Australian cl*ical pianist (born 1942)

Roger Woodward AC, OBE, (born 20 December 1942) is an Australian pianist, composer, conductor and teacher, who, for his depth of interpretation, extensive repertoire and formidable technique, is widely regarded by critics as a doyen of the late-twentieth and early-twenty-first century avant-garde. Iconic performances and recordings with Pierre Boulez, Jean Barraqué, Iannis Xenakis, Karlheinz Stockhausen, Sylvano Bussotti, John Cage, Morton Feldman, Anne Boyd, and Toru Takemitsu provide a strong and original direction. Innovative interpretations of J.S. Bach, Beethoven, Debussy, Scriabin, and Shostakovich are frequently described as redefining traditions, although sometimes criticized for clashing with aspects of period style. He is the recipient of numerous awards and honours at home and abroad.

Contents

• 1 Biography
  • 1.1 Early life
  • 1.2 Middle years
• 2 Personal life
• 3 Principal awards
• 4 Principal recordings and publications
• 5 References
  • 5.1 Citations
  • 5.2 Bibliography
• 6 External links
• 7 See also

Biography

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 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 deeply moving story impacted an emerging artist's vision and personal development. He attended the Conservatorium High School and matriculated from North Sydney Boys' Technical High School with a Commonwealth scholarship.

Roger Woodward with Alexander Sverjensky in the Green Room, Sydney Town Hall, 1964.

Early studies of Bach organ works with Peter Verco led to immersion in the cantatas and p*ion music, and a training in church music with Kenneth R. Long, Music Master, St Andrew's Cathedral, Sydney. He performed for the Papal organist, Fernando Germani, and Chief Conductor of the Sydney Symphony Orchestra, Sir Eugene Goossens, after which he entered the Sydney Conservatorium in the piano cl* of Alexander Sverjensky (pupil of Alexander Glazunov, Sergei Rachmaninoff and Alexander Siloti) and composition cl* of Raymond Hanson.

In 1963, he graduated with distinction from the Conservatorium and Sydney Teachers' College. In the same year, he founded and developed plans for the housing and funding of a compe*ive, international, quadrennial rostrum originally named the Sydney Piano Compe*ion, together with the support of a wide circle of Sydney musicians and enthusiasts, which was achieved during 1972–76.

Between 1963 and 1965, he continued 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 Compe*ion, the prize for which was to perform throughout Australia with the six ABC State Radio orchestras and in multiple radio and television broadcasts.

Woodward and Lina Prokofieva (née Llubera), Warsaw, 1967.

.From 1965–69, he pursued postgraduate studies at the 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 summer visits to London (1966–68), he prepared Chopin m*cripts 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 Compe*ion. In 1967, he played for Lina Prokofieva in Warsaw and was soon invited to perform with the Warsaw National Philharmonic Orchestra then throughout Poland. Two years later, he toured extensively with the Wiener Trio performed in Cuba as guest of Casa de las Americas 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, Chopin, Scriabin, and 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, Leo Brouwer, Takemitsu and 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.

Digest performances with Barraqué were followed by a close working relationship with the composer on his 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 for the British premiere of HPSCHD for ICES (International Carnival of Experimental Sound) and the BBC Proms. Further collaborations were undertaken with Stockhausen at the Festival Hall, London, and with Takemitsu at the Roundhouse, London's Decca Studios, and the Music Today Festival, Tokyo.

From left to right: Sviatoslav Richter, Roger Woodward and Norman Lawrence, Black Forest, Germany , 1985.

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, 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 Beethoven and J.S. Bach at the 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, Aleksei Stanchinsky. His performances of the complete works of Scriabin attracted exceptional critical reviews.

Middle years

In 1973, Woodward worked with Stockhausen and Jerzy Romaniuk 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.

From left to right: Bill Colleran(UE London), Morton Feldman and Roger Woodward. World premiere of Piano and Orchestra directed by Hans Zender, Metz Festival,1975.

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 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 Festival d'automne à Paris, BBC Promenade Concerts, at Teatro La Fenice for La Biennale di Venezia (with Péter Eötvös and the Norddeutscher Rundfunkorchester), Warszawska Jesień, Wien Modern with Claudio Abbado, at the New York Piano Festival, Festival de la Roque d'Anthéron and at the Festival La Grange de Meslay, Touraine, at the invitation of its artistic director, Sviatoslav Richter.

At Scala di Milano, Woodward directed an all-Xenakis program, performed throughout Central and Regional Australia and at outdoor venues: the Hollywood Bowl, Odéon of Herodes Atticus, Athens, Gulbenkian Park, Lisbon, and The Domain, Sydney. 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.

Woodward and Australian Prime Minister Bob Hawke at a Solidarity meeting,1984.

In 1977, he premiered Feldman's solo work Piano (which was dedicated to Woodward) 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 in Edinburgh (in the composer's presence). A further performance of the Beethoven Cycle followed at the Queen Elizabeth Hall, London. At London's Ins*ute of Contemporary Arts, he gave the world premiere of Morton Feldman's Triadic Memories in the presence of the composer—a ninety-minute masterpiece which heralded the composer's late period.

