Op.118), and, following the Valldemosa Festival, began a collaboration with Alberto Ginastera which continued until 1979. 1978 saw his first performance of the complete cycle of Beethoven's 32 Piano Sonatas at the Adelaide Festival, repeated at Kenwood House, London, the following year and in 1980 for the Sydney Festival. In the same year he premiered the Xenakis solo piano work ''Mists (Xenakis), Mists'' in Edinburgh (in the composer's presence). A further performance of the Beethoven cycle followed at the Queen Elizabeth Hall, London. At London's Institute of Contemporary Arts, he gave the world premiere of Morton Feldman's ''Triadic Memories (1981), Triadic Memories'' in the presence of the composer—a ninety-minute masterpiece which heralded the composer's late period.
In 1982, Woodward performed the five Beethoven Piano Concertos on three occasions: with Elyakum Shapirra and the Adelaide Chamber Orchestra, and twice with Georg Tintner, first with the Melbourne Symphony Orchestra and then with the Queensland Theatre Orchestra. During this time he was active for the Solidarity (Polish trade union), Polish Solidarność Trades Union Movement, leading to his being banned from performing throughout Eastern Europe. As the ban took hold elsewhere. it was accompanied by misleading statements, rumours and damaging criticism from the Eastern Bloc, Soviet Block. Throughout this period the artist remained loyal to the Solidarity (Polish trade union), Solidarność Trades Union Movement, leading to his being banned not only in Eastern Europe but, unexpectedly, by some leading Western concert managements, festival directors, and symphony orchestra administrators. Despite this, he was the recipient of a second work (of three dedicated to him) by Xenakis—his third and final composition for piano and orchestra—''Keqrops'', which was premiered in November 1986 at the Lincoln Center, NY, with New York Philharmonic, New York Philharmonic Orchestra under Zubin Mehta, Mehta, The following year, he repeated ''Keqrops'' for the BBC Proms (again in the composer's presence). That year, he also performed Barraqué at , Amsterdam, premiered Áskell Másson's Piano Concerto in Reykjavik (again in the composer's presence), and, in 1989 Rolf Gehlhaar' ''Diagonal Flying'' in Geneva together with the composer. That same year Woodward founded the Sydney Spring International Festival of New Music which continued until 2001.
Despite the downfall of Communism, the former Soviet disinformation campaign continued, with repeated attempts to remove Solidarność activists' credibility and careers through an ongoing embargo. Nevertheless, Woodward worked with the New York, Los Angeles, Beijing and Israel Philharmonic orchestras, five London orchestras, the Hallé Orchestra, London Sinfonietta, London Mozart Players, London Brass, RTE Radio, the BBC Northern Symphony Orchestra, the Scottish National Orchestra, the Estonian National Orchestra, the Latvian National Symphony Orchestra, the Leipzig Gewandhaus Orchestra and Berlin Radio Orchestra, L'orchestre National de Paris, L'orchestre National de Lille, Orchestre Philharmonique de Radio France, the Mahlerjugendorchester, EEC Youth Orchestra, the Australian Youth Orchestra, and the Budapest and Prague Chamber Orchestras. He also collaborated with the following artists: Charles Dutoit, Lorin Maazel, Yoel Levi, Edo de Waart, Sir Charles Mackerras, Enrique Bátiz, Enrique Bátiz Campbell, Kurt Masur, Nello Santi, Paavo Berglund, Moshe Atzmon, Marin Alsop, Henry Krips (conductor), Henry Kripps, Tibor Paul, Albert Rosen, Werner Andreas Albert, Matthias Bamert, Henry Lewis (musician), Henry Lewis, Isaiah Jackson, Dean Dixon, Georg Tintner, Hans-Hubert Schönzeler, Tan Lihua, Sir William Southgate, Simon Romanos, Gyula Németh, David Atherton, Erich Leinsdorf, Eliahu Inbal, James Judd, Walter Susskind, Herbert Blomstedt, Georges Tzipine, Arturo Tamayo, Robert Busan, Lukas Foss, Péter Eötvös, Zakarias Grafilo, Sir John Pritchard (conductor), John Pritchard, Sir Roger Norrington, Sir Andrew Davis (conductor), Andrew Davis, Willem van Otterloo, Hiroyuki Iwaki, Lamberto Gardelli, Colman Pearce, and Sir Alexander Gibson (conductor), Alexander Gibson. Although the embargo was extensive, Woodward and other Australian artists were invited by Symphony Australia to perform a limited number of orchestral concerts, after the personal intervention of Prime Minister Paul Keating.
