LA LA LAND SPECIAL READER OFFER INSIDE

40 PAGES
OF SHEET MUSIC
WORTH OVER 20
APRIL - MAY 2017

WITH FREE AUDIO

No 95 & ONLINE LESSONS

ROCK LEGEND

RICK
BEGINNER
How to perfect
your chord playing
WAKEMAN INTERMEDIATE
returns to his Get to know your
classical roots trills and turns

Your guide to ADVANCED

Improve your
2017 SUMMER wrist position
COURSES &
FESTIVALS
LEARN TO PLAY

11 LEARN
The Very
PIECES TO Thought
Of You
ALL LEVELS AND ALL STYLES

All you need to know

IN-DEPTH LESSON
Grieg Melodie PIANO
Lyric Piece Op 47 No 3 RESTORATION

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18215 Steinway Pianist Mag (95)_Layout 1 14/03/2017 15:19 Page 1

I a l w a y s p l a y w i t h i m m e n s e p l e a s u r e o n t h e w o n d e r f u l s t e i n way p i a n o s .

JEAN-IVES THIBAUDET
s t e i n way a r t i s t

STEINWAY HALL L O N D O N 4 4 m a ry l e b o n e l a n e , l o n d o n w 1 u 2 d b
f o r m o r e i n f o r m at i o n o r t o a r r a n g e a p r i vat e a p p o i n t m e n t
at o u r l o n d o n s h o w r o o m s , p l e a s e c a l l :

0 2 0 7 4 8 7 3 3 9 1 o r e m a i l i n f o @ s t e i n way. c o . u k
2 Pianist 90

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 Pianist 95
April-May 2017 CONTENTS
The next issue of Pianist goes on sale 26 May 2017

67
READER
OFFER

9
10

82 12
4 Editors Note 24 How to Play 3 Lucy Parham on 80 Understanding Theory Helping
Schuberts Impromptu in A flat D935 No 2 you grasp the building blocks of music.
6 Readers Letters Sight-reading tips (Scores page 60) This issue, the first of a two-part series on
and the joy of improvisation ornaments, dealing with trills
27 The Scores A pull-out section of
7 Reader Competition WIN the new 40 pages of sheet music for all levels 82 Piano Restoring Restore, repair,
Rick Wakeman Piano Portraits recording recondition: what do they really mean?
45 Beginner Keyboard Class And what do you get for your money?
8 News Fanny Mendelssohn premiere; Hans-Gnter Heumanns Lesson No 22: A special Pianist investigation talks
Imogen Coopers first Liszt on record; Finger fitness exercises to piano-tuners, technicians, craftsmen
new Bsendorfer models; what La La and customers
Land is doing for piano dealers; robots
coming to a piano near you
67 SUMMER COURSES 86 CD Reviews The special intimacy of
& FESTIVALS 2017 Cedric Pescias Schumann; ongoing
12 Rick Wakeman The rock pianist and Brahms cycles from Barry Douglas and
not-so-Grumpy Old Man in interview, Your 12-page guide to the best of Jonathan Plowright; unmissable rarities by
discussing his serious keyboard habit and summer courses and festivals in the UK Ginastera and Hlne de Montgeroult
his new return to classical piano and across the world, with a special focus
on piano courses, artists and events 88 Sheet Music Review New editions
16 How to Play Masterclass 1 of Fr Elise and Brahmss Handel
Mark Tanner on striking to the bottom Courses Five pages of courses for all Variations; a popular anthology by
of the note tastes and levels, including a special insight Melanie Spanswick, and new pieces for
into the sell-out Chethams Summer students by Mark Tanner
18 How to Play Masterclass 2 School for Pianists from co-founder
Graham Fitch on the drop-roll motion, Kathryn Page 89 Subscribe today for just 4.50 an
in the first of two articles on the wrist issue by Direct Debit and receive a copy
Festivals Detailed listings of more than of the La La Land sheet music (easy piano
20 How to Play 1 Melanie Spanswick on 30 festivals in the UK plus the cream of version) worth 12.99!
Streabbogs Distant Bells (Scores page 30) summer events for pianophiles in the rest
of the world. The founder directors of the 90 Classifieds
22 How to Play 2 Janet Newman on Oxford Piano Festival and the Husum
Griegs Melodie from his Lyric Pieces Rarities of Piano Music festival explain what
(Scores page 49) makes their piano celebrations unique
Images, clockwise from top left: Sarah Mason Photography; Sussie Ahlburg; Handel Pianos and Hamilton Pianos
Notice: Every effort has been made to secure permission for copyrighted material in this magazine, however, should copyrighted material
inadvertently have been used, copyright acknowledgement will be made in a later issue of the magazine.

p03_Contents95-FINAL.indd 3 17/03/2017 09:13

 DONT MISS OUR FREE
TAP HERE TO WATCH ONLINE VIDEO LESSONS
A WELCOME FROM THE EDITIOR www.youtube.com/user/PianistMagazine

Editors note Pianist

D
o you like the new picture? Yes, its me with rock legend Rick
Wakeman in January. I had no idea what to expect before we www.pianistmagazine.com
met; as I mention at the start of my interview feature on page
PUBLISHER
12, he isnt my usual sort of interviewee. But I had the most Warners Group Publications plc
exhilarating time, and this picture will make a fun memento. Director: Stephen Warner
Theres no reason why classical pianists should always get top billing in Publisher: Janet Davison
Pianist. The pianos reach and appeal is far broader than that. Look at the EDITORIAL
6 Warrington Crescent,
film La La Land. The male lead is Sebastian, a struggling jazz pianist played London,W9 1EL, UK
by Ryan Gosling (we hear it took Gosling some three months to learn the Tel: +44 (0)20 7266 0760
piano full credit to him). The film has become an Oscar-winning success. Fax: +44 (0)20 7286 0748
Editor: Erica Worth
Read our news story on page 9 and youll discover how Pianist very nearly editor@pianistmagazine.com
had a role of its own in the movie. And find out how to buy the sheet music Deputy editor: Peter Quantrill
deputyeditor@pianistmagazine.com
at a special discount. Marketing: Lauren Beharrell
Back to Rick. Even if he chose to go where his enthusiasm led him and leave lauren.beharrell@warnersgroup.co.uk
the classical world, he knew that mastering the basics all the piano grades and a stint at the Royal College Senior Designer: Nathan Ward

of Music would stand him in good stead. The same is true for the rest of us. Theres lots of basic help at ADVERTISING
Gareth Macfarlane, Advertising manager
hand inside these pages. In his masterclass on page 16, Mark Tanner demonstrates how getting to the garethm@media-shed.co.uk
bottom of the note produces assured playing no matter how soft the dynamic. His advice will come in Tel: +44 (0)845 226 0477
handy when you try Griegs gorgeous Melodie inside the Scores section. Notice how the dynamics are often Fax: +44 (0)845 226 0377

piano and pianissimo and with lots of chord playing, thats not easy!
Janet Newman will help you further with technical and expressive insights into the Grieg in her in-depth READER SERVICES
lesson on page 22. There is more soft playing to master in the Nat King Cole tender classic The Very Thought Ed
UK & WORLD SUBSCRIPTIONS
Of You (page 34). I should know, because its me playing the track! I thought Id give it a try, and it wasnt (EXCEPT USA & CANADA)
easy; I take off my hat to Chenyin Li for the hours of work required each month to learn and record the Pianist Subscriptions Department
Warners Group Publications plc
repertoire on the CD. West Street
Graham Fitch offers further learning tips on page 18, where he talks about the importance of the Bourne, PE10 9PH, UK N
Tel: +44 (0)1778 392483
wrists drop-roll motion in the first of a two-part masterclass on the wrist. (Watch his piano lesson Fax: +44 (0)1778 421706 issue
Email: subscriptions@pianistmagazine.com
at pianistmagazine.com.) Without confident use of the wrist, were well and truly stuck.
For further soft-playing and wrist-movement inspiration, turn to our 12-page 2017 Summer Courses USA & CANADA SUBSCRIPTIONS Ba
You can subscribe online, via email,
and Festivals Guide which appears directly after Scores. Some of you will be drawn to a particular course fax or by telephone:
in the hope of improving your playing skills; others will prefer to take a back seat as festival audience Website: www.expressmag.com C
Email: expressmag@expressmag.com
members and watch the stars in action. Toll-free number: +1 (877) 363 1310
Above all, dear reader, when it comes to learning the piano take note of these wise words from Tel: +1 (514) 333 3334 EN
Fax: +1 (514) 355 3332
Rick Wakeman: No matter what age, have fun. Enjoy it, and be the best you can be. ExpressMag
8275 Avenue Marco Polo W
Montral, QC H1E 7K1, Canada
BAV
ERICA WORTH, DIGITAL SUBSCRIPTIONS
EDITOR http://pianistm.ag/digissues
Email: lauren.beharrell@warnersgroup.co.uk
Tel: +44 (0)113 200 2916

DISTRIBUTION H
Make sure that you keep in touch with me what Ive been up to, which To find a shop near you that stocks Pianist,
contact our distributor:
pianists Ive spoken to, exclusive extra articles and interviews by registering for Email: keironj@warnersgroup.co.uk A:
our FREE e-newsletter. All you need to do is go to www.pianistmagazine.com BACK ISSUES
Tel: +44 (0)1778 392483 EN
Email: backissues@pianistmagazine.com

COMPETITION ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM FOR ALL OTHER ENQUIRIES

Contact Janet Davison, Publisher An
Warners Group Publications writ
Fifth Floor, 31-32 Park Row,
WIN THE NEW PIANO PORTRAITS CD FROM Leeds, LS1 5JD, UK Tidd
Tel: +44 (0)113 200 2929
RICK WAKEMAN! Fax: +44 (0)113 200 2928
Registered Address :Warners Group Publications,West Street, Bourne,
Answer the question below correctly, and you could be one of three lucky Lincs, PE10 9PH. Warners Group Publications plc. All rights reserved.
Reproduction in whole or in part without written permission strictly .
winners to receive Rick Wakemans Piano Portraits CD. Read how Wakeman prohibited. Every care is taken in compiling the magazine and no
responsibility can be taken for any action arising from information given
came to make it in his interview on page 12. on the papers. All information, prices and telephone numbers are correct
at the time of going to press. No responsibility can be taken for
unsolicited manuscripts, photographs or transparencies.
Printed by Warners Group Publications plc.
Rick Wakeman was keyboardist for which of the following rock bands?
Pianist ISSN 4200395 is published bi-monthly (six times a year in
A: Pink Floyd B: Rolling Stones C: Yes February, April, June, August, October, December) by Warners Group
Publications c/o Distribution Grid at 900 Castle Rd Secaucus, NJ 07094,
ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM USA. Periodicals Postage paid at Secaucus, NJ. POSTMASTER: send
address changes to Pianist, c/o Express Mag, P.O. BOX 2769, Plattsburgh,
N.Y., U.S.A. 12901- 0239.

4 Pianist 95 ISSN 1475 - 1348

p04-editorial95-FINAL2.indd 4 23/03/2017 13:02

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 Readers
Letters
Get in touch
WRITE TO:The Editor, Pianist, 6 Warrington Crescent, London, W9 1EL, UK
OR EMAIL: editor@pianistmagazine.com
STAR LETTER wins a surprise CD. Letters may be edited.

STAR LETTER If I fail to balance my skills against my dreams,

I may be disappointed or maybe even frustrated.
On the other hand, if I dont grow, this might
Sight-reading: dont give up! result in disappointment and frustration as well.
I feel compelled to offer support to your correspondent J Harris in issue 92 [The challenge of Un sospiro is certainly a challenge, but also a goal.
sight-reading]. As one who routinely goes walkabout round the circle of fifths every other day, Publishing this piece in your magazine is not
from memory, I empathise fully with her frustration. A few pointers from someone who has been disrespectful to readers: to my mind, quite the
trying for more years than I dare to admit: Do not attempt to sight-read ditties you are familiar with. contrary. In your answer to Mr Laredo, you use
Sight-reading books are all very well, but you subconsciously learn them and stop reading. You require the expression to overreach ones ambitions.
a huge pile of music scores that are never played publicly and have not been recorded: make six I may be doing that, but occasionally I succeed
attempts then turn the page or throw it on the floor. Do not attempt to learn them. Follow the in playing pieces I never thought I would have
beginners pieces published in Pianist and make sure you can see and hear every note. been able to. This is very satisfying. But for me
An ex-colleague of mine, who was a jobbing double bass player with the RSNO, advised me in this process, dialogue, as well as appropriate
I was probably trying to read what I was playing instead of playing what I was reading. Touch! feedback and encouragement from a good teacher,
Trying to read what you have committed to memory is even more difficult, as I have found out. cannot be valued enough.
We can take comfort from a previous article about Lucille Chung [issue 85], who never learned to Marianne Haugaard Antonsen, Solbjerg,
read fast enough theres hope for us yet. I learned to touch type when I was 17 and can type faster Denmark
than I can write, which proves the point one has to learn when still a youngster. I am getting better
every day, tiny bit by tiny bit, but it has been a long, hard road. Carry on and dont give up. We received several letters along the same lines and
Alistair J Marshall, Gourock, Scotland are only sorry that lack of space prevents us from
publishing them. But dont worry! well continue
Thank you for your helpful feedback. The subject of sight-reading is always a hot topic, and one that to publish a range of scores to suit every level of
we address frequently within the magazine. A CD prize is on its way to you! ability and, indeed, ambition.

The almost lost art of improvising

Easy on the pedal
I am a self-taught pianist, about Grade 6 standard,
and I practise about one hour per day. From what
I can gather pedal is best avoided where possible
for a player of my standard but where it should be
used, what is the best approach? I am currently
learning Saties Second Nocturne. There are
passages where pedalling seems the only way of
creating legato, such as the right-hand octaves
from bar 9. Is it a case of pedalling after each
octave this would seem very frequent or is it a
combination of better fingering and less pedal?
Jonathan Thorpe, Kent, UK
Graham Fitch responds: Some composers choose
to leave the pedal up to the player (Debussy marks
nothing and Rachmaninov very little). Others might
write it in only when they want a particular effect.
In Chopins E minor Prlude there are only two
pedal markings, both telling us to sustain a bass
note by foot. We may absolutely use pedal elsewhere
in the piece, of course, or we are going to get a
horribly choppy left hand and we wont connect
the chords at the end.
also in order to hear what the fingers are really up to.
In issues 83, 84 and 85 I wrote more about pedalling
(and my video demonstrations are available at
www.pianistmagazine.com).
Un sospiro challenges
I refer to the letter from Joseph Laredo in issue 94.
I want to be continually challenged. I am happiest
when working on music totally above my ability
working note by note, bar by bar. I tell my
teacher to challenge me, and she does. For me the
end result is secondary to the journey.
I started work on Chopins Ballade No 1 about
12 months ago, and after three months I put it
in my pending file. I have just resurrected it and
I am finding it less hard going, but with still a long
way to go. This is the way I like to work, it keeps
my mind active and focused. What appears
impossible today becomes easier as time passes
and my skills improve. Pianist expands my
knowledge of composers and their music, and
I love attempting the most difficult pieces. I hope
you continue to provide us with a challenge.
David Kay, Doncaster
Derek Connolly writes in issue 93 about his
interest in incorporating improvisation into his
playing. During the past year I, too, became
interested in improvisation but I didnt really
know how to begin, and although I respect jazz,
I am more interested in the classical style.
Happily, I found an excellent book that seemed
written just for me! Improvisation at the Piano:
A Systematic Approach for the Classically-Trained
Pianist (from Alfred Publishing) gets you started
with improvising at a very basic level from the
beginning and then systematically gives you tools
to add to your improvisational toolbox. It may
seem odd that improvisation would benefit from
systematic study, but Ive found that spending a
mere 15 minutes per practice session reviewing
each chapter (the chapters themselves are brief )
has, over several months, really expanded my
creativity and provided a lot of joy.
Jason Kleps, Okahoma, USA
Desperately seeking No 76
Reader Stephen R Gilmore
FREE
from Florida, USA, has
FEBRUARY-MARCH 2014

WITH EVERY ISSUE

40 PAGES OF
SHEET MUSIC

We pedal for two main reasons to connect sounds been reading Pianist since Helping you become a better player
No 76 50 ONLINE LESSONS
PLUS TUTORIAL CD

that the hands alone cannot connect, and to add Ambition and encouragement IMPRO
the start, but recently lost your VE
 now!
playing
resonance and colour to our playing. In bar 9 of your Joseph Laredo raises an important issue of issue 76 in a house fire. EXPERT ADVICE
Satie Nocturne, I would suggest pedalling the main motivation or discouragement when looking at This issue is no longer Essential warm-up exercises
Perfecting your pedalling ANDRS
Why good posture matters
SCHIFF
beats (thus four changes). However, it is important to advanced pieces. When I look at Un sospiro as a available in print, and The icon at 60

remember that the pedal does not have to go all the whole, I am quite sure that I will never be able to Mr Gilmore asks if anyone 13LEARN LISTEN LEARN PLAY

13LEARN
PIECES TO PIECES TO All BEGINNER PIECES
WITH BAR-BY-BAR
TECHNICAL HELP
COLE PORTER
way down, and you can add dabs of pedal to liquefy play it. But could I learn to master the difficult has a spare copy they dont
ALL LEVELS AND ALL STYLES
ALL LEVELS AND ALL STYLES Learn his magical
RACHMANINOV NIGHT AND DAY
LessonTry
on his luxurious
BOOGIE- RACHMANINOV

your sound where necessary. details separately, and would this enable me to play mind parting with.
Etude-tableau in G minor
Lesson on his luxurious Second-hand pianos
WOOGIE Etude-tableau in G minor All you need to know
for yourself!

It is an excellent idea to practise on occasion the entire piece, someday, if I wanted to play it? Please email editor@ BOOGIE-
WOOGIE
LISTEN LEARN PLAY

Try
12LEARN brings
Every issue,
brings
PIECES TO
youPianist
40 pages
ALL LEVELS AND ALL STYLES

a CD
Every issue, Pianist

you 40
of scores
of ascores
tofrom.
topages
CD totolisten
learn and
learnand
listenIfand
and
BONUS
TRACKS!
Andrs Schiff
plays Bach &
Beethoven
Shhhhhhhhhhh
Give sound-proofing a try

deliberately without pedal as a way of purifying the

learn

There are obvious limits to what I can do, and pianistmagazine.com and
for yourself!
BEETHOVENS your CD
STEP-BY-STEP LESSON ON
GRIEGS LYRIC PIECE
LONELY WANDERER

Ode to Joy learn from. Ifplease
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SCHUBERT LYADOV and more performed by Chenyin Li

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ear from the luxury pedal brings to our sound, and sometimes almost no limits to my ambitions. well let Stephen know.
12/12/2013 10:58

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6 Pianist 95

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 News All the latest news from the world of the piano

SECOND COMING BSENDORFERS NEW GENERATION

for Fanny Mendelssohns
Easter Sonata
A substantial piano sonata
by Fanny Mendelssohn
has received its first public
performance and UK
premiere, almost 190
years after it was written.
Pianist readers will be
more familiar than most
with the overlooked figure
of Fanny. She gave only
one public recital and
was discouraged both by
her father and especially
her brother Felix from
making money or a
reputation from her compositions. Nonetheless, she wrote
music throughout her life: mostly songs and miniatures
such as the Melodie Op 4 No 2 from his Kinderstck,
which was published in the Scores section of Pianist 94.
The 22-minute, four-movement Easter Sonata is of
another order of magnitude and significance. In the diary
of his tour to Scotland in 1829, Felix recounts playing the
newly composed sonata on board a steamer moored in
Liverpool docks. As recently as 2003, Felixs biographer
R Larry Todd could still refer to it as lost, but in fact the
manuscript turned up in Paris in 1970. The owner of
the manuscript was reported to have said, It cant be by
a woman. Its a masterpiece. However, the musicologist
Angela Mace Christian proved the authenticity of the
sonata, which was performed at the Royal Academy of
Music in London on 8 March by Sofya Gulyak, winner of
the 2005 Leeds International Piano Competition.
The sonatas name discloses a dramatic narrative which
comes to a dramatic head in the finale with an evocation of
the curtain of the Temple being torn in two, followed by a
calm and joyful, chorale-like coda. Gulyaks performance
(broadcast live on BBC Radio 3) was as ambitious and
volatile as Fannys creative inspiration: The Sonata says a
lot about her as a composer, remarks Gulyak. We can feel
the influence of Beethoven and Schubert, but her voice is
very much her own.
Two state-of-the-art models unveiled by fabled
Austrian maker
Top-end piano manufacture took a
leap forward on 7 March with the
launch in London of the 280VC
(Vienna Concert) Grand from
Bsendorfer, alongside its smaller
sister, the 214VC.
Having played Chopin and Liszt
on the new instrument, Polish pianist
Aleksandra Mikulska reacted with
enthusiasm. It has a big sound,
she said, and it gives the artist the
opportunity to play this big sound
with less power than you might
need with other concert grands. And it gives you many, many colours! Theres the brilliant
soprano register and the voluminous bass. It gives you a lot of colours without big work!
Various upgrades to every aspect of the Bsendorfer model have been made in order to
improve the stability of the instrument, whatever the context. Our aim is to make the life
of a concert pianist as easy as possible, explained the companys chief technician, Ferdinand
Bru. To stay true to the individual unique design and the unmistakable Vienese sound,
but meeting all the needs and expectations of the 21st century. Accessibility must be very
easy these days venues dont have much time to sort things. Theres a demand for a certain
spectrum of dynamic range at these big venues.
The 214VC has been designed to carry over the principles and technology of the 280VC
to suit smaller contexts such as teaching classes and more intimate venues. Sir Andrs Schiff
has already given the 280VC a ringing endorsement as a singing instrument, comfortable to
play and great for the Viennese classics: he will use it in forthcoming recitals.
DELIGHTED CLAVINOVA WINNER
Reader Jayne Dawson is the lucky winner of the Win a Clavinova
competition published in issue 93. Editor Erica Worth pulled her
name from the hat a large one containing 1,868 entries.
Yamaha UK installed the new black walnut CLP-535 at Jaynes
home in Lincolnshire (picture taken just after it arrived). To say
I am delighted is an understatement, said Jayne, who had let her
playing habit slip some years ago. To own a piano again will be
fantastic; I shall probably have to have some refresher lessons, and
my husband is certainly going to learn. It will be a family affair.
Turn to page 4 for this issues competition. It might not be a
full-blown piano, but it is something that many will covet: cover
artist Rick Wakemans new Piano Portraits CD!