In 1982, Woodward performed the complete cycle of Beethoven Piano Concertos on three occasions: with Elya* 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 Polish Solidarność Trades Union Movement, leading to his being banned from performing throughout Eastern Europe. Throughout 1983–85, he performed the complete works of Chopin (by heart) for the Sydney Festival to raise public awareness of the importance of Poland's struggle for human rights as the ban took hold elsewhere. Despite damaging criticism from the Soviet Block, the artist remained loyal to the 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 Orchestra under Mehta, The following year, he repeated Keqrops for the BBC Proms (again in the composer's presence). That year, he also performed Barraqué at De Ysbreeker, 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 Br*, 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 Campbell, Kurt Masur, Nello Santi, Paavo Berglund, Moshe Atzmon, Henry Kripps, Tibor Paul, Albert Rosen, Matthais Bamert, Henry Lewis,Isaiah Jackson, Dean Dixon, Tan Lihua, Erich Leinsdorf, Eliahu Inbal, James Judd, Walter Susskind, Herbert Blomstedt, Georges Tzipine, Arturo Tamayo, Robert Busan, Lukas Foss, Péter Eötvös, Sir John Pritchard, Sir Roger Norrington, Sir Andrew Davis, Willem van Otterloo, Hiroyuki Iwaki, Lamberto Gardelli, Colman Pearce, and Sir Alexander Gibson. Although the embargo was extensive, Woodward was invited by Symphony Australia to perform a limited number of orchestral concerts, thanks to the personal intervention of Prime Minister Paul Keating.

Woodward with Iannis Xenakis, Lincoln Center NYC for World Premiere of Keqrops performed with Mehta and NY Philharmonic Orchestra, 1986.

Throughout this period, he performed with the Arditti, Tokyo, New Zealand, Australia, and Sydney String Quartets, the Australia Ensemble, the Edinburgh String Quartet, J.A.C.K. Quartet, and the Alexander String Quartet, with whom he recorded Beethoven, Chopin, Shostakovich, and Robert Greenberg. He also collaborated with harpsichordist 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, H. C. Robbins-Landon, Richard Toop, Paul M. Ellison, Nouritza Matossian, and Sharon Kanach; violinists Philippe Hirschhorn, Ivry Gitlis, Ilya Grubert, Winfried Rademacher and Wanda Wiłkomirska; violist James Creitz; 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; pianists: Yuji Takahashi, Alexander Gavrylyuk, Stephanie McCallum, Robert Curry, Noel Lee and Simon Tedeschi; James Dillon,:James Morrison, David Gulpilil, and Frank Zappa. Nominated by Prime Minister Gough Whitlam and Premier Neville Wran, Woodward became a Companion of the Order of Australia (AC) in 1992. The following year, Polish President Lech Wałęsa, conferred his nation’s highest honor 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 (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 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 Orchestra; in the UK for BBC2 Television; with the Alpha Centauri Ensemble (twenty-three musicians) at Scala di Milano; and in the Festival d'automne à Paris; the 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 UK, the Netherlands, and France, where 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.

At eighteen the Sverjensky student taught privately in Sydney, then in Warsaw, during his studies at the Chopin National University. He taught in London and at the BBC Dartington master cl*es, was chair of Music at the 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 cl*es in Germany, Finland, Poland, Cuba, Mexico, the UK, USA, China, New Zealand, and Australia. He is a regular guest of international piano compe*ion juries. Some of his students include: Norman Lawrence, Carmel Gammal (née Ettinger), Geoffrey Abdallah, Peter Donohoe, Kenny Lau, Takashi Kawabata, Julian Rombach, Ferdinand Weinberger, Alan Kogosowski, Tuaimanu Petaia, Johanna Tarcson, Ulysses Loken, Emi Tamura, Colin Brady, David Borac, Joaquin Gallegos, Kaori Shiga, Lana Stine, Sepand Shahab, Nicholas Bacchetto, Angela Owyang, Emily Rubis, Walter Anderson, Benjamin Koscielak, Osvaldo de Leon, Heakyung Kim, Corey Knight, Hussein Al-Nasrawi, Jiaze Ma, Hewen Pan, Akiko Novotny, Mae-Elisa Salvador, Xin Zhao, Ichinkhorloo Batnasan, Reece Owens and Christopher Parker.

Personal life

Roger Woodward has three children: Asmira, a concert violinist (mother, Prudence Page); Benjamin, director of Academy Tennis (mother, Patricia Ludgate to whom Woodward was married 1989 to 2009), and foster son, Elroy Palmer, MBE, who is a director of the St. Giles Trust SOS Program, London.