Throughout this period, he performed with the Arditti Quartet, Arditti, Tokyo String Quartet, Tokyo, New Zealand, Australian and Sydney string quartets, the Australia Ensemble, the Edinburgh String Quartet, JACK Quartet and the Alexander String Quartet, with whom he recorded Beethoven, Chopin, Shostakovich, and Robert Greenberg. He also collaborated with harpsichordist George Malcolm (musician), George Malcolm and jazz pianist Cecil Taylor in Lisbon, Paris, for the Patras Festival, and for extensive tours of the UK Contemporary Music Network from 1987–94. He worked with musicologists Charles Rosen, Paul Griffiths (writer), Paul Griffiths, H. C. Robbins Landon, H. C. Robbins-Landon, Richard Toop, Paul M. Ellison, Nouritza Matossian and Sharon Kanach; violinists Philippe Hirschhorn, Ivry Gitlis, Ilya Grubert, Winfried Rademacher, Asmira-Woodward-Page and Wanda Wiłkomirska; violist ; cellists Rohan de Saram, Nathan Waks, Jacopo Scalfi and David Pereira; Synergy Percussion, Chris Dench, Adrian Jack, Elena Kats-Chernin, Alessandro Solbiati; the flautists Laura Chislett, Pierre-Yves Artaud, Pierre Yves- Artaud; pianists: Yūji Takahashi, Yuji Takahashi, Alexander Gavrylyuk, Stephanie McCallum, Robert Curry, Noël Lee, Noel Lee and Simon Tedeschi. He also worked with James Dillon (composer), James Dillon, James Morrison (jazz musician), James Morrison, David Gulpilil, Robyn Archer and Frank Zappa. Nominated by Prime Minister Gough Whitlam and Premier Neville Wran, Woodward became a Order of Australia, Companion of the Order of Australia (AC) in 1992. The following year, Polish President Lech Wałęsa, conferred his nation's highest honour upon a foreigner—the Order of Merit of the Republic of Poland (OM).
During the 1990s Woodward toured China twice, co-founded and directed the Kötschach-Mauthner Musikfest, Kötschach-Mauthner ''Musikfest'' (1992–97), the ''Joie et Lumière'' concert series (under the patronage of Lord Paul Hamlyn and Lady Helen Hamlyn) at Château de Bagnols, Bourgogne 1997–2004, in tribute to the memory of Sviatoslav Richter, and an annual concert series—the Sydney Spring International Festival of New Music 1989–2001, when he collaborated with Arvo Pärt and Horațiu Rădulescu, Horatiu Radulescu. He commissioned a series of three piano concertos from Larry Sitsky. The first was premiered at the 1994 Sydney Spring International Festival of New Music and recorded in 1997. In 1995 it was selected by the UNESCO International Rostrum of Composers for citation. Between 1992-98 he was awarded four doctorates ''honoris causa'' and in 1999, completed the degree of Doctor of Music at the University of Sydney.
Woodward's performances as a conductor received wide critical acclaim: with the Adelaide Chamber Orchestra; the Sydney Dance Company at the Sydney Opera House in a collaboration with its artistic director Graeme Murphy in twenty-five performances of the Xenakis ballet ''Kraanerg''; the Shanghai Conservatory of Music, Shanghai Conservatory Orchestra; in the UK for BBC2 Television; with the Alpha Centauri Ensemble (twenty-three musicians) at Scala di Milano; and in the the Accademia Nazionale di Santa Cecilia, Academia Santa Cecilia, Rome; at the Biblioteca Salaborsa, Bologna; and for the Sydney Spring International Festival of New Music (1989–2001). His compositions have been performed in Poland, Australia, Cuba, the Netherlands, France, and the UK at the Almeida International New Music Festival (August, 1990). His work ''Sound by Sound''—for live and recorded pianos, percussion and live electronics—was commissioned by the Festival d'automne à Paris for the bicentennial celebrations of the French Revolution.
From eighteen Woodward taught in Sydney, then in Warsaw, during his studies at the Chopin National University. He taught in London and at the BBC Dartington master classes, was chair of Music at the University of New England (Australia), University of New England (Australia) and chair of the School of Music, San Francisco State University where he is currently professor. Woodward lectured and/or gave master classes in Germany, Finland, Poland, Cuba, Mexico, the UK, US, China, New Zealand and Australia. He is a regular guest of international piano competition juries. Some of his students include Norman Lawrence, Carmel Gammal (née Ettinger), Geoffrey Abdallah, Peter Donohoe (pianist), Peter Donohoe and Alan Kogosowski.