Est 1910
C

CM
Sheila Rock (Tan); Jordan Strauss (Lang Lang)

MY

CY

CMY

7 - 8 chester court. albany st. london. nw1 4bu

020 7935 8682 www.marksonpianos.com
8. Pianist 95

p8 news95-FINALish.indd 8 16/03/2017 14:03


ITS ALL ABOUT PIANO!
Beethoven, Cage and keyboard comedy
at London festival 31 March-2 April
The action-packed weekend hosted by the Institut Franais in Kensington
returns for a fifth season. Melvyn Tan (pictured, centre) gets the festival off to
a flying start on 31 March with sonatas by Beethoven and Liszt. He is joined
the next morning by students from the Paris Conservatoire and the Royal
Conservatoire of Scotland for a masterclass.
The CD reviews section in this issue of Pianist gives some exciting clues as
to what to expect. There are recitals with Cdric Pescia (John Cage and more
Beethoven) and Barry Douglas (Brahms and Schubert, pictured left) as well
as return visits from Ivan Ili (reviving the piano music of Anton Reicha) and
the cabaret duo of the Piano Brothers.
Its All About Piano! is about much more than the classics. There are cinema
concerts with live accompaniment including the Oscar-nominated The Red
Turtle and short comedies with Buster Keaton; late-night jazz, childrens
concerts and family events; and Ulrich Gerhartz, Master Piano Tuner at
Steinway (above, right), is on hand to talk about the art of preparing pianos
with nails and rubbers rather than tuning forks before Pescia plays Cage.
Look out for the Your Time to Shine event on Sunday: editor Erica Worth
hosts this special concert in which youll hear performances from five
amateur pianists (chosen by a jury of experts), with the audience encouraged
to give feedback after each performance!
For more details visit itsallaboutpiano.co.uk.
TECHNOLOGY CORNER
A piano-playing robot and new duet
software
Surprising news from California,
where a player-piano system has
been launched. Arpeggio, the Piano
SuperDroid, is designed to roll up to
any piano and align itself with the right
keys and foot pedals. The machine is
capable of playing with over 1,000
levels of individual keynote expressions
and 256 pedal positions. Perhaps,
however, Pianist readers need not be too alarmed that Arpeggio will
take work or fun away from them. The robot as yet appears incapable of
wearing cocktail dress, flirting with customers or sending in an invoice.
Readers without a current duet partner may find a temporary
replacement in Googles latest Artificial Intelligence (AI) software project.
Sheila Rock (Tan); Jordan Strauss (Lang Lang)
AI Duet is an app for your PC or mobile. Connected via a desktop
or MIDI-compatible keyboard, the app listens to your playing and
responds accordingly. AI Duet was developed by programmer Yotam
Mann and collaborators at Google, using the companys TensorFlow
software library. The programme has been trained with examples
of classical music so it can produce harmonious chord sequences in
the context of your playing; though whether it will take Secondo in
Schuberts F minor Fantasy must remain, for now, an open question.
See pianosoftware.com/arpeggio-the-piano-superdroid/ for more details.
9. Pianist 95
p8 news95-FINALish.indd 9
10%
OFF
THE LA LA LAND EFFECT
Oscar-winning movie boosts piano
awareness
The feel-good romantic musical may not have been Best Movie (though
it scooped up numerous other awards) in the eyes of the Academy Award
judges, but it captured the imagination of thousands of filmgoers. The
impact has been positive for both commercial and cultural reasons.
Piano dealers report an uptick in off-the-street consumers who want
to try out the instrument, inspired by the struggling jazz pianist Sebastian
(played by Ryan Gosling). Ive already noticed customers coming in
to The Piano Shop and playing little snippets from the film that theyre
working out by ear, says Kent piano-dealer (and regular contributor
to Pianist) Nigel Scaife.
For the role of Sebastian, Gosling learnt to play the instrument in just
three months and did not use a keyboard double. Wide awareness of this
may have enhanced the La La Land effect, and Faber Music reports that
its volume of songs from the movie is already a best-seller.
We can now reveal that Pianist had its own small part to play in
Damien Chazelles film. The production company contacted the magazine
a couple of years ago with a request to use a copy of the magazine as a
prop in one of the scenes. Consent forms were signed and magazines duly
provided. As far as we can tell, the scene concerned seems to have hit the
cutting-room floor, but its good to know that ours is the piano magazine
of choice for Hollywood moguls!
READER OFFER
Want to play the songs from the movie? Subscribe to Pianist today and
receive a FREE copy of Faber Musics La La Land (for easy piano). Turn
to page 89 for further information. Already a subscriber and still wish
to get hold of the book? Go to fabermusicstore.com and use the code
PIANIST003 for the 10% discount. Offer valid until 28 April 2017.
LANG LANG RETURNS TO
UNIVERSAL
The multi-million-selling Chinese
pianist will reunite with Deutsche
Grammophon the label which
launched his recording career in
2003 when he was just 20 for a
series of new recordings which will
include Bachs Goldberg Variations.
Lang Langs first release under the
new agreement will be The Piano
Book, an album of popular piano
music which is featured in his own pioneering Piano Method. On signing the
deal, Lang Lang (pictured with Sir Lucian Grange, chairman of Universal) said:
This is exactly the spirit we need to promote classical music in the 21st century.
My dream has always been to share music with as many people as possible,
and I cant wait to start working with the Universal teams around the world.
16/03/2017 14:03
 News All the latest news from the world of the piano

LOVE, DEATH, DARKNESS

IMOGEN COOPER
A new album of Liszt and Wagner goes to the edge of human experience. Imogen Cooper talks
Peter Quantrill through a project that has been years in the making

Youve taken a long time to come to Liszt on record. And youve been very
selective about the moods youve chosen to explore.
I wasnt trying to do him justice. I was following a train of thought which
started because I wanted to give the Liebestod from Tristan another crack.
Then I looked out Zoltan Kocsiss transcription of the Prelude, which he
gave me in the late 70s. Its enough of a problem trying to sound like an
orchestra, but then are you really going to do what Wagner did, and play
them together, leaving out three and a half hours of opera in between?
On the piano, thats too much of a challenge. So I turned to Liszt, and to
La lugubre gondola which he wrote when he had a premonition of Wagners
death. It seemed to be a good link between the two parts of Tristan.
Love, death, darkness, all sorts of things.
That led me to the vaguely atonal late pieces such as the Bagatelle sans
tonalit. And I thought I needed something more light-hearted, so the
Valse oublie went in. It was like building a lorry out of Lego bricks. Bits kept
getting stuck on. And of course the Annes de plrinage are a dream to play,
theyre so beautifully written, and from a different period. What was fun
was deciding the order for the recording. My thinking could have made
no sense at all! But it feels right to me, theres a tale being told.

A tale in words or music?

Story-telling is what fascinates me about instrumental music. We dont
have the words but as Mendelssohn said, it doesnt matter, because the music
is more powerful on its own. I am fascinated by the unspoken link between
pieces. Alfred Brendel remarked on the long silver cord that is pulled with
tension all the way through a piece, and that should extend through a recital
or disc. Im not saying the listener should necessarily be aware of it.
Brendel talked more than half a century ago about Liszt the
misunderstood. Is that still the case?
People have a set idea they think its a certain way, too many notes.
Alfred was one of the first to bring visionary imagination and dignity to
the music, and fire, and everything that Liszt the man was himself. A lot of
others had used him as a pianistic vehicle. This has happened to Chopin too.
To free yourself, and find something fresh and personal, is very difficult.
Youve avoided the B minor Sonata so far.
I would work on it if I ever took a sabbatical because I dont want to
die stupid. Its such an enormous piece, I would love to go deep into it.
Even when it doesnt sit so easily under the fingers, the music just shows
what a fabulous pianist Liszt was. The same is true of the Valse oublie.
Its just a gas to play, the speed and the wackiness of it. I hardly slept for
10 nights when learning it.
Liszt and his son-in-law Wagner had the kind of one-sided relationship
where one person gives and the other takes.
Liszt was such a giver. And the body of work is absolutely colossal. Even in
the context of one disc, that was an attraction. He was very generous except
when raised to righteous indignation. Im sure he was a very generous
teacher. There are pages and pages of people who came to work with him.
And now with the Imogen Cooper Music Trust, youre passing on
something of your own experience.
My idea in setting up the Trust was to give unlimited time within six days
house in southern France. The young ones in the colleges have to get used
to noise all around them. Then they come to Eygalires and find that the
passage of music from brain to fingers is so much quicker because theres
nothing to get in the way, just birdsong.
You didnt do the competition circuit. Is the Trust a way of offering
an alternative to the circuit?
The world when I was growing up was very different. It was Alfred who
was putting the brakes on my doing competitions. There were fewer of us
around, and there were far more music societies and clubs where we could
learn and ply our trade. Young musicians all do competitions now because
its a way of being heard by managers, press, record companies. That is a
pressure for them now that I feel I had a choice about. The Trust is just
something I want to give them. Im not looking for stars. I want people
who respond, who are sponges.
Whats next?
Im quite plunged into Beethoven. Between now and June 2018 I have three
recitals which have big Beethoven variations, all the Bagatelles, some Haydn
and contemporary works by Thomas Ads and Julian Anderson. And there
will be more things for Chandos. The more recording Ive done, the more
Ive realised you can afford to take more risks in the studio, because you can
go back and do it again if it doesnt come off. What is difficult is if you have
a patch or a period where something closes in, and you cant play a note,
because youve heard a take you havent liked, or done something four or five
times, and then your head gets into a terrible mess. If youre free of that you
can take fantastic risks. Ive taken more risks as Ive got older. But it doesnt
work if the producer is too active, saying, why dont you try this?, or that
crescendo doesnt work. I know what I want, and I keep trying until I get it.
Sussie Ahlburg

to one or two young pianists, once or twice a year, and do really concentrated
work, and for it to be somewhere of extraordinary beauty and silence. Imogen Coopers Liszt & Wagner release is out now on Chandos (CHAN 10938).
And Pat Ryan and Bryan Youl made the idea come true by lending their You can hear her recording of La lugubre gondola on this issues covermount CD.

10. Pianist 95

p10 cooper-FINAL.indd 10 17/03/2017 09:14

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11 Pianist 77

p11_pianist95.indd 11 16/03/2017 16:39

 INTERVIEW

FIRST
Love
Rock star and Grumpy Old Man he may be, but
Rick Wakeman has always been a pianist at heart.
He tells Erica Worth about a KGB uniform, his
keyboard collection and his return to the classics

Things like the music stand were

missing. But the basics were there the
soundboard, the frame. Andrew said

J
anuary 2017, and Im sitting in
a rooftop caf overlooking
Broadcasting House in central
London, waiting to interview
the rock keyboard legend that
is Rick Wakeman. Just another
five minutes, Im promised by a text
from his publicity assistant. Rick keeps
stopping to chat to people. I can only
imagine. As I set my recording device on
the table and put my sheaf of questions
next to it, I feel a pang of apprehension.
Wakeman is not my typical interviewee,
and prog rock is not my everyday
listening. However, I do know a thing or
two about piano. And thats what Im
here to find out about Rick the pianist,
who has revived his classical credentials
with a new album and tour, Piano
Portraits.
Wakeman strides in, larger than life,
offering a firm handshake and apologies
for lateness. Not to worry, I reply, and
introduce myself in the expectation that
he doesnt know much about my
magazine. Oh, I do! he roars back. In
fact, my piano technician Andrew Giller
was so excited that Im meeting the
editor of Pianist. He knows the mag.
Hes a genius, a complete nutcase.
From that moment, I know its going
to be plain sailing.
You can talk to Andrew about
anything to do with pianos, continues
Wakeman, fired up. I got to know him
because I inherited my fathers Bechstein
upright, which I used to play. When
I moved to Norfolk in 2005 I thought
Id get it restored. Andrew said hed
come and have a look. He arrived, and
I asked if it was still raining. To which he
answered, Wheres the piano? And now
he looks after all my pianos.
I cannot walk past a piano without playing it. It is
my greatest love, and I think it always will be
How many pianos might that be?
Well, I like rescuing things, replies
Wakeman. Apart from my fathers
Bechstein, there was a lovely 6 Blthner
from the old Boston Gliderdrome
[a 60s music venue in Lincolnshire].
It was an early 60s model that started
life in Lincoln Cathedral. It was in
appalling condition, almost skip-ready.
12 Pianist 95
he could make it into a real Blthner-
Above: Rick Wakeman sounding piano. It took him a year.
recording Piano Portraits at Now hes restoring a 1925, 7 6
The Old Granary Studio, a Bechstein, which I absolutely adore.
converted barn in Norfolk So at the moment I have the upright
Bechstein, the grand Bechstein, the
Blthner grand, and a Petrof in the
studio. I got it when they started getting
things right its about 20 years old.
Ive had a Yamaha B too.
And Steinway? I did have one of
those said almost under the breath.
That went in the first divorce. It lives
near Trinity College now, with a very
good pianist. I understand its still
referred to as Rick Wakemans piano.
I would love a Thomas Goff double
harpsichord I knew Tom well but
we dont have the room.
No wonder: Wakeman also has around
150 keyboards. Im a real hoarder, he
explains. This collecting thing started in
the late 60s. Remember, Im old!

p12_interview-FINALish CORRECT.indd 12 16/03/2017 15:09

 Depending on what were recording and
where were touring, we just go and sort
out the ones we want.
Wakeman happily observes a move
among instrument-buyers from digital to
acoustic instruments. Andrew Giller has
told me that people come in looking for
a piano saying: Weve got a digital. Now
were looking for a real one.
Early memories
We travel back to the start of Wakemans
life at the piano. I was born in 1949. In
the early 50s, childrens TV was Bill and
Ben and that was your lot, so we had to
do something else. My parents were both
musical. When I was young, they held
musical evenings in our tiny house, on
a Sunday evening. My Mum sang and
Dad was a fine piano player. I used to
climb out of bed, aged four, come down
the stairs and listen. I was in raptures.
There were three girls who lived next
door and they were having piano lessons.
The walls were paper thin, and I could
hear them. I so wanted to play like my
dad, to be like my dad.
I was lucky. One of the finest piano
teachers in southern England lived less
than a mile away. But my dad earned
exactly this: one pound eighteen and
six a week. And seven and six went on
piano lessons for me. So they went
without. I went to Mrs Symes, and did
all my grades with her. He won a
scholarship to the Royal College of
Music [RCM] where piano was his
first study, with Eileen Cooper.
However, Wakeman never made it
to the end of the course. I was on the
performer course, he recalls, but I was
doing a load of sessions. The College
frowned upon this at the time
especially if you were working on an
album that turned out to be a hit!
The sessions were starting to conflict
with studies at the college. My second
study was clarinet, and I went into my
lesson one day, and my clarinet teacher
Basil Tschaikov asked, Whats on your
mind? I said, Mr Tschaikov, I have a
real dilemma. Do you want my
advice? he replied. Leave here, go
down to your locker, empty it out,
walk up the steps over the road to the
Albert Hall. Dont look back, walk round
to the front of the hall, then look up and
say to yourself Thats where I want to
be. And dont come back. Myths and Legends of King Arthur and
He didnt. Those sessions led to a stint
with folk-rock group The Strawbs, then a
frantic period of moonlighting for David
Bowie, Elton John, Lou Reed and many
others. In 1971 he joined Yes, and
contributed to the seminal prog-rock
album Fragile notably the keyboard
break between the first and second songs,
Cans and Brahms, where he plays his own
virtuosic condensation of the Scherzo
from Brahmss Fourth Symphony on
several of those 150 keyboards.
p12_interview-FINALish CORRECT.indd 13
Wakeman laughs as he remembers
the RCM days. I saw Basil Tschaikov
years later, when I found myself on
This Is Your Life with Michael Aspel.
At the reception afterwards, I reminded
him: Mr Tschaikov, you, a professor at
the college, encouraged me to leave.
Why? To which he replied: The whole
object of doing this course is to reach the
stage where one becomes the professional
one wants to become. And if the door
opens for you to do that, you go through
it, you dont miss the opportunity. My
only regret, I told him, was not getting
my degree because I hadnt finished.
Redemption arrived in 2012 43 years
after he had walked out of the RCM
when he became a Fellow of the college.
Today he works closely with the students
there and is also Professor at London
College of Music in West London.
Its wonderful, he remarks, the diversity
and opportunities that students now
have, which they couldnt in the 60s.
Exotic, erotic years
During the 70s Wakeman gradually
drew away from dependence on existing
formations such as Yes and pieced
together the ideas, the music and the
personnel for his own projects. In 1973
The Six Wives of Henry VIII was released,
with its coruscating, Baroque-pastiched
opening keyboards cadenza (Wakeman
the performer at his most technically
brilliant) and clinching variations on
The day Thou gavest (Wakeman the
composer at his most ingenious).
The following year he embarked on
the most ambitious project of his career,
Journey to the Centre of the Earth. This
was a 45-minute fantasy based on Jules
Vernes novel and featuring the London
Symphony Orchestra and choirs. The
live recording at the Royal Festival Hall
was famously fraught with technical
issues, but the album was a worldwide
hit, and he toured it across the globe.
By 1975 Wakeman was obvious choice
to compose the soundtrack to Lisztomania
(billed as The exotic, erotic, electrifying
rock fantasy), in which Ken Russell
explores the parallels between mid-19th
and late-20th-century notions of musical
fame with characteristic imagination.
Wakeman himself appears on film as the
god Thor. The same year he released a
concept-album sequel to Journey The
The Knights of the Round Table, with
opulent orchestral strings against wild
harpsichord and keyboard solos.
Brahms, Liszt, the LSO: it should be
clear that an irreverent love of the classical
tradition remained central to Wakemans
work. I ask how his classical training
helped his career. My father played
classical and stride piano, he continues.
He said that if you want to make music
your profession, you wont always be
able to play what you want to play.
13 Pianist 95
RICK WAKEMAN
Up close
If you could play only one piece, what
would it be?
A piano arrangement of Prokofievs Peter and the
Wolf. I love it. Prokofiev is my hero. When I was
about eight, my father took me to a concert of
Peter and the Wolf. I thought Heres a man telling
a story.
One composer?
Mozart. On a desert island, if I had all the Mozart
sonatas with me, Id be very happy.
One pianist youd choose to hear?
Vladimir Ashkenazy. Hes one of the few who
has successfully made that great transition from
performer to conductor.
Any technical hurdles?
No, but Id love my left hand to be stronger.
I have to work hard at it, especially when
I bring out the classical pieces.
If you werent a musician, what would
you be?
A politician. I think that if youre a musician, you
like to make a difference to peoples lives. I was
asked to stand as an Member of the European
Parliament. I was involved with a wonderful MEP
and we stopped the cat and dog fur trade thats
based in China. A lot of the fur would end up in
the UK, in big shops, with names such as wild cat
or mountain cat, but actually it was little Tiddles
from around the corner.
I also gathered support for a lot of Iraqi
musicians after the coup, when they all got
drummed out the country, but tragically most
of them ended up in Syria. Ive spoken in the
European parliament about that. I learnt you could
make a difference.
What would you say to someone starting
to play the piano?
No matter what age, have fun. Enjoy it, and aim to
be the best you can be. Even if you try two or three
teachers, find one who almost becomes your
friend. The first questions they should ask are,
What do you want to do? What would you like to
be able to play? Do you want to do Christmas
carols? Sonatas? Obviously, if the student says I
want to be a concert pianist and theyre already
36, then the teacher might suggest that they return
to the world of reality!
16/03/2017 15:09
 INTERVIEW
ROCKING OUT
The legend and his keyboards: Wakeman on
stage at his various shows, including Myths
at the O2 Arena in London
p12_interview-FINALish CORRECT.indd 14
The more experience you get playing
different types of music, the better. From
the age of 12 I played trad jazz, modern
jazz, dance, rock and blues. I did clubs,
churches, even strip clubs I played a lot
of wrong notes there! weddings, funerals,
absolutely everything.
Was that with or without the score?
And what about transposing? Id play
with and without music. As for
transposing, youd get a piece of music
slung in front of you at a working mens
club and theyd say, Well do this in B flat
now, and it was written in F sharp. It was
a great apprenticeship! My father always
said to me: Your classical training will give
you the tools to do your job. He likened
it to being a writer. A writer can have the
worlds greatest imagination, he said, but
hell only be able to put onto paper the
words that he knows. He encouraged me
to go through all my grades: they would
stand me in good stead.
Wakeman has returned to those roots
for his 100th studio album, Piano Portraits.
Debussy, Faur and Tchaikovsky sit beside
Amazing Grace and Eleanor Rigby, Stairway
to Heaven and Life on Mars, in which the
pianist pays tribute to the memory of his
late colleague Bowie. The album is,
self-evidently, a labour of love.
Respecting the melody
Acoustic piano is still my favourite
instrument, confesses Wakeman. I cannot
walk past a piano without playing it. It is my
greatest love, and I think it always will be.
Ive done a few piano albums before such
as the Classical Connection albums made in
reunions with members of Yes but not
one with so much thought behind it.
The idea for Piano Portraits came about
when David Bowie died. I released Life On
Mars for Macmillan Cancer Support in
March 2016, and several labels got in
touch: We want an album just like this.
How weird is that? Or so I thought.
Anyway, Universal encouraged me to do it.
Im glad I waited until now to make a
classical album like this, because I wouldnt
have known about The Old Granary
[Gillers concert venue where Piano Portraits
was recorded], or Andrews concert grand
Steinway. Its a gorgeous Hamburg model.
After all these years, I thought a lot
more about the pieces. At college youd
take a work by one composer and write it
in the style of another, and I loved that.
Ive always loved playing around with
variations on other peoples music as the
exuberant fantasies of Henry VIII show. Its
nothing new: composers have been nicking
music for donkeys years. Everyone nicked
from Bach. And he did some nicking too.
The key is a good melody. If youve got
a good melody, and youre honest with
it and treat it with respect, you can do
almost anything. Some pieces on the
recording were instantly easy to work on.
I played Clair de lune when I was a kid.
14 Pianist 95
The Berceuse was more tricky because I
knew the original. I had to get that out my
head, except for the melodies, and pick the
areas I wanted to come out.
It strikes me how many Pianist readers
would enjoy learning his arrangements.
Funnily enough, my publisher asked if
I would release them. Id prefer to do three
different versions of a certain piece for
beginner, intermediate and advanced.
Then its up to the student to choose.
Ive been told music teachers are desperate
for this kind of thing. They could even be
graded. Were looking at this for next year.
Im too busy right now.
Yes, every second counts in the life
of Rick Wakeman. His tour diary is
more squeezed than ever thanks to
his increasing appearances on radio
(Just a Minute, The News Quiz) and TV
(Have I Got News For You, Grumpy Old
Men) as an affable, eloquent, likably
self-parodying Grumpy Old Man. I love
TV and the media, Wakeman tells me.
It started in the late 80s. I did a lot of chat
shows. But Id play on them, and then
nobody wanted to chat afterwards.
Everything changed with the Danny Baker
After All show one Saturday night in the
mid 80s. Id just got back from Russia.
Id been arrested out there for stealing
a KGB uniform, which sounds hilarious
now but wasnt funny at the time I was
in real trouble. So I packed the KGB
uniform and went to White City for the
show. In a flash of inspiration, Wakeman
put on the uniform and walked onto the
set doing a Russian goose-step. I told the
whole story, on prime time. And when
I walked off, instead of playing a bit of Yes,
they did the Russian national anthem.
The following Monday, the phones didnt
stop ringing. And from all the programmes
Id been trying to get on for years. Thats all
thanks to Danny.
Time is up. The PR assistant appears,
and Wakeman vanishes, as if in a puff of
prog-rock smoke. Im left with a snapshot
(see page 4) and memories of an
exhilarating half-hour in the company of a
rock legend.
Piano Portraits is available on CD and 2LP
sets from Universal Records. Wakeman
appears at the Cheltenham Jazz Festival on
29 April at the Town Hall, Cheltenham.
He tours the UK from the end of May to
early July with Piano Portraits in Concert.
See www.rwcc.com. Turn to page 4 for a
chance to win a copy of Piano Portraits.
16/03/2017 15:09
 Chethams International
Summer School & Festival
for Pianists 2017
Artistic Director: Murray McLachlan

Also featuring the 5th Manchester International

Many words
Concerto Competition for Young Pianists
are used to describe
Part One: 1723 August 2017
Part Two: 2329 August 2017
The pianos
Friendliest
Faculty to include: Dmitri Alexeev, Piano Summer
Joseph Banowetz, Peter Frankl, Leslie School in the
Howard, Leon McCawley, Philip Fowke,
Carlo Grante, Nikki Iles, Noriko Ogawa, World!
Artur Pizarro, Matti Raekallio, Jason Rebello,
Sandro Russo, Nelita True, Ashley Wass

With daily concerts, lectures, improvisation, jazz, composition,

intensive one-to-one coaching, duets, organ and harpsichord

For further information, call +44 (0)1625 266899

or email info@pianosummerschool.com
www.pianosummerschool.com

RESIDENTIAL
CONFERENCE
31 August 2 September 2017

De Vere Jubilee Conference Centre, Nottingham

Conference Theme:
Inspiring Professionals - Piano Teaching and Performing
This years EPTA UK Conference promises to be particularly exciting. We are
delighted to be able to draw on the leading and innovative Piano Teachers
Course team, PTC alumni and the wider EPTA community to put together
a varied, relevant and practical programme for piano teachers in their
teaching and performing.

