Alexander Panku has been widely recognized as a compelling musical personality. He has been active as a concert pianist, teacher, composer and organist for many years. Born in Bucharest, Romania, he studied at the George Enescu Music School and the Bucharest Conservatory of Music with distinguished artists teachers. He was the winner of the “Beethoven” competition at the Music School. He made his recital debut at the age of fourteen and the concerto debut at seventeen with the Beethoven Concerto No. 1, at the prestigious Romanian Athenaeum in Bucharest. One year later he played the Mozart Concerto K. 450 at the Radio-TV Hall, which was televised. During the summers of 1972 through 1976 he studied at the “Mozarteum” in Salzburg with renowned pianist-conductor Carlo Zecchi. He studied briefly with Nadia Boulanger in Paris and obtained a scholarship to study at the Neufchatel Conservatory in Switzerland. He continued his studies in the United States at Temple University and graduated with “Magna Cum Laude”, winning the Concerto Competition with the Beethoven “Emperor” Concerto in 1981. Also he obtained a scholarship from the Musical Fund Society of Philadelphia, and was elected Who’s Who Among Students (1980-81).
Mr. Panku has been playing solo, orchestral, and chamber music concerts for more than thirty years both in Romania and in the United States. His repertoire, rooted in the Classical and Romantic genres, ranges from Bach and Scarlatti to Schonberg, Prokofiev and other modern composers and includes his own compositions. He has been on the piano faculty at several institutions, such as Temple University, Settlement Music School, Academy of Community Music and Bryn Mawr Conservatory.
He has been teaching piano since 1979 and has been on the Piano Faculty at several institutions, such as Temple University, Settlement Music School, Academy of Community Music and Bryn Mawr Conservatory. Also he has taught many private students of all ages and all levels. He holds a Doctorate Degree in Piano Performance from Temple University where he studied with Mr. Harvey Wedeen, distinguished artist-teacher. Following recital appearances in Philadelphia, The Philadelphia Inquirer writes: “This was a thoughtful and introspective “Waldstein”, yet one which, despite freely changing tempos, was very carefully controlled. His performances have received critical acclaim and he has been described as “a definitive performer, reflecting much of the soul-searching, training, and refining concepts of artistic identity within a deep and mature talent that he has.”
Here is a technical video presented at a PTG Technical Conference by Bill Spurlock. On Piano TV you can see a five minute video, a brief excerpt from a full day demonstration where Bill overhauled an overused and under maintained Asian hotel piano.
On this blog, I’ll write occasionally about piano restoration. There are many other piano topics I would love to focus on. Will keep you posted.
Alexander Panku performs Ludwig van Beethoven’, Sonata op. 53 in C major “Waldstein.” The “Waldstein” is one of the masterpieces among Beethoven’s Sonatas and in the piano repertoire in general.
In his words, “I have been playing this piece many times in concert and it is always a great challenge to recreate it; it is also a source of musical satisfaction and fulfillment. I would like to say a few things about the challenges of performing this piece.”
“This is a work that is intended for the accomplished pianist and musician. It requires, overall a complete mastery of the piano, and a high level of musicianship, and a comprehensive knowledge of Beethoven’s music and style. In order to analyze and attempt to explain this music in detail requires a very long essay if not a whole book.”
“1st. Movement: What I can say in a short essay is that the pianist needs a very high technical ability to handle all kinds of technical problems such as fast passages, repeated patterns, broken chords, mastery of the pedal and of various dynamics, just to name a few. Scale and arpeggio passages can be found throughout the movement.”
“Other technical problems are: the staccato broken octaves, the left hand prolonged repetitive accompaniment patterns, the broken chords in contrary motion from the development section, and the fast runs cadenza-like from the coda among others.”
“The technique required here involves a total finger control, speed, accuracy and equality, a very flexible wrist and a relaxed arm. In addition, as any experienced performer knows, the pianist has to listen very closely and be very sensitive to the many different sonorities and touches needed to perform this movement in a valid, convincing way.”