Reception
His iconic performances and recordings with Pierre Boulez, Jean Barraqué, Iannis Xenakis, Karlheinz Stockhausen,Stockhausen's ''Mantra'lecture
managed by Allied Artists (London); filmed at Imperial College, London July 19, 1973. Sylvano Bussotti, John Cage, Morton Feldman, Anne Boyd, and Tōru Takemitsu, Toru Takemitsu are established classics, characterized by unusual precision and penetrating insight. Innovative interpretations of Johann Sebastian Bach, J.S. Bach, Ludwig van Beethoven, Beethoven, Claude Debussy, Debussy, Alexander Scriabin, Scriabin, and Dmitri Shostakovich, Shostakovich provide a strong and original direction in a redefinition of traditions, sometimes reviewed as unorthodox for their modernity.
Principal awards and honours
*1976: ''Członkiem Korespondentem, Towarzystwo im. Fryderyka Chopina'', Poland *1980: Officer of the Most Excellent Order of the British Empire, UK *1981: Greater London Metropolitan Police, Citation for Bravery, UK *1988: Ancient Order of Bréifne *1992: Companion of the Order of Australia *1993: Order of Merit of the Republic of Poland, Commander Cross, Order of Merit, Republic of Poland *1997: National Living Treasure (Australia), National Living Treasure, National Trust of Australia *1998: Doctor of Laws, ''honoris causa'', University of Alberta, Canada *2001: Centenary Medal, Australia *2004: ''Ordre des arts et des lettres, Chevalier dans l'ordre des arts et des lettres'', Republic of France *2011: Medal for Merit to Culture – Gloria Artis, Gloria Artis (gold class) medal, Republic of Poland *2019: Honorary fellow, Australian Academy of the HumanitiesPrincipal recordings and publications
Woodwards's principal recordings have been issued by ABC Music, ABC Classics (Australia), Accord (France), Artworks (Australia), BMG Rights Management, BMG, Col Legno (Munich), CPO, Decca Records, Decca, Deutsche Grammophon, EMI, Etcetera Records BV, Explore Records, Foghorn Classics (San Francisco), JB (Australia), Polskie Nagrania Muza, Polskie Nagrania, Sipario Dischi (Milano), Unicorn (UK), Universal Music Group, Universal, Warner Music Group, Warner and RCA Red Seal Records, RCA Red Seal (UK) for whom Woodward made the first complete recording (in the West) of Dmitry Shostakovich's ''Twenty-four Preludes and Fugues'', Op. 87, at the time of the composer's death.Dominy Clements wrote in ''MusicWeb International'' about Woodward's Dmitri Shostakovich's 24 ''Preludes and Fugues'', Op.87, recording: "This remarkable recording stands alone as a landmark." Complete article at http://www.musicweb-international.com/classrev/2010/oct10/shostakovich_woodward_143022.htm It was rereleased by Celestial Harmonies (2010). Woodward's live concerts have been recorded for ABC Radio/TV, BBC Radio/TV, Radio NZ, RAI, Radio France, Radio/TV Cuba, Hong Kong Radio, Radio China, Radio/TV Japan, Polish Radio/TV, RTE (Dublin), multiple German radio stations including Radio Berlin; Hilversum Radio (Netherlands), for the UNESCO Rostrum/Paris and You Tube. DVDs have been issued Allied Artists (UK), BBC TV Productions, Chanan Productions (UK), Foghorn Classics (San Francisco), Kultur (China), Polygram (Australia), Smith Street Films (Australia) and the Sydney Dance Company.Three Celestial Harmonies compact disc recordings were named "Record of the Month" by ''MusicWeb International'': Debussy ''Préludes Books 1 and 2'' (March 2010); ''Roger Woodward In Concert'' (October 2013) and ''Prokofiev Works for Solo Piano 1908-1938'' (April 2013),this recording was nominated Best Classical Album at Australia's 1992 Aria awards. A recording for Etcetera BV of ''Scriabin's Piano Works'' was "Record of the Month" on ''Musicweb International'' (July 2002).The Etcetera BV release (1989) of Xenakis' ''Kraanerg'' with the Alpha Centauri Ensemble directed by Roger Woodward was selected by the music critics of The Sunday Times, UK, as one of the most outstanding releases of that year: " A stringent and sustained electro acoustical experience."