Keynote Speaker:
William Westney, Professor of Piano, Texas, USA:
The Perfect Wrong Note
Concert by Peter Donohoe, EPTA UK Patron

For more details, please contact the Administrator on

08456 581054 or 07510 379286 / email admin@epta-uk.org

www.epta-uk.org and click on conferences

De Vere
Conference
Centre,
Nottingham

15 Pianist 77

p15_pianist95.indd 15 16/03/2017 16:43

 play HOW TO
Lets get to the bottom of it
SOUNDING THE NOTE
Striking the keys with due weight and attention will produce the tone youre looking for, says
Mark Tanner, and give you control of your sound whatever the keyboard
F
rom our first lessons at
the piano, we learn the
importance of striking to
the bottom of the piano
key in order to get the full
sound out of the note.
Importantly, this should
not be confused with key-bedding,
a term apparently coined by veteran
pedagogue Tobias Matthay a century
ago, whereby the player continues to
dig pointlessly through the bottom
of the key after it has produced its note.
Key bedding is a knotty subject, and one
passionately argued from different
perspectives. Perhaps the discussion can
be summed up as the difference between
a sense of momentary follow-through
(desirable) and pushing against the key
after the event (undesirable). That sense
comes more from feel than by sight,
since the part of the piano key visible
to us never literally reaches the bottom.
Light versus heavy action
When we begin to experiment with loud
and quiet notes, and all the gradations in
between, we get an early taste of what
piano playing is all about. We quickly
grasp that the weight of the keyboard is
critical to our success in refining the subtle
business of touch control. Then we come
across other players who boldly advocate
a far heavier or lighter touch. Ive always
felt that a very light action is hardest of
all to finesse, though it can place us at a
certain advantage when moving at speed.
Similar discussions happen between
golfers when comparing putters some
like a brick on a stick, others prefer a
feather on a ferrule. I remember watching
in awe how the Labque sisters chose their
instruments for a forthcoming televised
performance they practically ran from
Steinway to Steinway in a choc-a-bloc
showroom, reeling off impossibly slick
chromatic scales, until finally they settled
on the perfect instrument to match their
individual techniques.
When it comes to piano-key weight,
its by no means always the larger-framed
player who will err towards a brutish
action. At the age of ten I was taken for
a consultation lesson with the Mozart
specialist Allan Schiller (with whom
I went on to give two-piano recitals
many years later). I chanced my luck
P16 HTP Tanner-FINALish.indd 16
Mark Tanner is a pianist, composer and writer. His work takes him
to five continents, giving recitals, masterclasses and presentations.
For ABRSM, Mark is an examiner, trainer, reader and international
presenter: he co-authored Teaching Notes, ABRSMs book to
accompany the 2017-18 piano syllabus, and The Mindful Pianist
(Faber Music) tackles many practical issues pertinent to pianists
of all ages, abilities and persuasions. During 2017 Mark will be
performing off the coasts of South America and Tahiti on MS Queen
Victoria, presenting for ABRSM in China and examining in Turkey and
Sri Lanka. His popular Piano Summer School at Jackdaws, Somerset
takes place in late July.
with something brisk, but remember We should remember, and remind
recoiling when some notes failed to ourselves often, that the pianos action
sound I felt myself tighten up, and can only deliver a satisfying strike when
it all went to pot thereafter. At the time properly controlled. Pianos come with their
I put my dissatisfaction down to the fair share of idiosyncrasies and foibles,
pianos treacle-like action, or so it seemed though these are nothing compared with
compared to my regular teachers easy our own! One truth we cannot escape is
instrument. Years later, I realised that the that if we dont encourage each key to
issue was my incapacity to adapt on the fly. reach its bed, all manner of pianistic
It also pointed up an inherent deficiency mayhem may result. Poor attack results
in holes in the musical line, unevenness
in running passages and non-speaking
notes in chords.
Be decisive, but dont dig in! Tickle, prod and nudge
The term tickling the ivories has many
regrettable connotations. An unconvincing
in how I was imagining my fingers to cantabile that feeble, wispy sound is
be striking the keys. Although a good usually a symptom of pawing indecisively
teacher can help to alleviate this, it is at the surface. Though we may be aware
ultimately the player who must arrive of the need to attack confidently, many
at a workable psychological and of our problems as pianists stem from
physical solution. the unguarded tickle, prod or nudge.
5
We might fluke an occasional perfect
note by jabbing at it uncertainly, but if
TOP
TIPS consistency is what were after, well need
GOING ON STRIKE
to hone a dependable, repeatable finger
action. This relies upon the sensation of
1 A sense of follow-through is imperative, no matter how loud or
quiet the note needs to sound, whereas key-bedding slows us
down, causes overlapping and an ugly sound.
acceleration, for the act of reaching the
key bottom cannot happen by gravity
alone just as in tennis, delicate
2 Aim for a continuous, accelerated motion through to the release;
this will ensure all notes speak firmly.
touch-play at the net is never about
flicking or swiping at the ball as if
swatting a fly; there will always be
3 Counter frail tone syndrome in cantabile playing by practising
the roll-over and follow-through avoid freezing up.
a backstroke and follow-through,
no matter how small.
High finger-action practice
4 Dont blame the piano! Whether youre playing an 18th-century
fortepiano, a perfectly regulated Steinway or a digital piano,
consistency is your responsibility, so adapt and respond.
Practising with a high finger action is
a good way of overcoming the tendency
to play with a half-hearted attack.
5 Trills, repeated notes and fioritura seem particularly prone to
tightening-up and key-bedding. Try not to tickle at the surface,
Ironically, even the most silvery effect,
such as we would want for Debussys
but play decisively and progressively. Doctor Gradus ad Parnassum or for
Schuberts Impromptu D899 No 4
16 Pianist 95
15/03/2017 11:00
 MASTERCLASS

in Ab major, is best cultivated by up high, we can delude ourselves that

attacking every note sturdily and slowly we are doing a good job of playing MOMENTS OF GRANDEUR
at first. Initially, we simply want to feel decisively. This often leads to flat fingers Mark Tanner explores three scores in this issue for
confident that each note is going to and a shallow attack when encountering
sound; from here, we can gradually a real piano. their potential to train decisive key-striking
reduce the height our fingers rise
until they are actually touching the Roll-over and Jean-Louis STREABBOG (1835-1886) Streabbog Distant Bells [page 30]: This
1
S BEGINNER/
T MIS
DONMELA
NIEKS INTERMEDIATE
Distant Bells Op 63 No 6
SWIC
TRACK 3 ON
LESS
SPAN E
PIEC
THIS E
ON PAG
20

follow-through innocuous looking piece contains a great deal

is
much stronger and more sonorous sound
is the (which is tricky to execute by itself ). A
and Melodious Studies, Distant Bells the RH in every bar. The LH jump should

keys at rest, while still enjoying

Much the best-known of 12 Very Easy his needed in the LH, which has to pass over
Gobbaerts (who reversed his surname for You will notice there are two types of
work of Belgian pedagogue Jean-Louis be mastered so that it doesnt sound effortful.
in the cycle include the opening Pleasant works best for your hand.
nom de plume). Other attrractive movements suggested fingerings at the start: seee which
jaunty Chasing Butterflies, No 11. Spanswick is marked on the score.
Morning, No 3 On the Green and the Pedal tips: Suggested pedalling by Melanie
different to the Burgmller one that lesson on this piece on page 20.
Playing tips: Even if an exercise, its very RH Read Melanie Spanswicks step-by-step
about a calm, even and extremely quiet
features on the previous page. This is all

comparable control. Eventually, the An excellent way to avoid key- Andante q = 80

of musical interest. Though billed as a Very Easy
5 4
/0 < >
/0

and Melodious Study, the player is confronted

5 4 2 1

ff f ff f ff f ff f
4 3

& c ff f ff f ff f ff f
1

ff f ff f ff f ff f
3 2

imagined follow-through becomes bedding when playing lyrically, { ?c f

pp

&
^
F ?
f
&
^
F ?
f
&
F^ ?

by hand-crossing from the first bar. These

2

is what I call roll-over and follow-

5 2

undetectably minuscule; some imagine

5 2
p

accented minims can indeed become suggestive ff f ff f ff f ff f

4

& ff f ff f ff f ff f ff f ff f ff f ff f

a pull-in of the key, a smooth flick, through. Using a high finger-lift, { ? f &
F^ ? f &
^
F ?
f
&
^
F ?

or other subtle motion involving the and with the hand nicely curved

of a shapely melody, but they will need a decisive,

projected attack, albeit at a fairly subdued overall

1 2
7
f f F
& ff f ff f ff f ff f ff f f f f f f f f

palm, wrist or forearm. at rest, strike down clearly and, in { ? &

F^ ? f &f
^
?
f
&F
^ ?

dynamic. Allow the motion of your left arm to do

f
2

Of vital importance is the feeling one continuous action, roll-over:

most of the work for you it can be a nicely

10
F
f #F f #F f f

in other words, pivot the entire

2

of relaxation a fraction of a second

& f
1

f f f f f

{
f f
^ ^ ^ ?
? F ? & F
? f &F
f & f

forearm on the tip of the relevant rhythmic, full arch-shaped movement, in each
2

following each key-strike. In reality,

2

2

case culminating in a single downward

30 Pianist 95

the after-movement of a loudly played finger towards the piano strings by a

14/03/2017 10:07

30
P30 SCORES Streabbog-FINAL.indd

note (or thunderously loud chord, even) good couple of inches. Psychologically, progressive strike to the bottom of the keys. The repeated crotchet Gs
will be pretty much the same as it is we make it impossible to produce a in the RH at bar 16 also provide a really good mini-exercise in follow-
for a deftly produced quiet note. In both fragile tone by using such a technique, through control too, beginning at a level of, say, mf, and quickly
cases, we need to feel that we are left plus we get a reassuring sense of having dropping down to pp within a single bar: remember to allow the key
almost hovering on the key, though moved fully through the key. to rise in order to give a fighting chance of success, and hence avoid
the context will determine whether non-speaking notes.
we truly remain in contact with it. Dont freeze up!
Strange though it may seem, we can Another way to address Grieg Melodie [page 44]: I have always had
2
Edvard GRIEG (1843-1907)
S
T MIS
MAN
S INTERMEDIATE
DONT NEW
ON
TRACK 9
LESS Melodie Op 47 No 3
JANE E
PIEC
ON PAGE
THIS
22

a special fondness for this Lyric Piece.

a recording by the legendary Russian pianist
such a sad, nostalgic quality. Listen to
this Melodie is drawn was first published mean. Try to emulate the still, introverted
The fourth book of Lyric Pieces from which

counterproductive digging into

Emil Gilels, and youll hear what we

relax our upper body directly after

it
in 1888. By then Grieg and his wife Nina
had settled into the home at Troldhaugen Our house pianist Chenyin Li also plays
atmosphere which Gilels brings to it.
foreign tours they gave together: he Keyboard Class, on page 49.
which would be a refuge from the extensive magically. Note: Melodie continues after
his songs. This schedule led to a more on the score.
playing his own music, she singing Pedal tips: Janet Newman has made suggestions
German titles of the later Lyric Pieces. on this piece on page 22.
cosmopolitan outlook, reflected in the Read Janet Newmans step-by-step lesson
favourite of editor Erica Worth. It evokes
Playing tips: This Lyric Piece is a personal

playing a majestic chord, while still the keys is to tell ourselves not to
Allegretto

6
& 8 f
>
f
5
f fj f f f f
>
f f f
j
f f f
f fJ f f fJ f
>
f fJ f
f fJ
The music often keeps its innocence intact,
5 4 5 3
4 5 4 3 5
4
2
5
2

f fJ f fJ f fJ f fJ f fJ f J

enjoying the feeling of a physical decelerate, or freeze up, just before { j

1
j
p la melodia ben tenuta
j j

j j j j
f f f f f f f
? 68 f f ff ff ff ff ff ff ff ff ff ff ff f f f f f f f
f f

j
despite obvious moments of grandeur, such as are
j
4 5 4

to be found in bar 9, not to mention the wonderful

5

connection with the keyboard. You reaching the bottom. We can ensure 6

& f fj f f f f
> 5
1
3
2
3
1
f 5
>
f
f fJ f fJ
f fj f f f
f fJ f fJ
5 4 3 5

f fJ # F
stretto section, which enjoys its peak of intensity
{
f fJ f fJ # f fJ f f fJ f fJ

might also try imagining you are playing this is avoided if we make each ff ff ff ff ff ff ff ff
f

j j j j j
? f fj f
2

ff ff ff ff ff ff ff ff ff J J J
f J

f f f

at bar 33, marked ffz. The secret of success in

4 1
1 2 5
2 1 1

staccato, but refrain from releasing the downward strike a single

4

5 5 5

> >
3

>
5 5
2 3 1
4 4 3 1 2
j
4 3 5 5
j
5

f fJ f b fJ
f f f f
11
f f f f
f fJ f
f fJ ff f fJ # f
f
2

f f f fJ f
f
J f J
f
3

& f
4

note afterwards. This can help with uninterrupted movement from lift to {
f fJ f fJ

? ff ff ff ff ff ff ffthis piece is retaining its gentle but determined

ff f f ff ff f ffj ff
J
dim.

f f
J J bf
j j
ff ff ff ff ff
j

J J J 1

bounce going throughout, and I strongly suggest

1

1 2 5

1 5 4 5

achieving a light but crisp attack. strike and follow-through. In theory,

4

>
pi mosso
> 5

f
4 2
f
16 5

f
fJ f ff f ffJ bf fJ f fJ bf fJ f fJ
f
1
j f

practising the LH in conjunction with the RH

& # F f f f
f fJ f fJ f fJ f fJ

on a good instrument even the { j j

pp
f f
? f f ff ff bfff fff fff ff bff
f f J J
ff ff
fJ f
ff ff ff fff fff nfff fff fff fff
fJ b f fJ J J J

thumb in isolation from the tune at first. Pedal

4 1

Older instruments
5 5

2 2

2 5

quietest ppp note will speak if you

5

Continued on page 49

44 Pianist 95

Before we reprimand ourselves for not depress a key continuously to its P44 SCORES Grieg-FINAL.indd
44 is your best friend here, and to be honest an 14/03/2017 10:14

being able to control the action as we
might like when we are faced with a
new, heavier instrument, we might
reflect for a moment on the far lighter
action Schubert or Mozart would have
bottom; this should help you to tackle occasional inaudible note in this accompaniment is not going to be a
the very last note in the Liszt Sonata. game-changer. Really feel the keys as they rise to their home positions
I would advise you to rehearse this effect each time, and aim if possible for a caressing action downwards,
when offered a few seconds warm-up on which will coax out the musics desired warm glow.
an exam piano. Similarly, assess the
3
Franz SCHUBERT (1797-1828)
Schubert Impromptu in A flat [page 60]:
S
T MIS
AMS
ADVANCED
DONY PARH
ON
Impromptu in A flat D935 No 2

taken for granted on their fortepianos. level of volume both you and your
TRACK 11
LESS
LUC E
PIEC
ON PAGE
THIS
24

chordal structure alone, then adding the

her top learning tip is to try playing the
1827, with less than a year to live, Schubert singing in your mind. This works particularly
Shortly after completing Winterreise in melody either by singing, or by silently
Unlike all the sets of dances and

Written in what is quickly seen as a minuet

embarked on a second set of four Impromptus. for commercial gain from the use later on as well.
well at the start, and can be adapted for
composed Advanced knowledge of how to use the
eccossaises, these were self-evidently not Pedal tips: Pedalling has not been added.

One can only speculate how Bach might
instrument can cope with, while still
no publisher came for them. Only when as the best guide.
lucrative amateur market; and indeed pedal is required. Always use your ears
later did they see the light of day. on this piece on page 24.
Schumann took up the cause a decade Read Lucy Parhams step-by-step lesson
lesson on page 24, you will notice that
Playing tips: When you read Lucy Parhams
5

j j
and trio form, this splendid work can still enjoy
2
Allegretto
j ff f
j
5

f f fj f f fj f f ff FFF f
4 1 3
3 2

b b 3Allegretto
sempre legato
Allegretto
f F ffj ff ff fff FFF f ff ff fffj ff ff ffj fff fff ff
4

have coped with playing his Chromatic retaining the sense of a controlled
fj
4 5
1 3

& bbbbb 43Allegretto

3

ff FF f
4 3
f ff Ff
2
ff legato
sempre legato
j
4

f FFf fj j ff f ffj f f ff FF f
4 1 3
fsempre Ff fj f fff ff FFF ff fff fff fff
3 5

& bbbbb 43 pp

{{
FFf fj ffff Ff
4 3

fff f fff ff ff ff ff
4 2

fsempre ff legato
4 3 4 1 3

& b b 43 pp f f fff ffff FF ff fff ffFf ff fffF

f F
3

f ffff FFf
4

b b ff fff FFf f fFf ff ffF ffff fff FFF ff

1 4 3

? bb b434 pp
& f fF FF ffF FFF fF f ff FF
1

{ opportunities to sound spontaneous impromptu

f f F
f F fF F fF
? bbbb 34 pp fF f fF f f FF f
1

f f F fF F
fF f f FF f F fF F

Fantasy and Fugue on a Bsendorfer motion through the keys. ? bbbb 34 f F fF F

1
fF F fF F f F f
f F fF F f f
? bbbb 34 f fF F f f F
5
4
fF F fF f F F f F
f F T
5

b j fjj f f T f
4
5 4 5 4

fj f
4 5

fj
f f ffj f f ff ff FF
4

f F F ffj fff fff T f

4 5 4

FFf fj nnfff Ff
Ff fjj f fff ff FF ff fff Ff
indeed. My advice would be to tackle the trio first,
5 4 5

b b fff fFFf fjj ffff Ff ff f F

4 4 5 4

f f T f
9 4 5

f Ff
9 & bbbb f fj nff FFf fj fff fff ff
f F

Imperial! Many gossamer-like effects,

9
f ff FFF fj f fff ffff FFFF f fff FFf F
b b f FFf
4 5 4 5 4

F fj ffff Ff ff

{{
9 & bb b f f f ff ff F f ff FFF
2

& bbb fff Ff nff FF f f f F

1

ff Ff f F
2

FF F 1

bb fF f ff FF
2

& fF f f F f fF F
1

fF F
1

? bb b f F fF F

{ partly to allay any initial suspicion you may have

fF f ff F
2
F F

The thrill of the trill

fF f f F f fF
1

? bbbb F fF F
1

f F fF F
fF f f F f fF F fF f f FF
1

? bbbb F fF F

not to mention the leggiero touch

fF F fF F
? bbbb f F f F f fF F fF f
1

fF F
4

b F
fF F fF f
f F f F 4

>. . j
4

j
fjj 17f f fjj f f fjj f f fff FFF ff fff >f>ff. fff . fffj fff fff ffj
4 4

that the piece becomes beyond reach, but also

5

bb
17 4

& bbbbbb fffj 17fff. fff. ffj ff. ff. fffj fff. ff ff f >ff. ff . ffj ff. ff. ffj
4

Trills are also an excellent way of

5

ubiquitous in Mendelsohn, have

f. ff
4
f. FF ff ffff ff. ff . ffj >>ff. ff.. ffj
4

f. fff

{{
5

& bbbb fffj 17>ff. ff. ffj >ff. ff. ffj ff. ff
4
ff. FF f .
ff ffff ff ff ffj >ff ff. ffj
f
4

& b b ff >ff. ff. ff >ff. ff. fj ff. ff f. fff ff. FF

4 5

& bb f .. fff >fff.. fff.. ffj f. fff fff ffff ff ff ffj >ff. ff ffj
? bb b ffff >fff... fff . ff f. FF
ff fffff fff. fff. fffj fff. fff. ffjj

