Crossing the Concourse
- The New York Times
Just over a decade ago, David Buechner, a classical pianist, came out as a transgender woman, Sara Davis Buechner. On the eve of the 25th anniversary of her debut, Ms. Buechner reflects on her life.
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News & Reviews
Anything He Can Do, She Can Do
- The New York Times
IN September 1998, David Buechner, then 39, a prominent classical pianist, came out as a transgender woman, explaining that from then on, she would live and perform as Sara Davis Buechner. The pianist had been accustomed to rave reviews (at 24, David, in his New York City concert debut, was called “an extraordinary young artist” by a New York Times critic). But the debut as Sara, reported in a Times magazine article, was not so well received, even by loved ones.
MoreInterview with out pianist Sara D.Buechner
- Tokyo Wrestling
Née David in Baltimore, USA, Sara Davis Buechner came out as a transgendered woman in the 1990’s. She was in the midst of a brilliant career as a classical pianist and teacher. A graduate of the music program at New York’s Julliard School, she was awarded the bronze medal in the 1986 Tchaikovsky Competition. Held in Moscow every four years, the Tchaikovsky is the Olympics of classical music: very prestigious!
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BC大学ビュックナー先生、宮崎オーナー訪問。トロント猛虎会BLOGより。 記事をクリップするクリ
- Yahoo! Japan
写真1：まるで入団発表？ 宮崎オーナー（右）に帽子をかぶせてもらうビュクナー教授（撮影・河南真一）日刊スポーツ
写真２：宮崎オーナー（右）から阪神の帽子を贈られ感無量のサラ・ビュクナーさん＝甲子園 デイリースポーツ
写真３：サラ・ビュクナーさん（左）と阪神の宮崎恒彰オーナー 朝日ドットコム
写真４：カナダから来日した熱烈な阪神ファンのピアニスト、サラ・ビュクナーさんに帽子をかぶせる宮崎オーナー スポニチ大阪
Artist Biography by Robert Cummings
- AllMusic
While her repertory has been fairly eclectic, Sara Davis Buechner has become best known for her interpretations of early jazz and light music by American composers. Thus, one finds in her discography much Gershwin, Rudolf Friml, Dana Suesse, Stephen Foster, rags of Joseph Lamb, and works by film composers Alex North, Bernard Herrmann, and Miklós Rósza.
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Sara Davis Buechner Biography
- Musician Guide
Because pianists, unlike violinists, for example, depend on an instrument of remarkable technical complexity, listeners are sometimes tempted to believe that all pianists with a perfect technique have so much in common that telling them apart must be a tremendous task. True, in the late twentieth and early twenty-first centuries, a high level of virtuosity is taken for granted. Nevertheless, even among flawless players, one immediately discerns profound differences.
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