Woodward was the recipient of the ''Preis der Deutschen Schallplattenkritik'' (2007), for performances of J. S. Bach's ''Partitas'' BWV 826 and 830, and ''Chromatic Fantasia and Fugue'', BWV 903. This recording was also named one of the finest of the year by ''MusicWeb International'' (2008) and nominated as Best Classical Album at Australia's 1993 Aria awards. His performances of J. S. Bach's ''Well-Tempered-Clavier'' was Editor's Choice for ''The Gramophone'', UK (February 2010). Both were recorded by Ulrich Kraus and produced by Eckart Rahn as part of twelve projects for Celestial Harmonies (2006–15).
In 1991, Woodward shared the Diapason d'Or, Diapason d'or with fellow Australian and senior ABC recording producer Ralph Lane, for their recording of Morton Feldman's solo piano music (ABC Classics). This recording was Record of the Month in April 1991 (''Télérama'', Paris) and reviewed: "Roger Woodward – à qui ''Triadic Memories'' est dédiée – est tout bonnement sublime." In June, 1991, it was reviewed by ''Le monde de la musique'': "Il fallait un pianiste rompu à toutes les difficultés, et doté de moyens pianistiques supérieurs pour rendre justice à ces oeuvres-limits; c'est Roger Woodward, et il est parfaite."
Ralph Lane recorded a wide range of live and studio projects with Woodward (1988-2018) some of which were named Record of the Month, including the aforementioned Prokofiev, Scriabin and Xenakis recordings. In 1991, he was recipient of the Ritmo Prize (Spain) for his Etcetera BV recording of Takemitsu's piano music (also produced by Lane). In June 1991, the same recording was Record of the Month (Télérama, Paris (January, 1991) and reviewed: "Roger Woodward est épatant. Enregistrement essentiel". In 2008, his recording of ''The Music of Frédéric Chopin'' was nominated Best Classical Album at Australia's Aria Awards.
In 2015, ABC Classics/Universal released ''A Concerto Collection'' comprising ten live concert and four studio performances of: J. S. Bach ''Keyboard Concerto in D minor'', BWV 1052, Haydn ''Keyboard Concerto in F major'', Hob XVIII, 6, Beethoven ''Piano Concerto No. 3 in C minor'', Op.37, Beethoven ''Piano Concerto No. 4 in G major'', Op. 58, Chopin ''Piano Concerto No. 1 in E minor'', Op.11, Rachmaninoff ''Piano Concerto No. 2 in C minor'' Op.18, Scriabin ''Piano Concerto in F-sharp major,'' Op. 20, Scriabin ''Symphony No. 5'' Op. 60 (''Prometheus''), Prokofiev ''Piano Concerto No. 3 in C major'' Op.26, Schoenberg ''Piano Concerto'' Op. 42, Larry Sitsky ''Piano Concerto No. 1'', Barry Conyngham ''Double Concerto for violin and piano'', Qu Xiao-Song ''Huang'', and Xenakis ''Kraanerg''.
He is published by Routledge, Routledge Press, UK, HarperCollins, Amazon Kindle, Kindle, the Greenway Press, N.Y., the Pendragon Press, NY, Praeger Publishing, Praeger, New York and the E. R. P. Musikverlag, Berlin. He has published chapters in two monographs for the University of Sydney, ''Jean Barraqué'' in ''Matters of the Mind'', edited by Catherine Runcey (2001), and ''Music And Change: Some Considerations of the Sonata quasi una fantasia in C-sharp minor, Op.27, No.2, in ''Literature and Aesthetics'' (1998).
Personal life
Woodward has three children: Asmira, a concert violinist (mother, Prudence Page). Benjamin, director of Academy Tennis (mother, Patricia Ludgate to whom Woodward was married from 1989 to 2009), and foster son, Elroy Palmer.
Bibliography
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *See also
* List of Roger Woodward's principal first performances, recordings, and publicationsReferences
External links
Roger Woodward Homepage
* * * * Woodward's official Youtube channel:https://youtube.com/c/RogerWoodwardPiano {{DEFAULTSORT:Woodward, Roger 1942 births Living people Australian classical pianists Male classical pianists San Francisco State University faculty Sydney Conservatorium of Music alumni North Sydney Technical High School alumni Chopin University of Music alumni Musicians from Sydney Fellows of the Australian Academy of the Humanities Companions of the Order of Australia Australian Officers of the Order of the British Empire Recipients of the Centenary Medal Chevaliers of the Ordre des Arts et des Lettres Recipients of the Medal for Merit to Culture – Gloria Artis, Class 1 Recipients of the Gold Medal for Merit to Culture – Gloria Artis Australian musicians 21st-century classical pianists 21st-century Australian musicians