{
? bbbb ffJf >ff fff . fJf >ff. f f. fffj fff. fff. fff. FFF

arguably become harder for us today. calibrating your up-down action in

? bbbb Jff ff. fff . fJf ff. ff
? bbbb Jf f ff fJf ff ff ff ff. f. ff. FF
b J J
because its exquisite minuet melody is essentially
. j . f. . F
fff
. . .
ff ff >ff. ff. ffj >ff. ff. f
f ff >>ff. ff. ff >>ff. ff. f
. . U . .
. .> . U. > j
. F f bf bFF bfF f f .. fj
3

b b ff. bff. F f bbff bbFF bnfF f f f. F f r nbfF f f n fF.. F.. fF..F fU.. f fff f
. b r bf f
3 5

f
5 4

what the piece is all about; you can then really

4 2 5
23
F f f F F fj
3 2 3 3 5

23& bbbb f f Ff F fFF fU f ff Ff

f
b b ff. bbff. bff.. FFF ff bff bFF bnfF f ff f. F f ff ff ff ffr nbFfF
5
f
4
f f 5

f f f Ff
23 4 2
f

line with a particular instruments

F fj

If you ever get the chance to play

3 2 3 3 5

f n F. . u .FF fU. ppf ff Ff

{{
5 5 4

23& bb b f
f
4 2
F FF f
fF f f nppFfFF. F. fF
2

& bbb ff.. bffff. bffff FFF fff bff bffz FF bnFfpF f f f ffz
3 3

FF f f f f fr nbpF
3 5

f f f
5 4

u .FFF fU. pp
4 2 5

F
2

& b b ff. b f f F f bf bffz F nFp f ff ffz fFF F. fF

3

n pF n .F fU. ppf ff FF
bf bF
F
F f. F. fu
.
pp

? bb b f f fF F fFu . fU. ppf F

p
Fp f bbff bbffz FF fF F
? bbbb ff f bf FF ff fff ffz
relax and enjoy getting to grips with it. Though the
p
F f F
ffz pp
FF .
. b . . . f F
p
F F f
FF ff . b f F F f
F u F f
F f f

capabilities. A trill is just a series of

pp

Scarlatti on a harpsichord, Bach on

? bbbb f. ff. bbff. F f f FF
ffz

bf bF F fF F u fF f f F fF F
? bbbb f. f. bbf. F f f F F f bf. bF F F u F
b f. . b f. F f F f . u
. f. b f. f F

a clavichord or Handel on an organ, repeated notes played in alternation music teems with subtle articulation details, a60 Pianist 95

cantabile touch will serve you admirably

14/03/2017 10:18

jump at it you will never feel quite with an adjacent repeated note.
60
P60 SCORES Schubert-FINAL.indd

the same about getting to the bottom
of the keys again.
Digital pianos
Similarly, those of us who regularly invest
time practising on a digital piano need
to be aware of the simulated experience
we are getting. The latest breed of
instruments boast proper piano
escapement actions, which gives us
the reassuring feeling of working against
a mechanical action, whereas the
traditional model may possess weighted
or semi-weighted keys, leaving a
somewhat spongy sensation with no
discernible escape-point. Moreover, with
headphones on and the volume turned
Thought of in this way, we can practice throughout. The bold interjections (bar 16, and its equivalent at the
each repeated note in isolation, ensuring reprise) calls for a very relaxed upper body and wrists, mostly keeping
every depression is happening decisively close to the keys after each follow-through and, at all costs, resisting
enough to produce a sturdy sound, even a debilitating dig through the key bed.
at an enterprisingly quiet dynamic.
Dont be defeated when notes
are repeated La Campanella in both scenarios
The repeated note (just like the trill) we need to a) imagine the sensation
is where we seem particularly prone before practising it, and b) aim to give
to counterproductive digging in. each and every note its own miniature
The relatively steady repeated chords in follow-through.
the opening to Beethovens Waldstein Getting to the bottom of the keys
Sonata are an excellent preparation for is how we ensure clarity and control,
the RH repeated-note variation (4-3-2-1 whereaskey-bedding, as Matthay
fingering on the black notes) in the suggests, achieves nothing and often
B major second section of Liszts proves counterproductive.
17 Pianist 95

P16 HTP Tanner-FINALish.indd 17 15/03/2017 11:00

 play HOW TO

The Drop-Roll
WRIST CONTROL: 1
For smooth slurs, good legato and sensitively phrased accents, a liberated wrist is essential.
Graham Fitch gets down to the bare bones of improving your hand position at the piano

T
his article is the first in a two-part series on the wrist. In this Pianist, teacher, writer
issue I investigate how to incorporate the drop-roll movement and adjudicator Graham
into your playing to shape phrases by using the arm to control Fitch gives masterclasses
sound and textures. Using the whole arm and moving through a and workshops on piano
free wrist we find we are able to avoid tension and solve a variety playing internationally,
of pianistic problems as we apply the principles of the drop-roll in several and is in high demand
different situations [see Mark Tanners article on page 16, where he also as a private teacher
addresses the drop-roll]. in London. Graham is
When discussing technique, it would be convenient if we could isolate a regular tutor at the
the various muscles, levers, bones and joints that make up the mechanics Summer School for
of playing and investigate them one by one. However, piano playing doesnt Pianists in Walsall and
work like that! Sure, we might concentrate on what the fingers are doing in also a tutor for the
a given situation, or switch off certain muscles while engaging others, or Piano Teachers Course
stabilise one joint or lever while activating another to sense whats going on in EPTA (UK). He writes
our body, and so on. But this is not always helpful, because when we play we a popular piano blog,
tend to create a fusion of activity in which all the components of our playing www.practisingthepiano.
mechanism work together. We do this subconsciously, based both on how we com and has recently
have practised and on the sounds we hear in our imagination as we adapt to launched an online
the performance space and the particular piano we are playing. piano academy.
Do you recall the well-known spiritual song by James Johnson, Dem Bones?
It reminds us how interconnected the various bones in our body are (Neck the hand, forming a straight, unbroken line. However, there is a fair bit
bone connected to the shoulder bone; shoulder bone connected to the back of leeway here. A slightly raised and braced wrist provides a strong arch in
bone; back bone connected to the hip bone, and so on). As our fingers the hand. This is useful for many aspects of playing, not least big, thrusting
contact the keyboard they link to the wrist, which connects to the forearm, chords and virtuoso octaves such as we find in the first movement of Brahmss
upper arm and shoulder. It doesnt stop there we must include the sit bone D minor Concerto (from bar 226). There is a mistaken belief that the wrist
(ischium) as it supports the upper body on the stool, right down to our feet as must always be loose and supple; in fact, to bring off these famous octaves
they ground us and contribute to balancing and coordinating our whole body. we need to keep the wrist firm so that the power of the whole arm can be
In an article on the wrist it is therefore neither possible nor desirable to transferred to the hand in an unbroken channel:
exclude the fingers or the upper arm. Even in a piece such as Chopins
. >f . >f
Maestoso
Butterfly Etude Op 25 No 9, which seems to call for pure wrist action, there f
f f f fff ffffffff
will be energy in the fingers and plenty of involvement from the upper arm:
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Allegro vivace
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leggiero .
ff ff. ff. ff.
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Raise the wrist a little more and this time loosen it so that it feels like
f f .f f .f f a well-lubricated hinge, and we can shake light staccato chords or octaves
bb out of our sleeve (such as the Chopin example at the start). A very slightly
lowered wrist combined with curved fingers enables clear and precise
It is accepted by most mainstream teachers that we adjust the height of the articulation from the fingers, but we need to be very careful about dropping
piano stool so that the forearm is roughly parallel with the floor when we play. the wrist below the safe level. Some of the best pianistic traditions permit
The default position of the wrist is level with the forearm and the back of a dipping of the wrist when this is part of a continuous and connected
movement of the arm (such as the drop-roll, which were going to look at in

@ GET IN TOUCH
Graham Fitch would like to hear from readers who
have piano-playing questions, whether about a certain
technique or a passage in a piece of music. Please write to
the editor at editor@pianistmagazine.com.
18 Pianist 95
a moment). Problems arise when we set the wrist below the safe level and
keep it there. The steep angle formed between the forearm and the back of
the hand causes the fingers to overwork like tight little pistons, thereby
pulling on the muscles and tendons in the forearm. This is both inefficient
and injurious, and definitely to be avoided.
Lets look at how the wrist works, and how it doesnt. The wrist is both a
series of three joints connecting the forearm to the hand, and a flexible structure
consisting of eight carpal bones arranged in two rows. We can move the wrist
in two ways up and down, and laterally (from side to side). If you hold onto
one of your wrists with the other hand, you will discover the wrist itself cannot
rotate. The often-misused term wrist rotation is therefore a misnomer;

P18 HTP Graham-FINALish.indd 18 14/03/2017 09:58

 TAP HERE TO WATCH GRAHAMS ONLINE LESSON

while the wrist appears to be rotating, the motion actually comes from
Agitato e con fuoco
. ... > >
the forearm. (For further reading on anatomy as it applies to piano playing
#3 j
& #8 ff f f f
ff ff ff ff fff ff f f#ff#ff f f f#fffff f#fffff
I recommend Thomas Marks excellent book, What Every Pianist Needs f

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The whole-arm roll
? ##38 ffffff f f f f f f f f f f f ff ffffffff ff ffffffff
This movement is behind much of what we do at the piano. Sometimes #f f f
its presence is so subtle as to be almost imperceptible, but once we have
...> ...> . . .
experienced the power of the whole-arm roll to control tone while keeping ## f f f f f f f f f
us free we wont ever want to do without it. To experience the whole-arm roll, & J f
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f

play a chord (any chord will do) and allow your upper arm to move freely
forwards and backwards as you hold onto the keys (see what this looks like
in my video demonstration). Its as simple as that! Youll notice that the
forward and backward movements of the upper arm (dont overdo these) are
moving your wrist up and down, and youll experience a pleasurable wave
of energy from your shoulder through the arm to the tips of your fingers.
This movement is the basis for the drop-roll.
The drop-roll
The drop-roll is a classic movement used in piano playing and one that
beginners can learn almost from the first lesson. It describes a down-up
movement involving the whole arm and a very free wrist. The fingers assume
a subservient role in terms of articulation but they are, of course, fully
involved as they transfer the energy from the arm to the keyboard. For a
two-note slur, drop the arm into the first note and grip the key with a firm
finger. Make sure the finger that is going to play the second note is in touch
with the key surface, then begin the upward roll. This note will sound during
the ascending movement of the wrist and arm. If we thrust against the
keyboard quickly in the upward roll, well create an accent on the second
{
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#f #f f
Returning to the short phrases we find in Classical-period piano music,
there are often times when releasing into the air after the roll causes an
unmusical break in sound and makes a choppy effect, or where there is
simply not time to make the release. Although we should closely observe
the articulation marks indicated by Haydn, Mozart and Beethoven,
I often recommend applying the close-to-the-keys version of the drop-roll
to sculpt the notes under the short phrases into groups.
There is a parallel here with the string players bow, in which our arm fulfils
the function of the bow as the fingers articulate. Lets explore how this works
in the slurs from the opening of Mozarts Sonata in B flat K570 (I have often
noticed that these particular slurs cause confusion):
Allegro
b3 f F
3

&b 4 F F
2 1
note; if we release by lightly floating off the keyboard, well make a
f f

{
diminuendo indispensable for tapering off an appoggiatura (to avoid the F
second note not sounding, make sure to keep the fingertip somewhat taut). p
f F
? bb 43 F F
We can apply the same motion to three- or four-note slurs: down into
the first note, then up as smoothly as possible during the remaining notes f F f
under the slur, spreading the movement out evenly. According to Baroque 2 2
and Classical performance practices the first note should be stronger (even
if it occurs on a weak beat) and the last note slightly shorter than its printed In my video demonstration, youll observe that I drop into the first note
duration, and somewhat softer. Here are two examples from Mozarts Fantasy of each short phrase and roll upwards out of the key toward the second note.
in D minor K397: The roll needs to be gradual and smooth, and once we refine the motion
it becomes very small indeed. Personally, I do not like too much of a gap
Adagio Allegretto in sound but we need to respond somehow to the short phrasing that
ff Mozart writes. By all means make a gentle separation if you can do this
f f f ff f f #f f #f f ## f f f f f f f
&b f without breaking up the line; otherwise play using a strong-weak inflection.
R

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A long legato line is unstylish, however.
In my next article I will explore how we use the drop-roll in strong,
#
& b Fff ffff Fff ff ff Fffffff F ffffff # ffffffnff ff f f ff f f
f sustained chord progressions, and then move on to demonstrate how lateral
movements of the wrist (and wrist circles) assist the fingers in achieving
virtuosity in patterns of notes that at first glance appear very finger-based.
I will also share a few tips on the role of the wrist in passing the thumb,
There are many situations where we can adapt the drop-roll, making use of which will certainly help to free up your scales and arpeggios.
the way it can liberate our wrists, but using a much smaller range of motion.
Rather than lifting the arm into the air at the end of the roll, we keep the
WATCH GRAHAM ONLINE
fingers very much in contact with the keys. I have chosen the opening of
Mendelssohns Song without Words in B minor, from the opus 30 set.
As I repeat the opening F#s, I sense a vibration in my wrist as it moves up
and down, forward and backward using a tiny arc from the drop-roll motion.
I choreograph these same down-up movements to the rest of the phrase while
retaining my hand close to the keyboard; the movements are very small but
more than enough to keep me mobile.

The drop-roll is a classic

movement that beginners can Dont miss Grahams video lessons, which youll find on the Pianist website,

learn from the first lesson www.pianistmagazine.com. Graham demonstrates everything he discusses
on these pages and more. His current lessons are filmed at Steinway Hall,
London, on a Model D concert grand. Theres nothing like watching an expert.

19 Pianist 95

P18 HTP Graham-FINALish.indd 19 23/03/2017 13:04

 play HOW TO
STREABBOG
Distant Bells Op 63 No 6
Its time to tackle hand crossing with this Romantic miniature.
Melanie Spanswick advises a slow and steady approach
Ability rating Beginner/Intermediate
Info Will improve your
Key: C major 3 Crossing of hands Anthology. Book 1 of Play It Again (Schott Music) the first in a
Tempo: Andante 3 Soft accompaniment
Style: Romantic 3 Even tone
What an odd name, you may be
thinking to yourself. Thats because it
was made up. Streabbog is the pseudonym
used by the Belgian pianist Jean-Louis
Gobbaerts when he published his own
compositions such as the first set of
Twelve Easy and Melodious Pieces Op 63.
The best known of the set is No 6,
Distant Bells. It is sympathetically
written to enable early-intermediate
players to get to grips with hand crossing
and the technique of evenly played
accompaniment as well as effective use of
the sustaining pedal. The score may appear
simple, but it offers plenty of technical
challenges and interpretative possibilities.
Choose a stately tempo, around 80
beats per minute. Distant Bells has
a straightforward ABA structure with
essentially diatonic harmony.
The LH crosses over the RH throughout
the piece. Begin your practice by focusing
on the movements necessary to execute
the hand-crossing smoothly and with a
controlled tone. Starting with the LH,
work on the first line. Place your 5th
finger on the C (first note, bar 1), and
locate the minim C on beat 3 (two
octaves higher), with the 2nd finger.
You could also use a 3rd finger for the
crossed notes, but the index finger gives
a more precise, deeper touch, and it
should feel comfortable to play.
Look more closely at each LH jump.
A considerable movement is required
during every bar (two octaves, in the case
of bar 1), so become accustomed to the
feeling of the leap by landing firmly using
the suggested fingers, using a relaxed
motion of the arm movement to go back
and forth between bass and treble registers.
To improve your confidence and accuracy,
practise using much larger intervals than
those written; for example, the lower note
could be played an octave lower in each
case. When you revert to the written
Fabrice Rizzato
notes, the movement should feel easier
and less daunting. Try practising the leaps
more quickly than marked. Now add a
P20 HTP Melanie-FINALish.indd 20
FULL SCORES ON PAGE 30
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Jean-Louis STREABBOG (1835-1886)
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Distant Bells Op 63 No 6
Much the best-known of 12 Very Easy and Melodious Studies, Distant Bells is the
work of Belgian pedagogue Jean-Louis Gobbaerts (who reversed his surname for his
nom de plume). Other attrractive movements in the cycle include the opening Pleasant
Morning, No 3 On the Green and the jaunty Chasing Butterflies, No 11.
Playing tips: Even if an exercise, its very different to the Burgmller one that
features on the previous page. This is all about a calm, even and extremely quiet RH
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(which is tricky to execute by itself ). A much stronger and more sonorous sound is
needed in the LH, which has to pass over the RH in every bar. The LH jump should
be mastered so that it doesnt sound effortful. You will notice there are two types of
Pedal tips: Suggested pedalling by Melanie Spanswick is marked on the score.
Read Melanie Spanswicks step-by-step lesson on this piece on page 20.
^
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2 2 2
30 Pianist 95
P30 SCORES Streabbog-FINAL.indd 30 14/03/2017 10:07
Melanie Spanswick is a pianist, author and music educator. She
recently selected the repertoire for The Faber Music Piano
two-volume course for those returning topiano playing after a
break is released in April. Her piano guidebook, So You Want To
Play The Piano?, is reprinted in a second edition by Alfred Music.
Melanie gives workshops in Germany and for EPTA, is a tutor at
Jackdaws Music Education Trust and adjudicates for the British
and International Federation of Festivals. She is curator of the
Classical Conversations series on YouTube, where she
interviews pianists on camera. www.melaniespanswick.com.
steady pulse, and ensure the 2nd finger top notes sound together. Couple this with
lands firmly on the third beat of the bar. a light thumb (or 2nd finger depending on
Its important to work at the jump back your fingering choice), as this should be
down from treble to bass, from the third
Learning Tip
beat of the bar to the first beat of the next.
The Distant Bells of the title can be One sustaining pedal change per
heard in the third-beat minims. These bar works for the majority of the
high notes should be played marcato piece, accumulating resonance and
(well marked). They require a deeper intensity, but be sure to change
touch (like an accent but without a sharp swiftly on the first beat of the bar to
attack), combined with articulation similar avoid smudging!
to that of staccato. Land on each marcato
minim with a rich timbre, rolling off with
an upward wrist motion as the finger leaves the softest part of the texture. In effect,
the key. They should be clearly identified, weight your hand towards the right,
yet soft and distant-sounding. moving the wrist outwards, supporting
the weaker 4th and 5th fingers.
The RH accompaniment should stay
soft, light and even throughout. Begin by Then try playing with hands together.
blocking the quavers in every bar as a chord Take it slowly until you can cope with
(such as the C major triad of C, E and G the continual movement of the LH while
in the first bar). Work through the piece maintaining an even rhythm and tone in
assimilating the harmonic progressions in the RH. To get used to the hand-crossing
this way (its useful for quickly finding movement, play with a full sound and
your way around the note patterns). perfectly even rhythm (count in
semiquavers for accuracy, as each quaver
There are two suggested fingerings for needs to be exactly in time). Once you
the quaver patterns. The first fingering have learnt the muscle memory and
will be more suitable for those whose 4th sound of each hand-crossing movement,
and 5th fingers are yet to develop full you will feel confident and relaxed.
strength. The second option requires more At that stage lighten your touch to
balance and control but, if worked at produce soft and ethereal tonal colours.
regularly, is comfortable and convenient.
Dont forget that the LH is the star of
Play heavily and deeply into the key bed, the show. The RH quavers should stay
using the full strength of your fingers. in the background, with the low LH
Your practice of this RH figuration crotchet (mostly on the first beat of the
should be deliberately paced, so that you bar), slightly more prominent, making
place each note with rhythmic precision. way for the minim on the third beat.
Work your way through the part playing The middle section (bars 9-16) moves
like this, more powerfully than is marked into G major, and needs a gradual
in the score, but keeping wrists and arms crescendo as it progresses towards the
relaxed. Then lighten your touch: play chromatic RH figuration at bar 15. Each
softly and with legato, but make sure the RH G at bar 16 should be softer than the
G and E (bar 1), and all subsequent last. You may like to add the una corda
patterns, are balanced so that these two (left pedal) during the closing bars.
20 Pianist 95
14/03/2017 10:49
 Piano Street
2.0 is here!
Try out the
new features
for free at:

www.pianostreet.com/pianist-mag
21 Pianist 95

p21_pianist95.indd 21 16/03/2017 16:46

 play HOW TO
FULL SCORE ON PAGE 44
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TRACK 9

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JANET

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LESSON
ON THIS
PIECE
PAGE
22

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p la melodia ben tenuta

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fJ # ff f ff f # fF f f f
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Edvard GRIEG (1843-1907)

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2
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3
1
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f fJ f fJ f fJ f fJ f fJ f fJ f fJ f f fJ ff f ff f
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4
Melodie Op 47 No 3

The fourth book of Lyric Pieces from which this Melodie is drawn was first published
in 1888. By then Grieg and his wife Nina had settled into the home at Troldhaugen
which would be a refuge from the extensive foreign tours they gave together: he
playing his own music, she singing his songs. This schedule led to a more
cosmopolitan outlook, reflected in the German titles of the later Lyric Pieces.
Playing tips: This Lyric Piece is a personal favourite of editor Erica Worth. It evokes

>
Allegretto
> 5

j
3

j
such a sad, nostalgic quality. Listen to a recording by the legendary Russian pianist
Emil Gilels, and youll hear what we mean. Try to emulate the still, introverted
atmosphere which Gilels brings to it. Our house pianist Chenyin Li also plays it
magically. Note: Melodie continues after Keyboard Class, on page 49.
Pedal tips: Janet Newman has made suggestions on the score.
Read Janet Newmans step-by-step lesson on this piece on page 22.

j j
4

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f f f f
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ff ff ff
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INTERMEDIATE

3
4

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Melodie Op 47 No 3
Continued on page 49