Woodward's personal life includes: founding and developing over a thirteen-year period an international piano compe*ion in Sydney, when still a student, to provide a bridge in the more isolated Australia of the time for peers to forge closer links with the international Music community; contribution as instigator and producer of the "Concert for Darwin" in the wake of Cyclone Tracey's devastation of that city; support of underprivileged children in regional and Oceanic communities; dedication to Poland's Solidarność Trades Union Movement throughout the 1980s; and his support of the injured on the streets of Brixton during the South London Riots of April 1981.

Principal awards

1980, Officer of the Most Excellent Order of the British Empire; 1981,Greater London Metropolitan Police, Citation for Bravery; 1988, Ancient Order of Bréifne; 1992, Companion of the Order of Australia; 1993, Commander Cross of the Order of Merit, Republic of Poland; 1997, 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, Republic of France; 2011, Gloria Artis (gold cl*) medal, Republic of Poland; 2019, Hon. Fellow, Australian Academy of the Humanities.

Principal recordings and publications

See also: List of Woodward's Principal First Performances, Recordings and Publications.

Principal recordings were issued by: ABC Cl*ics, Accord (France.), Artworks (Australia), BMG, Col Legno (Munich), CPO, Decca, DG, EMI, Etcetera Records BV, Explore Records, Foghorn Cl*ics (San Francisco), JB (Australia), Polskie Nagrania, Sipario Dischi (Milano), Unicorn (UK), Universal, Warner and 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. It was rereleased by Celestial Harmonies (2010).

Live concerts were recorded for the ABC Radio/TV, BBC Radio/TV, Radio NZ, RAI, Radio France, Radio/TV Cuba, Hong Kong Radio, Radio China, Radio/TV *an, Polish Radio/TV, RTE (Dublin), multiple German Radio Stations including Radio Berlin; Hilversum Radio (Netherlands), for the UNESCO Rostrum/Paris and You Tube. DVDs were issued by: Allied Artists (UK), BBC TV Productions, Chanan Productions (UK), Foghorn Cl*ics (San Francisco), Kultur (China), Polygram (Australia), Smith Street Films (Australia) and Sydney Dance Company.

Tōru Takemitsu and Roger Woodward in the Decca studios London, during their 1973 recording of Corona ("London version") For Away, Piano Distance and Undisturbed Rest.

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). 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 recipient of Preis der Deutschen Schallplattenkritik (2007), for performances of J. S. Bach's Par*as 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). 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 :with fellow Australian and senior ABC recording producer Ralph Lane, for their recording of Morton Feldman solo piano music :(ABC Cl*ics). This recording was Record of the Month 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 piano music (also produced by Ralph 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 2015, ABC Cl*ics/Universal released A Concerto Collection comprising ten live concert and four studio performances of: J. S. Bach BWV 1052, Haydn Hob XVIII, 6, Beethoven Opp.37 and 58, Chopin Op.11, Rachmaninoff Op.18, Scriabin Opp.20 and 60, Prokofiev Op.26, Schoenberg, Larry Sitsky, Barry Conyngham, Qu Xiao-Song, and Xenakis.

He is published by Routledge Press, UK, HarperCollins, Kindle, the Greenway Press, N.Y., the Pendragon Press, NY, 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).

References

Citations

Bibliography

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• Woodward, Roger (2007). Chopin Piano Concerto no. 2 in F minor, Beethoven in C major Piano Quartet (cover note). Celestial Harmonies.
• Woodward, Roger (2008). J.S. Bach: Das Wohltemperierte Clavier (cover note). Celestial Harmonies.
• Woodward, Roger (2009). Dmitry Shostakovich - 24 Preludes and Fugues Op. 87 (cover note). Celestial Harmonies.
• Woodward, Roger (2009). Music of the Russian Avant Garde 1905–1926 (cover note). Celestial Harmonies.
• Woodward, Roger (2010). "Conquering Goliath: Preparing and Performing Xenakis' Keqrops". In Kanach, Sharon (ed.). Performing Xenakis. Pendragon. pp.:129–155. ISBN:9781576471913.
• Woodward, Roger (2012). Two Cadenzas: 1. for the Allegro maestoso of Mozart's Piano Concerto no. 25 in C major, KV 503. 2. For the Allegro con brio of Beethoven's Piano Concerto no. 1 in C major, Op. 15. ERP Musikverlag.
• Woodward, Roger (2012). Sergei Prokofiev – Works for Piano 1908–1938 (cover note). Celestial Harmonies.
• Woodward, Roger (2012). Roger Woodward in Concert (cover note). Celestial Harmonies.
• Woodward, Roger (2014). Jean Barraqué Sonate pour piano (cover note). Celestial Harmonies.
• Woodward, Roger (2015). Beyond Black and White – My Life in Music. HarperCollins/ABC. ISBN:9780733323034.
• Woodward, Roger (2018). "Papers of Roger Woodward". Trove. Retrieved 11 August 2021.

External links

• Roger Woodward Homepage
• Woodward's official Youtube channel:https://youtube.com/c/RogerWoodwardPiano

See also

See also: List of Woodward's Principal First Performances, Recordings and Publications.Portals:BiographyCl*ical music