44 Pianist 95

P44 SCORES Grieg-FINAL.indd 44 14/03/2017 10:14

This Lyric Piece needs time and space to express its restrained and melancholy character,
says Janet Newman: dont rush your playing or your practice
Ability rating Intermediate weaker 3-4-5 fingers to play their part.
Info Will improve your This can distort your hand and actually
Key: A minor 3 LH chord voicing prevent the fingers from becoming
Tempo: Allegretto 3 Piano and pianissimo playing stronger over time. At bars 9, 41 and 81
Style: Romantic 3 Thumb control the LH spread chord might prove
difficult to manage without accenting it
or worse still, losing the bass note.
Throughout his career Grieg wrote Take time over these chords and relax
Lyric Pieces. There are ten books in all, into them: there is no need to play them
containing 66 separate character pieces. strictly in time. For guidance, listen on
Grieg invested much time and care in the covermount CD to the way that
crafting apparently straightforward house pianist Chenyin Li plays these
melodies, and revealed his deepest, most tricky spread chords.
intimate feelings in many of the Lyric
Pieces. They embody the warmth, Then move on to the accompaniment.
sensitivity and innate character of his Practise the LH and the RH middle part
compositional style in miniature. (which is mostly played by the thumb) at
Although many of them are technically the same time. This will be helpful for
approachable by student pianists, you to judge the balance needed between
they have a musical depth which the two hands. It can be easy for the
makes them extremely rewarding to thumb part to be over-produced. If you
study and belies their superficial do this, it may make the LH chords
simplicity on the page. heavier too, as the body tries instinctively
to match the force used in both hands.
This Melodie is characterised by a
mood of reserve and regret. The 6/8 Keep your fingertips weighted on the
time signature, which eventually needs to keys. If you lift off the surface of the key
be felt as two dotted crotchets per bar too much, you will produce a heavy tone
rather than six quavers, implies a lilting which will drown out the top line.
sense of flow within the musical Imagine that the keys are doing the work
direction. Choose a tempo that will give of bringing your hands and fingers
the phrases momentum: dotted crotchet upward; maintain contact with the keys
equals 80 feels about right. as much as possible. If you are having
trouble locating the chords under your
The title Melodie tells us most of fingers, break them down by practising
what we need to know. Just by looking the bottom of each chord plus the
at the score, you will see that there is middle note, followed by the top plus
a prominent top line accompanied by middle. By doing this, and using
a repeated chordal texture throughout. consistent fingering throughout, you
From past How to Play articles, you should secure the patterns within your
may recall that this kind of music hands and your memory. Practice-work
demands practice of each separate part like this is well worth doing even though
in order to get a clear delineation and the method may be time-consuming and
clarity of voicing. First take out the awkward at first.
melody line and take time to work on
shaping and strengthening it. Always The tone you are aiming for is warm
use the fingers that youve decided upon but cushioned in texture. It should
(in this case, there arent that many always support rather than overwhelm
options!) so that with consistent use, the more projected RH vocal line.
these weaker fingers become more When the LH chords change, take note
reliable and independent. of the fingering shifts and use them.
They will enable you to connect the
Janet Newman is Head
Even while working on the RH melody, notes smoothly so that there are no gaps
of Keyboard at the Royal
dont forget your silent thumb! Have in the melody from one bar to the next.
Grammar School in
it ghosting (or resting) on the key that By maintaining contact with the keys,
Guildford. In addition to
it should be playing. The hand shape will you can also judge the grading of phrases
her teaching, she is in
then be representative of the position it with much greater control and shape.
demand as a freelance
takes once all the parts are introduced. This is an essential principle of good
pianist and is an examiner
Dont pull the thumb away from the pianism: fingering reflects phrasing.
for the ABRSM.
keys in order to make it easier for the Another way to bring a variety of tone
22 Pianist 95
colours to your playing is to mentally
orchestrate the piece. For example, think
about how it would sound on a string
quartet in fact, it would fit nicely or
if the solo line was played by a flute with
piano accompaniment. Just by imagining
the possibilities of other instrumental
colours, we can play with greater
imagination and sustain the melody with
a smoother legato.
Grieg is quite clear about his dynamic
markings. He shows us where he wants
the phrases to go, and as they naturally
mirror the musical intensity within the
line, the dynamic markings make
complete sense. At bar 21, the stretto
marking (indicating that we should move
on in tempo) reflects the growing,
passionate quality in the music.
Make sure you keep up a sense of drive
until the climax at bar 33. From here,
Learning Tip
In a piece written in ternary form
such as this, think about the
dynamic colours and changes
which will characterise the different
sections. Otherwise the overall
performance may sound similar
throughout.
there is a gradual decline in both tone
and tempo until the return of the theme
at bar 41, whereupon the music becomes
submerged within the pensive mood
established at the start. There is a wide
variety of dynamic colours to explore
in this work and it offers a wonderful
opportunity to practise tonal evenness
and gradation, which should nonetheless
reflect the simple and sincere character of
the work.
The pedalling moves in parallel with
the harmonic changes. It shouldnt
prove difficult to manage as long as
you listen for clarity within the changes.
Take time over lifting and depressing
the pedal: think of squeezing rather
than pushing it, and keep your heel
firmly on the floor throughout so that
you use it as a pivot. Sometimes in my
examining and adjudicating work, I
come across young pianists pumping the
pedal from a great height and my heart
sinks as the performance, however well
intended, is sabotaged by their foot!

P22 HTP Janet-FINALish.indd 22 14/03/2017 10:48

 Help Musicians UK supported
our family when my husband,
a professional singer, was
left paralysed. Now he is
back home where he belongs
for which we will always be
grateful.

Your support means we can

help more families like Janes.

Donate at helpmusicians.org.uk Backing musicians throughout their careers.

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p23_pianist95.indd 23 FP.indd 1 11/01/2016 16:36:31
15/03/2017 10:19
 play HOW TO

SCHUBERT
Impromptu in A flat D935 No 2
Singing the divine melody of this impromptu will help you to keep in mind the full drama
of this masterpiece from the last year of Schuberts life, suggests Lucy Parham
Ability rating Advanced The opening is reminiscent of a string
Info Will improve your quartet. Each part has its individual
Key: A 3 Chord voicing voice, yet all of them should sound in
Tempo: Allegretto 3 Articulation perfect balance. The dynamic is
Style: Late Classical 3S ense of line pianissimo. Observing it in your playing
is important, as a strong contrast is
needed later in the piece. Keep your
Schuberts eight impromptus were all fingertips close to the keys, almost
composed in 1827. The first set (D899) brushing them. Theres a lot to digest
was published while Schubert was still regarding articulation: in the first bar,
alive, including perhaps his best-known articulate the RH slurred dotted
piano work, No 3 in Gb. The four crotchet/quaver as being distinct from
impromptus in the second set (D935) the first crotchet beat. Then in bar 3,
are less often heard, and tend to be conversely, all three crotchet notes
performed individually. These were should be linked with legato. In bar 5,
first published more than a decade the addition of the octave in the RH
after the composers death, once means the thumb line is also important.
Robert Schumann had redicovered Bring out the hairpin crescendo in
much of his late music, and are bar 7 by leaning into the second chord
sometimes known as Op 142. a little more. You need a different, more
ethereal tone-quality when the melody
No 2 in A flat major is in a minuet reappears an octave higher. The C major
and trio form. It is possibly the most chord in bar 14 is also important.
accessible of the set, technically speaking Lucy Parham will Repeat the first 16 bars making sure
(the first and third of the set are full-scale perform Nocturne with both times that the turn in bar 15 is
fantasias, no less demanding than much actors Harriet Walter melodically phrased and not grabbed.
of Beethoven and Chopin). But if you and Henry Goodman at Think of how you would sing this:
enjoy playing this piece, I highly Kings Place, London, any faster is too fast!
recommend that you become acquainted on 2 April. In April she
with all the impromptus, including D899. tours Portugal with her Bar 17 needs a new energy. It is marked
They are gems of the piano repertoire Rachmaninov show, forte, but bear in mind this is a warm,
and in composing them Schubert Elgie, with Henry string forte which should be appropriate
foreshadowed the genre of Romantic Goodman. On 23 April for Schubert and not too percussive. The
character-pieces which would within a they perform Elgie at slurs of the opening bar have returned,
few decades be so richly supplemented the Stratford Festival. now with a portamento quality to them;
by composers such as Chopin, Parhams CD, Rverie you will notice the staccato markings
Mendelssohn, Liszt and Schumann. the life and loves of under the slurs. Distinguish them from
Claude Debussy, was the more separated notes in bar 19.
Begin your practice with the chordal recently released on the Reserve a proper fortissimo for bar 21;
structure alone. Add the melody by Deux-Elles label with use shoulder weight rather than just
singing it, either out loud or in your narrator Alex Jennings. wrists or forearms as this will help you
mind. This works particularly well in the www.lucyparham.com to achieve a fuller sound. Head for the
first two lines of the piece and you will
be able to adapt it for use later on in the
work too.
Firstly, look at the tempo marking.
It is important to distinguish between
Allegretto and Allegro. Bear in mind
that this is a minuet, with a lilting metre
that should be elevated rather than
earthbound. The sense of line is crucial
at all times; Schuberts dance rhythms
are never heavy or pedantic. I suggest
that you continually think of playing
over the bar line; by doing this you
should avoid landing heavily on the
Sven Arnstein
ffz chord in bar 25; it should come as
a real shock before the heavenly subito
piano. The effect is repeated in bar 27,
where the turn, once again, should
be melodic.
There are two crucial bars linking
development back to reprise. The RH
Eb notes in bar 29 should be portamento
with slightly more emphasis on the
first of the two. Make sure the following
bar (30) is perfectly graded in order
to ease gently back into the main theme
after the pause. At bar 35 ensure that
the LH Gb is coloured in a way that
Learning Tip
Try playing the chordal structure
alone. Add the melody either by
singing it out loud, or in your mind.
This works particularly well in the
first two lines of the piece and you
will be able to adapt it for use later
on in the work too.
shows its difference from the first time.
In fact, the whole section from here until
the double bar needs to be embedded
with a totally different feeling and colour.
Try highlighting both 5th fingers for a
clearer harmonic outline.
Bar 47 brings the start of the trio.
It is important that the tempos should
be aligned. The trio is not faster than
the preceding minuet. Notice the
accents in both hands. These are meant
to be leaned into and not forced or
jabbed at. The RH accents use the 5th
finger and I suggest a small downward
pull of the elbow to aid the finger,
rather than relying on the fingertip
alone. The swing and rhythmic
propulsion comes from this accent.
Note the repeated Ab in the LH; this
will be played with your thumb and
I suggest you use the side of the thumb
and sink in to this note, so that it rings
out like a bell. Spend some time
becoming acquainted with the LH
in this passage. It would do no harm
to memorise the part before even
thinking of adding the RH. When you
do bring the RH into play, be sure to
give the upbeat into bar 47 its full
weight and value. Note the piano

first beat of each bar. This is a different marking here, too: all the accents and
matter from observing the written hairpin crescendos should have a sense
accents; more of them later. of proportion within this dynamic.
24 Pianist 95

P24 HTP Lucy-FINALish.indd 24 15/03/2017 10:22

 T MISS
DON PARHA
MS
Franz SCHUBERT (1797-1828)
LESSON
TRACK 11 LUCY ADVANCED
ON THIS
PIECE
PAGE
24
Impromptu in A flat D935 No 2

Shortly after completing Winterreise in 1827, with less than a year to live, Schubert her top learning tip is to try playing the chordal structure alone, then adding the
embarked on a second set of four Impromptus. Unlike all the sets of dances and melody either by singing, or by silently singing in your mind. This works particularly
eccossaises, these were self-evidently not composed for commercial gain from the well at the start, and can be adapted for use later on as well.
lucrative amateur market; and indeed no publisher came for them. Only when Pedal tips: Pedalling has not been added. Advanced knowledge of how to use the
Schumann took up the cause a decade later did they see the light of day. pedal is required. Always use your ears as the best guide.
Playing tips: When you read Lucy Parhams lesson on page 24, you will notice that Read Lucy Parhams step-by-step lesson on this piece on page 24.

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60 Pianist 95

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This is a minuet with a lilting metre

that should be elevated rather
than earthbound
You need to leave room at bar 55 for (marked fz) in the RH to be
a decrescendo to reach pp at bar 57. highlighted but not forced.
The lower notes of the RH in bars 55 This section should move forward
and 56 and, subsequently, the top with new energy until the piano
notes of the RH in bar 57 should be dynamic in bar 75. The LH trill in
highlighted as they are the moving bar 76 should feel as if it is almost
part here, harmonically speaking. underground, rumbling beneath the
The touch in the RH should be RH triplet figuration. Ensure you can
legato but not too heavy. hear the final notes of the trill in the
LH of bar 76; the turn needs to have
At bar 59 the colour, key and clarity and not be swallowed up.
dynamic changes. We are now in
the minor key and a darker quality In bars 76-90 the impromptu
is required to evoke Schuberts sudden gradually unwinds towards its
and striking change of mood. But conclusion. As we noted in the
the RH pedal-note of Ab remains previous instance of this figuration,
constant and is therefore the unifying the RH triplets at bar 89 need care
feature here. Through its insistent over the final note of each triplet.
presence, Schubert builds a tension
which can only be released by the
Gently lean into these notes (C, D,
Eb) with your 5th finger. FIFTEENTH
VAN CLIBURN
eventual return of the main section.
The last four bars form a miniature
The climax of the impromptu coda. There is a small crescendo in
approaches. As the RH climbs higher
up the keyboard in ascending triplets
bar 146 followed by a subito piano.
Play the penultimate note with a INTERNATIONAL
PIANO COMPETITION
(bars 66-69), play into the keys weighted staccato, before giving the
with increasing strength and finger final Ab major chord a warm sound
articulation. Notice the LH at bar 69. and focusing on your top finger.
What were Ab pedal notes have now The pause should ensure you do not
moved up a semitone. From bars 69
to 73 there are a lot of accents
end too quickly. Release the pedal
slowly for the perfect finish.
MAY 25JUNE 10, 2017
FORT WORTH, TEXAS USA
Two centuries of Impromptus
LEONARD SLATKIN, JURY CHAIRMAN
D one without being planned, says one dictionary. Extempore,
unrehearsed, according to another. You are unlikely to give pleasure to
yourself or others if you play impromptus that way, and neither Schubert nor MEMBERS OF THE JURY: ARNALDO COHEN (BRAZIL),
Chopin dashed them off in a morning. So why are they so called? CHRISTOPHER ELTON (UNITED KINGDOM), MARC-ANDR HAMELIN (CANADA),
The earliest traceable impromptus were written in 1817 by the Czech JOSEPH KALICHSTEIN (ISRAEL / UNITED STATES), MARI KODAMA (JAPAN),
composer Jan Vorek, apparently at the suggestion of his publisher, and these ANNE-MARIE McDERMOTT (UNITED STATES), ERIK TAWASTSTJERNA (FINLAND),
do convey a delightful feeling of freshly minted thought which can also be ALEXANDER TORADZE (GEORGIA / UNITED STATES)
heard in the first of Schuberts D899 set, even if the others are highly
organised. So are Chopins, but in such a way that each new impromptu takes ARTISTIC COLLABORATORS: LEONARD SLATKIN (CONDUCTOR FINAL ROUND),
seed from the last one, as though they hardly needed composing at all; an NICHOLAS McGEGAN (CONDUCTOR SEMIFINAL ROUND),
elegant illusion which could not survive long as Romanticism laid ever greater BRENTANO STRING QUARTET, FORT WORTH SYMPHONY ORCHESTRA
stress on music as intense personal expression. Imagine Brahms writing an
impromptu, or Rachmaninov.
The form survived in the hands of Scriabin and a few others, but what it 30 COMPETITORS. 16 COUNTRIES REPRESENTED.
passed down to us was the more fundamental impulse of improvisation,
written down and refined without losing the initial inspiration of taking a
melody for a walk. Think of Dave Brubecks Take Five as an impromptu, or WATCH THE ENTIRE COMPETITION AT
CLIBURN.ORG
Count Basies Satin Doll. Better yet, sit down at the piano with a tune and
compose your own impromtptu. Peter Quantrill

P24 HTP Lucy-FINALish.indd 25 15/03/2017 10:22

 26 Pianist 90

p26_pianist95.indd 26 15/03/2017 10:23

 Pianist 95
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p27_Scores Intro 95-FINALish.indd 23 16/03/2017 10:00

 TRACK 1
Laurent de SAINT-LUC (b.1669) BEGINNER
Bourre
Giocoso q = 132
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f
2 1

f. f.
5 5

? # fF f. F f. F- f
2
f
.
4 1
f f
1

f f
2 1

F- f f f
5 5

? # f. F f. f f. 1 2 4 1

F f
f. f.f.
2 1
f f f f f f f
5 5

# .f. f. F f. F- 1 2 4 1

f f f f f . f f f f f. fj f F
17
F
2 1

f f f f f
5 3 5 1 3

& . . . .
2

#
1 4 1

f f f f f. fj f

{{
17 2 1

f f f f f. f. f f f f f. f.
5 3 5 1 3

& # .
17
pf Suddenly f f f f f f F
f f f F . -
3 1
f f f f f f j
3
17
& # f dynamicsf in both hands.
lower the
. f. f . f. f
f f f f ff. fj f F f f-

17? # p
& # pF f f f f. ff..
f f f f f
3 1 3

. ff.. f. . .

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? # f
3
f f f f F
f f f f f f. f f f f j
1 3
F
.
f-
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1 4 2 1

f f f f
4

. . .
4

.
5

? # pF F f. Fhold
5

f
. on the Flast note is needed.. f-
1 2 1
f f
4 bar 8, down the bass note
f. Pianistf
. f. .
4 4

?# F F f.
while the next
f f
two notes play. A firm
1 2 1 5
4 28 95
f.
4 4

f. f. f . f accent
. f F
5 5

F
4
1
F 4
f. 4
2 1

.
5 5
1 4 2 1
4 4
P28 SCORES De Luc-FINAL.indd 28 5 14/03/2017 10:04
5
 TRACK 2
Johann Friedrich BURGMLLER (1806-1874) BEGINNER
Grace Op 100 No 8

b f.the problem lies

q = 63
. Playing tips: An exercise to help you master
Moderato 3
f f #
3

3 atf the piano, f f f f f f f f

&inb 4Paris, f Burgmller f
f nf f came from a Rhenish musical J. withthe thumb,f whichf needs f ntof move f quickly under the hand. b Jf.
1
The author of 25 Easy and3 Progressive Studiesq2Op
Moderato 1100 and many other pedagogical
= 63 3 2 1 3 2 1
3 the turn ornament:
2
works for early learners 3
f f thefscore. f #f f J

{{
3

3 f f f f f f J f
b n n well,
family but settled where he became a fashionable writer of songs. Take a look at the technical tips within 1

baref.. light
3 2
f f f f f f
3 1
q = 63
& 4 p molto legato e leggiero f f f f f.keeping them close to the keys and ensuringf the demisemiquavers
Moderato
f f
3 2 1 2 3 2 1
3
q
f #
3

. . . even.
Moderato The RH takes on the hard work in the first 8 bars. Articulate the fingers
f f
= 63

b 3Moderato f n f J f n f b J
f
1 3
f f
3

#f fJ. f
2
F
f f f f F
f f f f
3 1 3 and
& 4 F f f F f f f f f f
3 1 2 3 2 1

& bb 43 pFfFFmoltoflegato
? f f f f f ffJ ff Ff f f nf f
2

f nfe leggiero bfff. ff.

1
q
.
3 1 3 2

{{
= 63
.
3 2 1 2 3 2 1
3
f f #
3
f f F f f f
The key is F major.
f f f F f Jf f
& bb 43 ppFfFmolto
? flegato f nfe leggiero f f
fJ. f. f fF f f nf f
3 2 1

f
3 3 2 1 3

. ff.
2 1 2 1

f . f. F F f f . ff.
? 43 FF F f
ff ff FF f
molto legato e leggiero

? 43 F b f. f. f f
b FF
p molto legato e leggiero FF finger ready to strike the next quaver.
Once youve placed the thumb, get the third ff. ff.
? b 43 F f f f f f.
4
f f f f f f fF f.
2
1
f f f
f f f f
f f F 1 2
>
f f f n f f f b f f #f ff .ff
3
f
f nf f #f f #f J.
3 3 3

f f f f f f f Jf. >f f f f
1 4 1

3& b
f
3 1

f
3
f n b
1 1 1 2 3

f f J.
4
f f #
2

n f
all the notes#offthe chord
f f f

{{
f f f f
3
f
3

# J f J >
In the LH, keep the fingers close to the keys. 1 4
f f f . f f f f f f f f f f f. >f f f n f f b f
1

3& b
f f f f
3 1 The LH staccato quaver chords should be lighter than the minim chords.
3 1 1
f f 1 2 3

f f fJ.. . f f f n f f f b f f #f f J.. .
Make sure sound.
f
4

f f f #f f ffJ.. f. fF f f
2

n f f f f
3
f
3

#
1 1 2 3 1 4
f f f
4 1

f
& b FFf nf f #f f f f #f fffJf. ff FFf f f f f f f f f f fffJf. fff #>FFFf f f f #f ffJ. ff
3 1 2
3
F
3 1 3 3

3? b
1 4 1

n f f b f f #f f fJf.. ff.
3 1

{{
& b FFf nf f f f f f #f fff. ff. FF . f. F
3 1 4 1 1 2 3
2

f
3 3

# J J
1 4

? f f
f. f. #FF
1

F f f f ff ff
& bb FF The . F
3 1
3

. Jf. f.
1

? b FFFF finger has to be ready to strike. ffffff. ffffff. FFFF

fff. fff. #FF
4

ff. ff.
third, and then the fourth,

?b F ff ff #FFF ff. ff.

. ff. F . f. F
4

F F ff FF f
fff nfff f#FF .
fff ff
6? f n
4
F ffff f
4
f f Phrase f f f f f n f f f f
b nf f #f f f. nfeven. f making
f #f fit smooth nf f f f f .
3
the scale f
3 3 1 3 1

f f # afpleasure to play! J
4 4 3

f
above,
6& b f f f f
f nf f f #f f Jf. f nf f #f f f f f #f f f n f f n f f nf f f f f f f f n f f J.
1 1
f
1 3 1

3 4
and Its

{{
3 3 3 1 3 1
4 4 3

6& b f f f f f.
1 1

n f f n f f dim.
1 3 3 1 4

n J f f f f n f pp f
fF f f f f nf f f ##ff f ff... f. ff nnff f #f f f f f ##ff f ff n f f n f f nnfFf f ff f ff f f f n f f fJ.
f f f
3 1 4
f f f f f f f
3 3 1 3
4 3

b
1 1
3 1 3 3 3 1 3

& F
6 3 1 1

6? b f f f f
fJ f ff f #f f ff ff n f f f dim. F f f f f n f pp Jfj
1 4 3 1 4
1 3 1

{{
3

&b F
3
f n f f f f J .
3
.
#f ff ff Jff nf f #f f Jf #f Jff f f f f
3
n f 1

ndim. f
FfF fBring
3
f 1

? f fdown the ppf J.

4 3
F
& bb F
1 1
1 3 1

pp j Fine
3

Jf. f. fJ f f f
1

fJf fJf
1

? b FFF ff. ff. ff FF f.

2 3
dim. sound gradually.

?b f f f f
f f
f F
F j Fine
j
1

J J J
1

. .
pp
f f f
dim.
f.
2 3

9?
F
F f
f f
f J
f
f J
f
f J
f
f F
F f. jf.Fine
. f. f. LHf^chords tofJbe light andf.even.ffJ.Makef. suref.to sound rests.
1 1

b ff . . . . .
4

f
2 3 5
f #f . J
2

ff. ff. ff nff fffJ ff fff ff fff ff f f nf f

5
f f f f f f
1 5 the 1 4

9& b f ff nff ff nff

3
2 33 1 3 3
Fine
. . . ^ . . . . . . . .Fine
4

{{
f
5
f f f f #
1
5 2 1
f f f f f f f f f f
5 4

9& b f f f
ff nff ff nff ff. ff. ff ncresc. f
ff ff ff ff ff ff ff f nf f f f 33
f 1 3
f J.
2
3 3

. . . ^ . . . . . . .
4

f. f. ff. nff. ff. ff. ff. ff. ff. f f f nf f f f f #f f fJf.

5

ff. nff. ff. nff^

5 2

ff
4 5 4

b
mf 3 f3 1 3 3 5

& b mfff f f nf fBring out

9
ff ntheff topff nf f f # f f ff ff ff ncresc. ff ff ff ff ff ff ffFfF f f nf f f f f #f f ffJ .
2

5 5 4
1 3

{{
3 3

ff. f
3

& F offf. theff.chord.ff. ff^ F ff. ff. ff. ff. ff. ff. ff. ff. ff. f f
4

? b fff
9 5
f #
5 2

f f f
5
notes 4

f nf nf f f f f f nfff fff fff fff fff fff fFf

f f F
f f nf f
1 3
f fJ f.
? b mff f nf f F f f f f f # f F f f f cresc.
3 3 3

& mf f
.f f. f. f. f. f fF
cresc.

f. f. f. f. f. f fFFF
f f f f #f f F ff .
? b mfff f ff nnff ff FF
2 2 1 5

f f #f f F ff f.
2

The? f. f. f. f. f. f FF
cresc.
f f f f f f ff f.
2 2 1 5

b f f f nf f F f f f #f f F
2
LH takes on the turn. But its easier because the thumb is not involved.

13?
.f nf. f. f^ .f f. f.f ff. f . f f.f .f f. . j poco f
2 4 2 1 5

b ff
rit.
- rit.f- f.
2 2 2
2 5 1 5

13& b f ff n ff ff nff n fff f fff f fff f fpoco

4

f f f f
2 2 3 2

. nf. f. f^ ff. ff. f. f. f. f. f. f. f. f. j poco

f f f f f f f J.
4

{{
- -
2 2 2 1 5

f f
5

b f f n f n n f f f
4 2

13& f f f f f f f f f f
2 3 2

f. f. f. ff^ ff. ff. f. cresc. f. f. f. f. f. f. dim. f. j poco rit.

ff. nff.. f.. ff.. f.. ff.. f.. f. j f-. . f-. . Jf..
4
2 rit.
ff ff. nnff. ff. nf^ f . .
4 5

b
mf 4

& ff f f nf f F ff nnff ff nff f # f f F ff ff ff ncresc. f f f ff- nff rit. bfff- ff ffJf.

13 2 2 3 2

f f f f f f dim.
5

13? b mf
ff. f. ff. ff^ f f f ff. ff. ff. ffff.. fff.. ffff.. fff.. ffff.. fff.. fJff... j poco

{{
4

& b ff f
4 2 3 2

-. nff. bff-. ff. fJff.

2

n #
5

b f f n f f f n f f n f ncresc.f f f f f
4

& mff f f f f f
2 3 2

? F f f f f f F f f f cresc. f.. f..In thef.. lastf..bar,fbring

f f f f f. f.out thedim.
f fJf. . . . . J.
dim.
mf
Keep thebdemisemiquavers
f f nflight f f f #f f . . ff.LH part.
f. nff. D.bffC.
2 1 2 2 3
f f ff. fFine ff.
2 4

? b mff f f nf f FF
and even.
f f #f f F f fdescending f f linefin thef lowerdim. J
f f n f f b f f. f
al
f ff
?b f F f . f. f. .
f f. f. J. f beginning.
2 cresc. 1 2 2 3

f . . . f. ff.
2 4

f f f f f f
Return to the
f f f #f f
? b f f nf f F f f f f f f fJ f nffD.bffC. al
Pianist
29 95
D. C. al Fine
2
2
2
2 F 1
1
2
2
2
2
f f 3
3
4
4
Fine
P29 SCORES Burgmuller-FINAL.indd
2 29 2 1 2
D. C.
2
al
3
Fine
4 14/03/2017 10:06
 S
MIS
NTANIE

TRACK 3
DOM EL ICKS
SPAN ON
SW Jean-Louis STREABBOG (1835-1886) BEGINNER/
LESS HIS P
ON TPAGE
IECE
Distant Bells Op 63 No 6 INTERMEDIATE
20

Much the best-known of 12 Very Easy and Melodious Studies, Distant Bells is the
work of Belgian pedagogue Jean-Louis Gobbaerts (who reversed his surname for his
nom de plume). Other attrractive movements in the cycle include the opening Pleasant
Morning, No 3 On the Green and the jaunty Chasing Butterflies, No 11.
Playing tips: Even if an exercise, its very different to the Burgmller one that
features on the previous page. This is all about a calm, even and extremely quiet RH
(which is tricky to execute by itself ). A much stronger and more sonorous sound is
needed in the LH, which has to pass over the RH in every bar. The LH jump should
be mastered so that it doesnt sound effortful. You will notice there are two types of
suggested fingerings at the start: seee which works best for your hand.
Pedal tips: Suggested pedalling by Melanie Spanswick is marked on the score.
Read Melanie Spanswicks step-by-step lesson on this piece on page 20.

Andante q = 80

/0 5 4
/0 < >
5 4

c
3 2 1 4 3 2 1

& ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f

{
pp

?c f
^ ^ F^
& F ? & F ? &
?
5
f f 2
2 5
p 2

& ff f f f ff f f f ff f ff f ff f ff f

{
f f f f f f f f f f f f f f

? f F^ ? f
^
F ?
^
F ?
& & f &

& ff f ff f ff f ff f
1 2

ff f f F

{
f f f f f f f f
? F^ ^ ^
&
? f &
f ? & F ?
f f
2

10

& f
1 2

f #F f #F F

{
f f f f f f f f f
^ ^ ^
? f ? f F ? F ?
&F & f &

2 2 2

30 Pianist 95

P30 SCORES Streabbog-FINAL.indd 30 14/03/2017 10:07

 TRACK 3
Jean-Louis STREABBOG (1835-1886) BEGINNER/
INTERMEDIATE
13
Distant Bells Op 63 No 6
5 4 2

f
13
&
1 2 1 3 1 2 1

F #F #f f
5

f
4 2

{{
#f f
13
&
1 2 1 3 1 2 1

f f f f F f f f f #F f f #f
5
f
4
f
2
f
#f f
13
&
1 2 1 3 1 2 1

f f f f F f f f f #F f f #f
5
f
4
f
2
f
& #f f
1 2 1 3 1 2 1

f f f f F^ f f f f #F^ f f #f f f f
f f f f f f f ^ f #f f F f
?
? f &F ^
^
? f &F ^ ? F #F
#F
? f F^
? f &F ^ ? F #F
? f &F ? f &F
? F #F
f &F ? f ? F
1

&F
5
&
3

f 5 1
3

5 1
3

5 1
3

16 4
4 2
16
&
4

f
4
f f f ff ff ff ff fff fff fff fff

{{
16 2

& f f f f
4
16
f
4
f f f ff 2
f ff f ff f ff f ff ff ff ff
& f f f f
4

f
4
f f f ff 2
f ff f ff f ff f ff ff ff ff
& ff f f f pp
pp ff f
f ff f
f ff^ f
f ff f
f? f f
f f f
f f^ f
f f f
f?
? ff F^ ^
&F
pp
? ff pp f &F ^ ? f F^ ?
? ff f &F ^ ? f &F ^ ?
? 1
f pf
&F ? f &F ?

pf & &
2

f
1

2
1 p

2
1 p


2

19
19
& fff fff fff fff ff ff ff ff ff ff ff ff

{{
19
19
& ff f ff fff f ff f ff f ff f ff f ff f ff f ff f ff f ff f
& ff f ff fff f ff f ff f ff f ff f ff f ff f ff f ff f ff f
& f f
f f f
ffF^ f
f f f
f? ff f ff f ff^ f ff f ff f ff f ff^ f ff f
? ^ f f F^ f f? f f F^ f f?
? &F ^ f &F ^ f ^
? f &F ^
?
f &F
?
f &F ?
& ^ ^
f ? ? &F ?
? f &F ? f F ? f &F ?
f & f & f &


22
22
& fff fff fff fff fff fff fff fff ff ff ff ff

{{
22
22
& ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f
& ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f
& f f
f f f
f f^ f
f f f
f? f f
f f f
f fF^ f
f f f
f? ff f
f ff f
f ff^ f
f ff f
f?
? ^ ^ F^
? f &F ^ ? f &F F^ ? f &F ^ ?
? f &FF^ ? f &F ^ ? f &F ^ ?
? f &F ? f & ? f
f &F ?
f & f & &


25 poco rit.

25 poco rit.
& ff ff f ffff ff ff ff f ffff ff ff ff f ffff
poco rit.

{{
25
25
& ff f ff f ff f ff f ff f ff f ff
poco
f rit.
ff
& ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f ff
& ff f ff f ff f ff f ff f ff f ff^ f ff f ff f ff f f
? f f F^ f f? f f F^ f f? f f f
? f &F ^ f &F ^ f &f
& ^^
? ?
? f F ? f &F ^ ? f &f
? f &F ? f &F ? f &
f & f & f &

31 Pianist 95

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 TRACK 4
Johann Caspar Ferdinand FISCHER (1656-1746) INTERMEDIATE
Praeludium harpeggiato

This C major Prelude is a French-style counterpart to the opening of the Well-Tempered
Clavier from a Saxon musician who introduced the musical manners of Lully to his
native German culture. Bach was familiar with Fischers harpsichord suites,
published together in 1738 under the name of Musikalisches Parnassus, in which
each suite is named after an ancient Muse; in this case Clio, the Muse of History.
Playing tips: The subtle harmonies change from bar to bar, and one needs to hear
a long sense of line. We suggest practising the LH first, on its own, aiming to produce
a rich but quiet sound (making sure both notes sound!), with a slight emphasis on
the bottom note. The LH is the anchoring bass-line. Above it, the RH should play
calm and even semiquavers, as if they are following what the bass line has to say. Start
out by practising slowly, building up over time. Pay attention to the rhythm and
pulse, making sure that you keep in time.
Pedal tips: Follow the markings on the score. There needs to be a sonorous bass
pedal throughout.

Moderato q = 116
5

3 f f f
1

f f f
&4 f f f f f f f f f f f
5
1
f

{
mp
f f f f f f
? 43 f f f f f f

3
f f f f f f
& f f f f f f f f f f f f

{ ? ff

f
f
f
f
f
f
sim.
f
f
f
f

f f f f f f f f f
5
b
5

& f f f f f f f f f
2

{
mf

? ff f
f
f
f
f
f
f
f
f
f
1
4

f f f
7
f f f
& f f f f f f f f f f f f

{ ? ff
1
4
ff ff f
f
f
f
f
f

32 Pianist 95

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 TRACK 4
Johann Caspar Ferdinand FISCHER (1656-1746) INTERMEDIATE
Praeludium harpeggiato
9
f f f
& f f f f f f f f f f f f f f f

{ ? ff ff ff f
f
f
f
f
f

11

& f f f f f f f f f f f f f f f f f f

{ ? ff
ff ff ff ff ff

13

& f f f f f f f f f f f f f f f f f f

{ f
? f
ff ff f
#f
1
4
f
f
f
f

15

& f f f f f f f f f f f f f f f f f f

{ f
? f
ff ff f
f
f
f
f
f

17

& f f f f f f f f f f f f f f f f f f FF

{
p
f ff ff ff ff ff F
? f F
33 Pianist 95

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 TRACK 5
Ray NOBLE (1903-1978) INTERMEDIATE
The Very Thought Of You

What became a hit number for musicians from Billy Holiday to Michael Bubl
began life in 1934 as a song by Ray Noble, the Brighton-born bandleader who
emigrated to the US the same year. Originally sung by Al Bowlly, it was immortalized
by Casablanca (1942) in an instrumental-only version which is played in Ricks club,
just before Ilses first entry.
Playing tips: The note-learning may look easy but the LH takes some mastering
because of its wide jumps, even with the tempo being relatively slow. Practise the
LH on its own. When you jump to the next note (or group of notes), the hand should
be poised ready over the keys, just for a split second, before you strike. Its easy to miss
a LH note too (they should all sound quiet under the RH melody). On page 16, Mark
Tanner discusses striking the keys to ensure they sound, even at the quietest of
dynamics. The tender melody is played by the RH. Sing it to yourself first to get a
sense of the line and the depth of tone needed to prolong the long tied minim notes.
Pedal tips: Change the pedal twice in a bar, on every bass note.

The Very Thought Of You. Words & Music by Ray Noble Copyright 1934 Redwood Music Limited/Chester Music Limited trading as Campbell Connelly & Co for World excluding British reversionary territories and USA. All Rights Reserved. International Copyright Secured.
q = 76
b b4
A

&b b 4 j
1 3

f F

{
f f f f F f f f f
1. The ve - ry thought of you and I for -
mf
ff ff ff ff
(2.) - dea of you, the long - ing

? bb b 44 f
b f f f
5 1
2 5

b
4 A6 A

& b bb f f F j j
1 2

F f f f f f f f f

{
get to do, the lit - tle or - di - nar - y
here for you, you'll nev - er know how slow the

? bb b ff ff ff ff ff ff
b f f f f f f

b
7 B7

& b bb f
j
3

f f f f f
w f F
nw

{
things that ev - 'ry - one ought to do.
mo - ments go 'till I'm near to you,

ff ff
? bb b f f
b f f
f f
5 1 5

j f j
5

b
9 E7 F 2

& b bb FFF
f f
4 1
ff f f f f f FF
3 5

ff ff ff

{
f F f
2
1
I'm liv - ing in a kind of day - dream I'm
I see your face in ev - 'ry flow - er; your

? bb b f f f F F
b f F F
1 5 2
5

34 Pianist 95

P34 SCORES Very Thought-FINAL.indd 34 14/03/2017 10:09

 TRACK 5 1.
Ray NOBLE (1903-1978) INTERMEDIATE
F7 G
1. The Very ThoughtG7 Of You C A/B
bb j j
12
j
5

& bbbbb f
F7 5 G G7 C A/B
fj f fj j
1. 5 4

F
12
fj
5

n fff f f

{{
ff ff n fff
F7 G G7 C A/B

5

& bbbb f fj f fj fj
5 4

F
12
f f ff fj
5

12& b
ff ff n ff ff
5
f f
1.
n ff fj
5 4
F7
ff f
as ff f F
G

G7
n ff f
C
ff f
A/B
ff f

b b f j j nf f itj
5 2

fool ff
& b b hap -f
5
f
1

j
5 4

fpy faa f
2
-
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and
fff
ish
f
tho'
fit

{
- f ff
F as n ff ffool
1

f king, f
2

? b b hap fool -f ff
hap 1 py - ish tho'

? bbbb F
- py as a king, and f ish tho' it
Fas F F
? bbbb hap
2

F Ffool ntho'
F
1
Fking, F
The Very Thought Of You. Words & Music by Ray Noble Copyright 1934 Redwood Music Limited/Chester Music Limited trading as Campbell Connelly & Co for World excluding British reversionary territories and USA. All Rights Reserved. International Copyright Secured.

bb
1 - py F a and
F
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nF
it
F F F
? bb F nF
3
F
1

bb
1 3

F F F F nF
3
1
3

b b B7
15 B7 B7 E7

& bbbbb B7
4 5 3 2

F
fffff ff
1 3

f f
15 B7 E7
f n FFF bfff f F fff fff f

{{
F f
4 5 3 2

& bbbb f f
1 3

f f
15 B7 E7
n FF F bff fff f f F fff fff f
4 5 3 2

15& b B7 f
1 3

f f ff f fff fff f f
b b n FF
B7
bf f E7
F f2. The f f fi -
& b b may
4 5 3 2

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1 3

f n FFF f f f -
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bff f
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{
f f f fii --
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-
? bb b may
may seem, to me ev - 'ry thing. mere

? bbbb bF fj that's - 'ry -

Jf

seem, to me ev thing. mere

bF fj that's F
? bbbb bmay
F Fme Jf2. The
bF f F J
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b bF
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5

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bF F f f
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b 5
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bF F 5
2.
F
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j j U"
5

bb
18 F
2.5 D
2 E7/B A

& bbbbb f fj f fj U "

5
1 2 4

ff ff
18 F D E7/B A

n FFF
f
5 2

ff"

{{
& bbbb f fj
f fj U f fF f f ff f f
5 2 4
ff ff f f f
18 1
2.5 2

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f F
ff f
f ff f
1

n FF
D
f " ff
f
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f 4
f fF
E7/B
f f ff A
f f f
j stars j U f fF f f ff f f
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5

bbb eyes f f FF ff it's f f

5 2 2

b f f
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& eyes
1 1 2 4
2
ff finin ff faa -- FF Uffj "it's
just the thought of you, the ver - y

{
stars n bove, f fF fof f ff f - fy
3
1

? bb b eyes
2
f f F U f
ffj "it's just
f
the
F
thought
you, #F
you,
f
the ver
nU
1

? bbbb F F f nffj "it's

F n#F
3 in stars a - bove, just the thought of the ver - y

? bbbb eyes Fstars n bove, you, n#F

n F
F
2

f nU f
b FF
1

F F nF
j"
in a - just the thought of 2 the ver - y
f
3 1

n F
5

? bb b F #F
nff F
5 2

3 1 5

b F F nF
5

f
3 2

nF
1

F
5

f
5

3 2
1 5
5

B7 E7 A

U
5

b w
21 B7 E7 A

& bbbbbb fF
2 4

ff w
2

ff f f U
w
5
1
F f
21 B7 E7 A 2 4

w
2

{{
& bbb B7 f F ff f f U
w
5
F f
1
f
21 2 4

fFFF w
2

21& b b

f F 1
ff
E7
F
A
f f 1
f f w
fFF U

f F f
5

bbbthought Flove. f w
2 4

ff w
2 1

b
& thought ff f f w
U
1
of you, my
Flove. f 1
w

{
fF fof F f Flove. f f U
w
? bb bthought
nFFF
you, my 3
ff f f U
w
? bbbb nF w
f
1
of you, my 3
ff f f f w
? bbbbthought
n w
f
U
3

b F ff f w
f w F

of you, my love.
f w u
F
1

? bb b nFF f f
4

u
3
ff f F
1

b w
4

u
1
4
f 35 Pianist 95
F
u
1
4

P34 SCORES Very Thought-FINAL.indd 35 14/03/2017 10:10

 TRACK 6
Arcangelo CORELLI (1653-1713) INTERMEDIATE
Preludio from Sonata in E minor Op 5 No 8

I never met with any man that suffered his passions to hurry him away with so much dynamic on the second beat at bar 17 should bring new drama. There are technical
whilst he was playing on the violin as the famous Arcangelo Corelli, whose eyes issues such as the descending quaver octaves in bars 27 and 30: try not to freeze the
will sometimes turn as red as fire. This contemporary report leaves no doubt of the wrist in such places. Notice how the hands share the conversation (e.g. bar 23) just as
high emotions to be stirred by music which was originally published in 1700 as a violin the violin and keyboard do in the original. Pay attention to the phrase markings, slurs,
sonata; this transcription places the violin melody in the RH. accents and dynamics. Remember to voice the RH chords, emphasizing the top note.
Playing tips: Largo means slow and broad; we suggest counting out the pulse for Pedal tips: There are no pedal markings, as the Baroque style demands a detached
a couple of bars before setting out. Play deep into the keys for a rich sound and sense quality, especially in the LH octaves. When aiming for legato phrasing in the RH,
of stately grandeur (notice how often one has to play forte). A sudden change of use finger legato before adding the odd dab of pedal.

>>f
Largo
Largo
ff
5 5

##Largo
33 ff ##fff FF ##fff ff ff ff ##FF nnff
2 4 5 5

FF ff
4 5

FF>>f ff
2 4
FF ff ff
1

& 4 ff ff
4 5
Largo 1

& # 4 ff FF f FF

{{
fff FF
5 5

FF f ff ff ff
5

# 33 fff
5

##fff ##fff ff ##FF nf

2 4
FF ff
FF nf
2 4 4 5
FF ff ff FFf ff
1

& 44 mf
& ff
4 5
ff
1

f FF f f FF ff
ff ff ##FF
mf

? ## 4433 mf
? FF ff ff FF ff
mf ff FF ff ff FF ff ff ff ##FF
? ## 4433
? ff F f f
ff
F
FF
f
ff
f
ff f
ff #F
##FF
f FF ff
ff
>>f >>f >>ff
ffjj
6
## f j >>f f FF
ff ffj
6
f >>ff
4

& F ff FF FF f >f
FFf
4

6 & Ff FF j ff FF
f ##ff >>ff >>ff >ff

{{
## fff ffj j Fff ff FF
ffj
6
f
4

& ff ff 4
FF ff FF f fff
& FFfff FF FFf
FF
f ##ff ff
1 1
1 1
ffF Ffff F ff
f
cresc.
? F FF
? ## FF ##fff f ##FF nnff
cresc.
1 1
F
FF ##ff ff ##FF
FF ff ff
1 1

F f ## ff ## >FF ff nn ff ## FF
cresc.
?
? ## FF ##fff f
cresc.
FFF ff
F f F ff f #f #>F f nf #F
ff ## ff ## >FF ff nn ff ## FF
>
ff ff ff
## FF ff ffF ff FF
12 4
12
ff ff ff ff ff ff ff ff
4
3

12&
FF ff f FF ff FFff ff FF
3

&# ff ff ff

{{
12
FF ff ff ffF ff ff
#
4

ff ff ff ff f ff FF
4

FF ff ff
3

& f fF ff FFff
3

& F ff f fF
ff ff ff ff pF
pF
ff FF ff
?
? ## ff nnff FF ff FffF ff ff FF
FF ff ff FF ff pf
p
f ff
?
? ## ff nn ff FF ff FF ff FF ff ff
ff FF ff ff ff
f nf F f F f F ff f
ff nn ff FF ff FF ff FF f
ff ff f
ff
5

jj >>
5 5
4

ff
4

##
4 5
3 1

ff
18
ffFFF ff f ff
5 1
ff ##f ##fff ##>FFff
4 2 3
1

ff
18
f
5

##ff ##ff
2 5

& ff ff FF
1 1 5

ff ff JfJjj
4

18& f >FF
1 5

FF

{{
4

f
5

##
1

f FF
4 3
ff f
18
fff ff
5 4 1

ff ##fff
3

##fffJ ##FFff
2 1

ffFF ff
5

##ff ##ff
2 1

& ff ff FF
1

& ff ff f
1

FF cresc.
cresc. f fJ
f FF FF
?
? ## ff ff ##ff ff ff ff FF ff ff ff
FF

cresc.
ff ff FF
## ff >>fff ff
cresc.
? ff ff ff ff
ff ff
? ## f f #f f f
ff f FF f f ff FF
F


ff ff ## ff ff ff FF ff ff >>ff f
ff FF

36 Pianist 95

r
r
P36 SCORES Corelli-FINAL.indd 36 14/03/2017 10:12
 TRACK 6
Arcangelo CORELLI (1653-1713) INTERMEDIATE
ff Op 5ff No #8f
ff Preludio from Sonata inffE minor FF
## ff
23 3
ff
ff ##fff FF ff fFF ff ##ff ff
1

23 3

& f FF
23
#
3

ff
23 3
1

& ff f ##fff FF fff ffF f ff

1

{{
FF fff
F f #ff
1

&#
23 3

f f f f
1
F f f f F ff
& f f F f nn Fff
ff # ff
cresc.
ff f #f
mf
? ##
mf ff F
cresc.
cresc.
nf ff ## ff
f ff ##ff
mf
ff
cresc.
?
mf
ff FF nnff f
?# ##ff
cresc.
ff f #f f
mf
?# f # FF nf f
f f f f f #f
#f F
4

## nnff
27 3

ffff ff
5 4 4

ff ff
4

f nnffff
FF
27 1

& ##ff ff FF f ##ff

27 4
3

#
5
ff ff
4

nnFffF
5 3
27 4

ff
3
1
f
5

& FFF
4

{{
fFfFFf ff f
1

FF ff
4

&#
1
27
nfFf f ff #f
5
f
4
f nfff f
3
#f ff FF
f
1

& nF f ff ff #f f nf Ff #f f
Fff f F f F
ff nn ff
sf

? ## ff ff ##ffff ff sf
sf
ff ff ff
ff nf ff ff ff
sf
?
?# nnff f ff #f ff ff ff ff f
f
sf
ff ##ff ff f ff ff ff ff ff
?# f nf f f f ff f ff ff f f f
f f #f f f f f f f f f
f f f
f >>
>>
31
##
4
>ff ff ff ff ff >ff
>ff ff ##ff >f
1

ff ff
31 4

& ff f
31 4

# ff ff ff ff f ff
31 4
1

ff #fff ##fff
1

& f ff

{{
ff ff ff
1
31
&# f
4
ff ff ff f ff
ff fff ff f ff f #ff #f
1

& f f f f f f f f pf
f f f f #f
f f f ff ff FF pf
p
p
? ## FF ff pf
? ##FF ff ff ff nnff f ff F f FF ff
?# ## FF f nf ff FF ff
?# #F >>fff >fff f nf f F f
>>f f f F
1

>f F f
4

#F
1
1 4

>
4

>
1 4
1 4

>>
35
## ff >ff ff ff ffff ff F ##ff nnff
5
35
FfF ff >f ff FFFFfff fF
5
ff ff
& f
35
#
5

ff ffff ffF
35
#f FF nf
5

& f

{{
35
&# fF ff ff fff ff FFf fFF f f
#f F nf
5

F f f ff f
& ff f ff f FF f f
FF ## ff F
cresc.
ff fff
? ##
cresc.
FFF # ff
cresc.
fff
cresc.
?
?# FF f ##ff fff ff
cresc.
ff FF ## FF
?# ff FF ff
f #f f f
ff f ## FF
f F ff #F
f f F #F
f
39
##
39
ff
39
39 3 5

ff ff
4

& # ff
3
ff ff ff ff
5
ff FF f
## ff ##ff
5 4

& f
3

{{
F
39 4

fJf
3 5

&# ff FfF f ff
4

f JffJ ff f f FF ff FF
# ff #f
5
f
3
f ff
4

& Ff f ff
f f Ff
f F # ff Jfff f ff
F #f F
?
? ## F
?# FF ff FF f ff ff FF FF
?# F
FF
f
ff
FF ff f
ff
FF FFF
F f F F
F f F fPianist f F
37 95

P36 SCORES Corelli-FINAL.indd 37 14/03/2017 10:12

 TRACK 7
Isaac ALBENIZ (1860-1909) INTERMEDIATE
Autumn from The Seasons Op 201 No 3

As a fluent improviser, Albniz composed with ease and swiftness, and its equally the notes need to sound (Mark Tanners masterclass on page 16 may help). Even if
easy to hear in this four-movement suite (composed in 1900 and published in Paris) there seem to be lots of notes (especially in the RH), they fit comfortably under the
how he transferred the guitar idiom of his native Spain into piano music with a hand. Unusually, the melody appears in the LH. Work on this first to create a firm
French inflection. This melancholy piece of Debussyan Impressionism seems to sense of line. A development begins in bar 9, before the opening music returns in
evoke the leaves falling from the trees and the wind that carries them away; the cycle bar 17 with a wonderful change in harmonic colour around bars 19-20, followed
concludes with a windy winters day full of staccatissimo teeth-chattering. by a coda which dies away (perdendosi).
Playing tips: This delightful gem starts out pianissimo, requiring a light but firm Pedal tips: Even if ample pedal is required, make clean changes. Every note needs
touch. Bear in mind theAndantino q =rhythm.
wonderfully lilting 12/8 84 No matter how quiet, all to sound like a shimmering pearl.
Andantino leggiero q = 84
Andantino q = 84
12 ff ff f f ff f ff f f f f f f
leggiero
5 3
2 1 3 1
leggiero 3 1

& 12 8 f f f f f f f f f f f f f #f ff f
5 3 1 3
2 1 3 1
3 3 1

{{
12
& 88 ppp
5

& f f f f f f ##ff f ff
2 1 1 3

f f
3 1 3 1

f
1 3

^
f^^ cresc. j
cresc.
# n
ppp

ppp
1 2
f 1
f fjj
? 12 w
1
ff cresc. 2
## ff 1
nn ff f
8 w f
? 12
?
1

2 1

12
88 w

marcato il canto e legato
il canto e legato
5

marcato
il canto e legato
5

marcato

5
2
ff f f
& ff ff ff ff ff ff ff ff ff ff ff ff ff #f ff f ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff

2
2

{{
&
& f f f f f f f f f ##ff f ff f f f f f f f f f f f f f f f f
^ una corda.
j
f^^ una corda.# f
una corda.
n f f j
j F f # fjj

1 2

w f # n j #
2

? w f f f f
F f f
f #f nf F f # f &
2 1 2

? f ff 1 2

w
2

? sim.
cresc.
&
&
sim. cresc.
sim.
ff cresc.

f f f f ff f ff f ff f ff f ff ff ff f ff f ff f ##ff #f ff f nnff f ff f
4 sempre e leggiero 1 2 1
f f f f ee leggiero
3

4 3 4 3
sempre
& ff f ff f ff f ff f f f f f f f f f
4 1

f ff f ff f ff #f ##ff f ff nf ff f f
1 2 1 3
4 sempre leggiero 4 3 4 3

{{
1

&
2 1 3 1

& f f pp
4 3 4 3

f f f f f f f
1

^ cresc.
j pp b ^^ cresc. j
& j f #f f j f nf pp
b
f
cresc.
f b f f jj
& f # f fj f nf w
bff f b
bff f
& ffjj f #cresc.
f f f nf w f f
w
1 2 1 2 1 3 1
1 5
2 1 2 1 3 1
f
ff
1 2 cresc. 1 2 5 1 3 1
cresc. 5

f ff ff f ff f ff f ##ff #f ff f nnff f ff f f f f f f f f f f f f f f f f f
6

1
f
3

&
6
f ff f ff f ff #f ##ff f ff nf f f f ff f ff f ff f ff f ff f ff f ff f ff f
3 1
6

{{
&
& una corda. f f f f f f f f f f
3 1

^ una corda. j
& w
bf^^ una corda.nf b f f
j
j F #f n f jj
& bbff nnff bbff f j f F #f n f
& w w sempre e legato f ff F #f nf3

3
3

f f f f #f f f f ff f ff f ff f ff f ff f ff f
sempre e legato
f f f f e legato f f f f #f f
8 2 2 1 1
3

& ff ff ff ff ff ff ff ff #f ff f ff ff f ff f ##ff ff ff ff f ff f ff f ff f ff f ff f ff
sempre
4 3 1 5 3
8 2 2 1 1
4 3 1 5 3 3 1
8

{{
2

#f f f f f f
2 1

&
3 3

& cresc.
4 3 1 5

^
marcato

f^^
2
j f marcato 2
f f f nf f f
1

& j ##ff
1

f f
cresc.

f marcato 2
j
w
2
f ff f f nf f f
cresc. 1

f
1

& ff ff
2
f j
2
f
1
fj #f f f
w f f nf f f
1

& fj 1
1
2
w
f 1 2 38 Pianist
95
2

P38 SCORES Albeniz-FINAL.indd 38 14/03/2017 10:12

 TRACK 7
Isaac ALBENIZ (1860-1909) INTERMEDIATE
Autumn from The Seasons Op 201 No 3
ffff ffff ffff ffff ffff ffff
10 4 2

f f
1

fff f fff f fff f fff f ff f ff f ffff ff f ff f ff f ff f

4 1
ff f ff f
3 4 2

ff ff ff ff
10
&
1 4 2
ff f ff f
10
f f f f f f f f f f f f f f f f
1 1
ffff
4 3 2

{{
10 4 1 4

& f ff f ff
1 3

& ff ff
4 3 1

&
j F f
f j f f f
&
& ff ffjj FF
w
f f
ff #fw
##fw ff ff ff f
ff f
ff
f
ff ff
&
& w
w f fw
#fw f f f f
w f f
2
3
2 5
2 3
2 3
5
5
3
5

f f f f ffff
12 sempre leggiero

fff ff fff ff fff ff fff ff ff f ff f f f

ffff f bf f f ffff ffff
sempre leggiero
ff ff ff ff
12
&
sempre leggiero
ff f ff f ff bf ff f ff f ff f ff f ff f
12
f f f f f f f f
sempre leggiero

{{
12
&
& ff ff f ff f ff f bbff f ff f ff f ff f ff f ff
&
j F
f j
ffw fjj FFF
& fw f f #ff nF f
&
& ff ##ff nnFF ff
& w
w f f #ff nFFF fff
F f

14
f bf f f ffff ffff ff
nf f f f ffff ffff
2 5 2 1
ff f f f
5 1

ffff
1 4 1
14
&
3

ff bf ff f
14
ff ff ff ff ff ff ff ff nnff ff ff ff ff ff ff ff ff ff ff ff
2
f ff ff f
5 5 1 2 1

ff f ff f
4 1

{{
14 2 5 1 1 2 1

& f bbff f ff
5 1 4 3
3 1

& f f f f nf f f f f ppffff
2 5 1 2 1

f ff f ff f ff
5 1 4 1

& f f fsempre
3

una corda sempre pp

sempre pp
&
sempre pp
fF
una
una corda
& fFf F corda
f f #F f f
&
una corda
& fFF F
F f ff ##FF ff ff
F f
f f #F f f

ritard. molto a tempo

16 ritard. molto 3 1 a f
tempo
fff fff ff f fff ff fff ff ff f ff f
2 1

ffff ffff f #f f f
ritard. molto a tempo
16
16
&
ritard.
2 1 molto 3 1
ffff a tempo
f #f f f
ff ff ff ff ff ff ff ff ff #f ff f ff f ff f f ff ff f ff f ff ff ff ff ff
2 1 3 1

{{
16
& ff #f ff f
3 1

& f ##ff f ff f ##ff f ff

2 1

& ffff ffff f ff f ff f ^ una corda f f

n F f^^^ una
una corda# f
una corda
nf fjjj
w
corda

? nn F f
ff ## ff nn ff ffj
& #F ?
? n F
F
F w
w f
&
& ? F
& ###FFF F

f
18 legato

ff fff ff f fff ff fff ff ff f ff f ##ff f ff f ff f ff f ffff

legato
18
18
& f #f f f
legato
ffff
f ff f ^ f ff f ff ff f ff f ##ff f ff f ff f ff f ff f ff f
legato
ff f ff f

{{
18
& ff #f ff f
&
& f ^ f f f ##ff fj ff f f f f ffff ffff
f^^ #f nf fjj
w ff
cresc.
? w f #
# f
f
nn ff ffj f
ff
cresc.
cresc.
j
? w
w f & f #fjj
cresc.
? f & F
& F
& FF ff ##ff
39 Pianist 95

P38 SCORES Albeniz-FINAL.indd 39 14/03/2017 10:12

 TRACK 7
Isaac ALBENIZ (1860-1909) INTERMEDIATE
20 Autumn fromrit. leggiero
The Seasons
f f f201 No 3
Op
f f
& ##ff bf ff f f nf f f f f f f rit.f f f f leggiero
f f f f nf f f f ffff ffff
20 rit. leggiero

{{
20
& #f bf f f f nf f f f f rit.f f f f leggiero
f f f f ff f nf f f f ffff ffff
& #cresc.bf f f nf f f f f f f f f f f f f f nf f f f ffff ffff
20

& f bf f f f nf fj fj f f f f f f f ^ nf f f f ffff ffff

fj ffj bf f^
cresc.
& j f cresc. #f f f f f #f f f
& fj f cresc. #f fj j bf f f f^ f f f #f
& fj f #f fj ffj bf f f ^f f f
f bf f f f f #f f f
& fj f #f f
f f f f f #f f f
f
rit. meno tempo
f f tempo
22 tempo

ffff ffff ffff ffff f f tempo

ff ffff ffff ffff
rit. meno
&
22
ffff ffff ffff ffff ff ffff ffff ffff
f f tempo

{{
&
22 rit. meno

ffff ffff ff ffff f f ff f f f f f con dolore

ffff ffff
rit. meno
22
& f f pp
& f f f f ^ f f f f ff ffff
f f pp ^ f f f f f con
dolore
ffff ffff
& f j ^ ? ^f & f
fj F f- dolore
pp
& ^ pp f ? ^f f- f- # f f- f-
f- f- # f- f- f-
con
f & f
& fj F^ f ? ^f f-
con dolore
f fj F f ? & f f- f- f # f- f f-
& f f F f f & f f- f- f- # f- f- f-
- - -
24 rit. ff
& ffff ffff ffff ffff f f ff f ff f ff f ff f ff f ff f ff f
24 rit.

ffff ffff ffff ffff ff f f f f f f f f f f f f f f f

{{
&
24 rit.

f f f f f f f f perdendosi
ffff ffff dim. fff ffff ffff ffff
rit.
&
24

& f f f f f f f f perdendosi
ffff ffff
poco
f f f f f f f
& f j poco dim.
f f f
& f #fj F
F
perdendosi
f f
poco dim. f f f
#fj perdendosi
f f dim. f
poco
f
& f F
#fj F f f f f f
& f #f f f f
quasi adagio
f f adagiof f
26 rit. molto

f f f f bf f f f f f #f f f adagio
f f f f f f f f f f nf #f f f
quasi
26
& f f f
rit.
fmolto

f f f f f f f f bf f f f f f #f f f f f f f f f nf #f f f
f f adagio

{{
26
&
rit. molto f quasi

f f f f bf f f f f f #f
f f f
rit.
f
molto
f
quasi
f f ppp f f f f f f f f nf f
& f f f f# f f f n f nf #fn f f
26
f f
^ f f f f f f f f bf f f f f f f #f f f^ f ppp f
dim.
& ? f f ^
f f # f f fn f #fn Jf f
f^^
dim.
& j f #f nf
bf f ^ pppf n Jf
ppp
dim.
f ? f
& f^ bf ? f
j f
^ f # f n f n fJ
j f
dim.
& f f
f bf f ? f J
&
fj
f bf f f
U
4

f UF 2

f U
4

ff f f f fU F 1

w
w
5 2
28 2

U
4 4

f f f f
f f f f f f f f #f f f
f f f
1 4 5
f f f
f f fU
2
F ?
1
w
w
& ff w
1 5 2
28 2 4

f F Uw
4

f f f f f f f f f f f f f #f f f f f f f f f f f f U

{{
f f ? w
1 4 5

1

&
1 2 2

Uw
28 2 5

w
w
4

f f f f f perdendosi f
f f f f #f fj f f f f f f f f
1
?
1 4 5

& f f f f f f w
28 1 2 5

U
2

w
4

f f perdendosi
f fn f f #f ff f f f f ff
pp
F ?
1 4 5

& f f f# f
1 2

f f fU
j U
pp

w f f f f F
? # f perdendosin f f fff
j w f f & f f f f F ? pp
f f f fU ?
f f U
pp
w
f F w
? # f perdendosin f fj u f f
?
w f #f nf f u f f & f
w f f f f f f f f f f f ? U Uw
w
2 1 4 1 4 2 1 4 2 1

? w f
u
& ff ? w
w &f w
2 1 4 1 4 2 1 4 2 1

u w

2 1 4 1 4 2 1 4 2 1

w

2 1 4 1 4 2 1 4 2 1
Pianist
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 TRACK 8
Nikolai RIMSKY-KORSAKOV (1844-1908) INTERMEDIATE
Romance Op 15 No 2

Rimsky-Korsakov had few ambitions in the direction of piano or chamber music
and concentrated his energies on lyric and dramatic forms: songs, opera, music that
tells a story such as his orchestral masterpiece, Scheherezade. Nevertheless, he found
it useful to produce a few salon pieces, and among them is his Op 15 set of three,
dating from the mid-1870s. Rather thinly veiled is the presence of Chopin in the
wistful harmonies of the central Romance.
Playing tips: There are three voices to this Romance: one in the LH and two in the
RH. So you can see which hand poses more problems: the RH, which carries both
the melody and an accompaniment. Sometimes the melody is heard in the alto part
(as it does at the start) and sometimes in the treble (bars 4 and 5). When it appears
in the alto, you need good control (and sound) of the thumb as it holds the melody
line. In the treble part, the weaker fingers (4 and 5) need to be steely strong (but
never harsh). We suggest practising hands separately. Even the LH needs to be spot
on, with the bass note sounding like a deep bell and the other notes, including two-
note chords, perfectly judged.
Pedal tips: Legato pedalling required. As a general rule, one pedal change per bar.

Andantino espressivo
b 2 j j j
& b bb 4 f ff ff ff f ff ff
f nf f

{
f f f F
1 1

j j j
p
? bb b 42 f f f f f f
b F f f
F

3

b
4

& b bb f f bf f f #nff f
5 3
f F ff
ff ff nf fJ f f nfJ

{
fJ
>
fj
2

? bb b ff ffj f f
1
f fj
f fj
f nf
3 2
4

b F F
F F 4

sim.

b
8

& b bb nff
4 4 2

f nnff f
5

f
1 1 1
ff f f nf f f bff f ff bn ff f

{
J J f
> > >
1

ffj
2

j
nf f fj ffj
j
1

? bb b n f f f ff f
nf
2

b F f f f f F
4
F 4 F 4

b j
12

& b bb f
2 5

F
1 3

ff ff f
n f ff bf ff bn ff f

{
f F f f
> > j
1

? bb b ff ffj ff f
nf ff ffj f f
j
b F F F F

41 Pianist 95

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 TRACK 8
Nikolai RIMSKY-KORSAKOV (1844-1908) INTERMEDIATE
Romance Op 15 No 2
bbbbbb j j
16
ffjjj
fffjjj
16
b
3

nnnfff
16
& bbbbbbbbb
b fff bbbfff fff
3
ff ff
16
& f F fff
3

& nnnfffj

{{
f bJJfJ
3

& b bb fff fff ffj nf f

16
fff f nf fff FFF f
3

& ff f
f ff ff f f nf bJf f
f f nf f
f F Jj
f j
fffjjj j fffjjj
1

fffjjj
? fff
1

b
3

fff
1

?
? bbbbbbbbbbbbb
fff
3

?
1

fff fffj
3

ff fff fj F F
3

f f fj
1

? bbbb ff f FFF FFF

3

f f f f f f
bb f f
F F

bbbbbb
19
fff fff
19
b
3 2

bbbfff fff
19
& bbbb
b bbbfff fff
3 2 5

f
19

& bbbbbbbb
& nnnfff bbff bbbfff fff
3 2 5

& fff ff fffff nnnfff fff f

{{
fff
5

ff
3 2

bf f fff
bf fJfJJf ff
19 5

f nf nf bbJfJfJ f bf ff fff f
3 2

& bf bf f f f f fff
5

f fJf nf bJf f
3

f nf f bf f
3
f
1

J f f
3 1

Jfjjj f fjj
3 1 1

nnnfffjjjj
1 1 1 2

fj
1 3 1 2
1 3

nnnffffjj
1 2

fff fff fff

3

? fj
3 1 2

? b
? bbbbbbbbbbbbbb
1 3

fff ffffj
1

? fff nffj ff ff fff

1 2

fff nf
3

? bbbb fff f
fff nff fff ff f f f ff f nf
b f f f
1
1
f f f
f
1

f
1

f 1

bbb bb
22
22 4

b
2

bbbbbbbbbb
22 4

& b FFF
3 2 2
4 3
22
& nnnfff
3 2 2

fffff fff
3

nnnfff bbbffJf
4

&

{{
3 2 2 3

& b bb fffff nnn fff nnn fff bbb ffJf fff fJfJfJ FF
22 3 2 3

nf
4

fJfJfJ nf bJfJJ f
2

& nf F
3 2

b JfJJj fJf
3

nf f nf nf bfJ f
fJf nf F
2

n fff b ffJjjj f J
2

J fffjjjj fffjjjj
2
2

? b ff ffj fff ff
?
? bbbbbbbbbbbbbb
2

? FF ff fff ff
ff ffj F fff ffj
? bbbb FF f f FFF ff FFF ff ff
b F F F
F

bbb bb
25
25
b fff f fff f F
bbbbbbbbbb nnnfff
25
& b f bbbfff fff
fff fff FFF
25
&
& f f f fff ffJf fff nnnffJf

{{
25
& b bb f bJfJfJ nf JfJJ f
& f fff f bJff
f f ff nf f F f nJfJJ
f Jfjjj ff fJjj
ffjj f nfJ
?
? b fff fffj fff fffj fff fffjjjj
? bbbbbbbbbbbbbb
? FFF ff
ff ffj F f f f fj
? bbbb F f FF f f FFF f f
b F F F
F F

5
5

bbbfff
4 5 1
5 2

bbbbbb
28 1 2

ff FFfF fff
4 5 5

fff
28 1 1 2

fff fff
4 5

b bnnnff fff bbbfff f

28 1 1 2

bbbbbb
4

& b fff
4 5

ff fFff f
1
fff
28 5

b
4

& FfFF f f ff
1 4

& b bnf bf f ff

{{
1 2

f
4 5

f
4

& bbbb f
28
Ff f fF f f >>>ff
1

f nf f bf f 4

& f f> j f
fffjjjj jjj j F
fffjjjj
3

j fff > fffjjj

3

fff f
nnnfffjj fffjj
3

f
3

fff
?
? b fff fffj fff
? bbbbbbbbbbbbbb
ffj ff ffj fffj
3

? FFF nf ff
? bbbb F f f f nf fff ff FFF ff ff nnn FFF ff f
b F f f F nF
f F nF
42 Pianist 95

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 TRACK 8
Nikolai RIMSKY-KORSAKOV (1844-1908) INTERMEDIATE
Romance Op 15 No 2
j j
bbbbbbbb
32
ffjj
3

nnfff bbffjjj
32 2 2

& ##ff ff
32 3
ff ##ff
nffj fff ff
32 3

bbbbbb ff bbfJf
2 2
3

&

{{
nnffJfJff fJf ## ff ff
32

ffJfJff
2

b ff
2
3

bbff
2 2

& b ##ff ff nnnfff ff ##ff

2 2

& JJ ff 1
JffJ ## ff ff JJ ff bbfJfJ ff
Jfjj
ffjjj Jfjj
1
1
1 1
1

ff
1 1

ffjj ff ff
1

? ffjj
1 1 1

bbbbbbbb fffj
1 1

? fff
1

?
? bbbbbb F fff ff FF
f f F ff
ff ff
bb FF ff FF FF f
F F

j j jj
bbbbbbbb j
35

5

ffjjj ffjjj fffjjj

35 1
5

&
35
nnffjj
ff ff f ff
5
35 1

bbb ff F
5

&

{{
35 1

& bb bbb
5
ff
1

& ff ff ff ff ff ff
1

ff ff ff ff nnff ff ff ff
fff ff ff ff ff ff FF
F f
? j
ffjj ffjjj j
ffjj
bbbbbbbb
? ff ff ff
?
? bbbbbbb FF ff ffj f ff ff ffj F ff ffj
b FF ff ff FF
f F

bbbbbbbb nnnnnf
38
ff f ff f F fff ff ff
nnff bf
38
38
& ff bf ff ff ff
ff fff FFF nnfJf
38
bbbbb f ff ff
& f bbbffJfJf nnn>ff

{{
ff
38

&
& bb
b
fff f ff
ff nnff bbbJffJf ff ff nnJffJ
f ff f
ff
f fJJ JJj Jj >> fjj
ffjjj > fjj
ff
nnfffjjj
ff ff ff ffjj
? ff
bbbbbbbb FF fff F FF ff
?
?
? bbbbbbb FF ff ffj f nnfff ff ffj ff fff
FF FF FF
b FF F

ff
bbbbbbbb bbnnnf
42 5 4 5

ff
2
ff fff
1
ff ff f
bbf
42 5 4 2

ff
5

&
42
ff ff ff
5 4 5

ff ffJ fff ff
42 2
5 1
4

bbb
2
5

& bb >ff
n fJf

{{
42 2
5 1
4 2

& bb bbb
ff
5

f
2 1
ff ff ff bb>ff
2

& ff ff JfJ
2 1
ff fJfJ ff ff ff
2

ff
>>> ffjjj Jfjj >>f
1 3

Jfj
2

nn ff fffjjj
1 3

ffjjj
2

>
3

ffjj
2
ff
1 3
ff
2

ffj
1 3

?
2

? b bbbb FF nn ff fFff ff ff ff ffj

? bbbbbbbbbb
? FF
ff ff FF ff ff FF ff f
b F FF

rit. U
U
bbbbbbbb U
45 2 5

ff FF FF
U
2
rit.
bbffff
2

bbnnf bbff bbnnffff

45 rit. 1 5

& ff ff ff ff
45 2 1
2

nnff
45 rit. 2 5
2 2

bbbbbb
5
ff
rit. 1
2

&

{{
fff FFF FFF
45 2
5 1
2

b
1
ff ff
2 2 1

n bbff bbnn>ff
1 2

& b bbn>ff ff bb>ff ff

2 1

nnff
1

& ff
1

ff ff
f ff FF pp F
> >> F
jj ff >>> jj
1

ff >> > fffjjj fffjjj U

1

f f ff ppU
1

F nnffjj fff F nnffjj FFF

1 pp
? j U
pp

bbbbbbbb
1

fff ffj fff fff ffj U

pp

? FF nnfff FF ff FF nnfff FF fjj F

F
?
? bbbbbbb F
f f f
F
f f f F
ffjj
b FF FF ff

43 Pianist 95

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 S
MIS
DOT NTWMANS
NE
ON Edvard GRIEG (1843-1907)
LESS
TRACK 9 JANE INTERMEDIATE
IECE
HIS P
ON T AGE
P 2
2
Melodie Op 47 No 3

The fourth book of Lyric Pieces from which this Melodie is drawn was first published
in 1888. By then Grieg and his wife Nina had settled into the home at Troldhaugen
which would be a refuge from the extensive foreign tours they gave together: he
playing his own music, she singing his songs. This schedule led to a more
cosmopolitan outlook, reflected in the German titles of the later Lyric Pieces.
Playing tips: This Lyric Piece is a personal favourite of editor Erica Worth. It evokes
such a sad, nostalgic quality. Listen to a recording by the legendary Russian pianist
Emil Gilels, and youll hear what we mean. Try to emulate the still, introverted
atmosphere which Gilels brings to it. Our house pianist Chenyin Li also plays it
magically. Note: Melodie continues after Keyboard Class, on page 49.
Pedal tips: Janet Newman has made suggestions on the score.
Read Janet Newmans step-by-step lesson on this piece on page 22.

>
Allegretto
> >
5

6 f
5 4 4 4 2
j
5 5 5
f f
3 4 3 5

& 8 f f f f f f f f ff f ff f ff f ff f ff f
f f f f j
2

{
f
J J J J J J J J f fJ f fJ

? 68 f fj f fj f fj f j j j j j j j
p la melodia ben tenuta

ff ff ff ff ff ff ff ff ff f f f f
f f f f f f f f f f f
1 4 5 4

>
>
3
f f fj f f f
6
f
5 3 5 4 3 5
1 5

& f fj f
1 2

f fJ f fJ f fJ f fJ

{
f fJ f f ffJ # f
f fJ ff fJ # Ff fJ f fJ
? f fj f j j j j j
f
ff ff ff ff ff ff ff ff
2

f ff ff ff ff ff ff ff ff

f f f 2
f 1 1 4
f J 1
J J J
5 4 2 5
5 1

> > >

5
3
11 4 3 5 4 2 5
j
5 3 1
f f bf f
3

& ff f f f
4 4 3 1

f fj f f f f
2 5 2

ff f ff f
J f fJ f fJ f fJ fJ ff fJ

{
J J f fJ f fJ # f
f f fj f j j j
dim.
? ff ff ff ff ff ff ff ff f
f
f f
f f f bf f f f ff ff ff ff
J J J J J J f
1 2 1 1

1 5 4 5 4 5
4

pi mosso
16 5
> 4 5
>
& #F
1 2

ff f ff f ff f ff f ff
j
f
bff fJ ff f
bff fJ ff fJ

{
f fJ f fJ J J J J J
? f fj f j f
pp
ff bff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff
f f f fJ f fJ bf fJ f fJ b f fJ f fJ n f fJ f fJ
2 1
5 2 5 5 4 1

4 2
5

Continued on page 49

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 62 Changing Positions

49.B A with
Z E R T Y Chords
H A NS - G NTER HEUMA NN
E Gzerty
Skips INNERS
Block
62 Changing Positions
XXXX (XXXXX) PLAGE

62 Changing Positions
49. K EYB
Skips OA
with R D Chords
Block CLASS

Hans-Gnter Heumann
q = 100-120

Heumann
5 5

49.
LESSON 22: FINGER 31FITNESS EXERCISES

basic stages of learning the piano through

3

Skips Hans-Gnter

1
62 Changing Positions
3 most with Block Chords Hans-Gnter
use these exercises to warm up.
q =pages,

5over time. Intermediate

On these four Pianist covers the a series of lessons by Heumann.
5 5

building can
100-120

the tempo Block Heumann

3

Lesson 22 features exercises to help 1beginner pianists perfect quick changes of hand positions in chord playing. Work on the exercises
f

1

49. Skips with Chords

block chords
slowly at first, up to advanced pianists




Hans-Gnter
q
with

Skips

Heumann

5

the hand for a fraction of a second over the1 next chord before
= 100-120

5
3

3
f

3
1 1

Aim to position playing it.

q =5100-120



1 3
Hans-Gnter

f1
5 5

5

simile

simile
3

35
1 1

f1






simile

7

1


5

simile

35
7

7












13

13

13

13

17

17

2





17

2



17

2013 Schott Music Limited, London

45 Pianist 95

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 60 Changing Positions

HANS-GNTER HEUMANN KEYBOARD CLASS

48. Block Chords and Broken Chords /

A chords
Block chords and broken Z E R T Y
PLAGE The Right zerty
Pedal
In this exercise you play block chords in the LH and broken XXXX (XXXXX)
chords with the RH; then the pattern is reversed. Try to incorporate use of

A
the right pedal.

q =Bella
du faux texte
Hans-Gnter Heumann
terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus civibus peperci. Externas gentes, quibus
100-120

tuto ignosci potuit, conservare quam5 excidere malui.1 Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta. Ex quibus deduxi in colonias aut

1 3 3 5 1

remisi in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis militiae dedi. Naves cepi

sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus
civibus peperci. Externas gentes, quibus tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta.

Ex quibus deduxi in colonias aut remisi in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis
mfsescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque tot.

militiae dedi. Naves cepi

1 1 1
3 3 3
5 5 5
simile

3 5 5

9

5 1 3 1

13

2013 Schott Music Limited, London

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 Changing Positions 61

HANS-GNTER HEUMANN KEYBOARD CLASS

A Z E R T Y
zerty
5 5
17 3 3

XXXX (XXXXX)
1 1
PLAGE

5 3 1 5

21

25

1 3
1

5

29

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 Changing
Changing Positions
Positions 63
63
Changing Positions 63

50.
50. Skips
Skips withwith Broken
Broken Chords
Chords
HANS-GNTER HEUMANN KEYBOARD CLASS
Changing Positions 63

50.broken
Skips with Skips
A fair bit ofq
qmoving
Awith
chords Z E Broken
R T Y Chords Hans-Gnter
Hans-Gnter
Hans-Gnter Heumann
Heumann
Heumann
q = 100-120
around the keyboard is required. Again,XXXX 5(XXXXX)

=
= 100-120 make sure that the hand is ready over each new group
1 of notes before you strike.

PLAGE
100-120
zerty Heumann

1 2 2 5 1
1

A
5 1

texte q =Bella100-120 in orbe terrarum 5 gessi, victorque omnibus veniam petentibus civibus1 peperci. Externas gentes, quibus
1 2

Hans-Gnter
du faux

terra et mari civilia externaque toto saepe

mf emeritis millia aliquanto plura quam trecenta, aut pecuniampro praemiismilitiae dedi.
et iis omnibus agros adsignavi Naves cepi
tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta. Ex quibus deduxi in colonias aut
2
mf sua stipendis
1

sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque toto in orbe terrarumsaepe gessi, victorque omnibus veniam petentibus
mf

remisi in municipia

civium sub sacramento

civibus peperci.
in

Externas

gentes, quibus tuto ignosci

potuit, conservare quam excidere malui. Millia
Romanorum
pro praemiis
meo fuerunt circiter quingenta.

militiae dedi. Naves

Ex quibus deduxi mf
colonias aut
eas, si quae minores quam triremesfuerunt.Bella terra et mari civilia externaque tot.
cepisescentas praeter
remisi in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi

aut pecuniam

5
5 33 1
5 1 5

5 3 1 5

5 3 1 5

simile simile




simile

simile

11

11

11

11

L.H.

17 L.H.

17

L.H.
2

17 2

L.H.

17

his series for beginners in the next issue.


2013
2013 Schott
Schott Music
Music Limited,
Limited, London
London
2013 Schott Music Limited, London
Hans-Gnter Heumann continues
To find out more about Heumann, visit www.schott-music.com
2013 Schott Music Limited, London

48 Pianist 95

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S&Co_8898_ED_13551_Heumann_FingerFitness_INH.indd 63 18.02.13
63 18.02.13 08:45
08:45
S&Co_8898_ED_13551_Heumann_FingerFitness_INH.indd 63 18.02.13 08:45

p45-48_Keyboard-FINAL.indd 48 16/03/2017 10:02

 Edvard GRIEG (1843-1907)
>
TRACK 9
>
stretto INTERMEDIATE
21 Melodie Op 47 No 3
>f f >ff f
stretto 4 5

b b ff f bff f
stretto
& f f f bfjj bff f ff f
2 2

b b
21
> ff Jf bbff Jf
21
f f
bf Jf >ff Jf f f f f
4 5
stretto
bff Jf >ff Jf

{{
4

ff Jf bbffj bff f Jff

5

21& f
j
2 2

b b
21 2
2

bbf J
& bbfff Jf >fff Jf
stretto 4 5

ff Jf bfj bff f Jff b f J f J f J

2 2

ff fJf bf bff f fJf b bbbfbfff fffJ ffff fffJ bbfbbfff fffJ bfbfff fffJf
4 1 5

& J J b
2 2

f f
? bbf fJ f fJ bbf fJ f
f f f f bbff ffJ
1

{
J b J J n J
1

? bbf Jf f Jf bbf Jf f f b b f f
f f f
f ff
f f f
f bb f f
f f f
f
f f f f f f f Jf bbbff fJf ff fJf bbfnf fJf bfff fJff
f
1

? bbf Jf f Jf bbf Jf f fJf bb f Jf f Jf b nf Jf b f Jf

1
f f f f f f f
fJf bb ff fJf ff fJf bfnf fJf bff fJf
1 1

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f f f f f f f
2 1 5 5 2
1
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4
1

J J
1

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2
2 1
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1 5
5 5
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2
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1
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1
4
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1
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1
4 2 1
4

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2 1
5 5 5 2

4 2 4 4

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25
b
5 4 5 1

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4
j
f f
2 3

f
25& bbf b
2 1 4
4

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25

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f f f f
4 5 1
25

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4 1

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4 5

{{
4 2 3

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2 3 1 4
2

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2 1

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4 5 1

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4

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2 3 1 4
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2
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4 5

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4 1 2 3

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1

&
2

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1

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1

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bf
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4 2 3 4

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2 1
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4 2

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37
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3
3

& >
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poco rit.
f
37
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3

{{
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3

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3
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3

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2

>
poco
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2
37
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f f f f f f
3

f Jj f ff f >ff f
& fff Jfff ff ff Jf J
3
f
2 poco rit.
f J J Jf f Jf
3

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3

& J J f
2

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{
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f f J
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1

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Pianist

49 954 4
5 1 4 5

4 4

P44 SCORES Grieg-FINAL.indd 49 14/03/2017 10:14

 TRACK 9
Edvard GRIEG (1843-1907) INTERMEDIATE
Melodie Op 47 No 3
>
41 Tempo I 4
j
5 3

& f f Tempo I f f f f f ff >ff ff j

f ff f ff

{{
41
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4
j
5 3

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Tempo
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f sim.
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{{{
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f ffJ fJ fJ ff fJ
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j
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? f ff fJf ff ff ff ff fJf
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4
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2
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f
fJj # Ff
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{
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ff bf fj f fJj f fj f fj f fj f fj
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2 1

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4

J 1
4 J
2
5
1
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2 1
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pi mosso
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4
57 5 4 5

& ffpi
1
pi mosso 2

mosso>f ff j >ff f
f ff f ff bff fJ bff fJ ff f

{{
57
fJ f fJ fJ
5 4 5

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f
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57
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f
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{
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? pp fff fJff fnff fJff fff fJff
b ff ff ff
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fJf
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5

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5 4

bff
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J J J
4 5 5 4
5
4 Pianist
50 95 5 5 4
5

P44 SCORES Grieg-FINAL.indd 50 14/03/2017 10:14

 TRACK 9
Edvard GRIEG (1843-1907) INTERMEDIATE
Melodie Op 47 No 3
> >
stretto

>f >f
61 stretto
4

& bbstretto fJ bbfff f ffJf bbbfff fJ bfff fJ bbbff f

5

ff f ff j
22
61
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4

f fJ ff fJ
5

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{{
61& f f JfJ ff
2

fJ bf
fJ f f fJ b f fJ >f f bf fJ b f Jf
J
ff f b bff f bff Jf
4

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52

ff bfff
j
2 1

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1 2

ff ff bbff ff ff ff b bbff ff ff fJf bnff fJf bff fJf

? b ff fJf ff Jf bf Jf f 1
Jf b f Jf 2

? bbfff Jfff
1
2 ff
f
Jff
f
bf
b ff
Jff ff
f f
Jff b bff fJf
f b f f
5
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4 5 4

J J J J J J J J
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4 5 4 5 4
2
4
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>
2

>
4

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65

& bbbbffff
ff f ff #ff ff ff
f bbfff bbff fff ##fff
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4 2 4 3
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Jf Jf Jf f Jf
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{{
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1

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1

b f bb ff
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? bbff
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1
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? bf f f f bf f f f nf f f f f f f f
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5

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2

>
5 4 5
73
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4

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2 1

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dim.
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1

nff ffJ ffJ ffJ ffJ

1

f f f
ffz dim.
? f ff ff ff ff ff ff ff
? Jff ff Jff ff Jff ff Jff nf f f f f f f f
1

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1

Jf Jf Jf Jf
ffz dim.
Jf
molto e meno mosso
f Jf f Jf f
poco a poco
Jf f f f f
? f f f f f f f f nf 1
Jf f Jf f Jf f Jf
f f f f f f f f
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1
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1
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>
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ff ff >f >
77
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3

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3 poco rit.
& f f
2
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f f f
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f Jf >ff fJ fJ f fJ ff ff rit. Ff
3

{{
& fJ f fJ f fJ
2
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f
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2
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J J J J Pianist
4 4

5 51 95
1 5
4 4

P44 SCORES Grieg-FINAL.indd 51 14/03/2017 10:16

 Edvard GRIEG (1843-1907)
TRACK 9 Tempo I
81 > >
INTERMEDIATE
j Melodie Op 47 No 3
4

>f
5 3

& fTempo f f f f f j
ff fJ fjj ff f ffJ f fJ >>f fJ
I
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{{
81
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&
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{{
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& ff ff
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? f f ff f
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5 5

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5
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f fJ f fJ
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5
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& f
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fJ b ff ff f n ff f >>ff f
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95
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3
fJ # f fJ f fJ ? #f f ?
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ff
5

& f ff Jf n ff Jf >ff Jf
95 2

f f
3 3 3

fJ b fff
5

Jf Jf
5 3

# fff fJ bb fff fJ ? ##f

#f ff
95
& f
2

fJ
3 3 3

fJ
3

& # fff fff fff Jfj n ffdim. JfJ JfJ

2

fJfj fJfj b f fJj Jfsempre

j ffff JffJj ## ff fJfj b fff fJfj
f
? # ff fJf ff fJf b ff fJ f fJJ n ffdim.JfJsempre j j
? ff ffj
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ff ff f fjj f fjj j
ff
? f j j ffj f fj f fj ff ffjj ffjj
2

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1 2 1 1 2 2

ff
1

ff ff
5

ff ff ff
f f ff ff ff ff
5 5 5 4 5 5 5
1 2 1
f
2 1
ff ff ff ff f 2

2
ff ff ff ff
5 1

5 5 5 2 4 5 5 5
1 2 1 1 2

2 1

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5 5 5 4

n fj f j
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5 2 1

n
5 5 5 4 5

bf b
5 5
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rit.
#fFF >ff rit. # F
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100
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100
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j j F pp morendo
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Pianist F
1
1
52 95

P44 SCORES Grieg-FINAL.indd 52 14/03/2017 10:16

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
TRACK 10 Wolfgang Amadeus MOZART (1756-1791) INTERMEDIATE

Sonata in G K283, first movement

The first five of Mozarts piano sonatas were probably written quite close together,
before the composer left Salzburg for Munich in December 1774. He later referred
to them as his difficult sonatas; reflecting, perhaps how their relatively modest
technical challenges conceal their depths of expression.
Playing tips: This sonata movement brims with joy. It should sparkle, and of course
sound effortless. Its in sonata form: exposition (bars 1-53), development (54-72),
recapitulation and coda (73 to the end). It is crammed full of important technical
issues for a pianist to work on such as scales, arpeggios, Alberti bass, trills, sudden
changes in dynamics the list goes on and on. We suggest slow and careful practice,
making sure that no errors (wrong notes) slip in along the way. They can be hard to
eradicate later on. When practising slowly, always aim to play how you would at the
correct speed, with all the right articulation and dynamics.
Pedal tips: Little dabs of pedal here and there, to round off phrases and join certain
notes and chords that cant be made legato by the fingers alone.

Allegro
#3 f f f f f f
5
f f
4

5 2
f
1 3

& 4 f
3 2 1

f f

{ ? # 43
p
f f f f f f f f f f f f
5 3 1 5
f f f
f f f f f f f f
4
&

f f f. f f f f f f f f
# f f f f f f f f f. f. f
5
f
4 5
3
f
1
f 3 1

&

{
fp fp f
# ff ff ff ff ff
& FF F ?
F

# ffff f f f f. f. f.
1
9 2

4 2

& f f f
3

f f f f f
f f f f f f f f f f

{ ?# fF f ff
f
p fp
FF
fp
F
F
f

ff ff f
1
2
f
1
3

ffffff
# ffffff
14
ffff f
& f ffffff f
1 2 1 3

{
ffffff
? # ff ff fF f ff p

f f
f
f f f
1
5

53 Pianist 95

P53 SCORES Mozart-FINAL.indd 53 14/03/2017 10:17

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
TRACK 10 Wolfgang Amadeus MOZART (1756-1791) INTERMEDIATE

## Sonata in G K283, first movement

17
17

1

17&
1

ff
17& # ff nnff ff nnff ff ff ##ff

{{
ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff
ff
1

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1
f f #f f
& f f f f f
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f f f f nf f f f f f f f f #f f
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ff f f f f
ff ff f f
ff ff ff ff f
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ff ff ff f
f f f f f f f f f f f f
f
##
2 4
20 2 4

ff ##ff ff
20
ff
ff # f ff
1

& ff ff ff ff ff ff ff ff
1 1

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1

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{{
ff
2 4
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f f f f #f f f #f
&#
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f f f f f f f f 1
f f f f f f f f f #f f f f #f f
& f f f f f
1 1 2

f f f f f f f f f f ff f f f ff ## ff ff
1 2

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ff
ff ff ##ff ff ff 1 2
&
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&
ff ff ff ff ff ##ff ff ff
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f
ff
f #f f ff &
&
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f
23
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ff ff ff ff ff ff ff ff ff ff
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23 5

23& f JJ JJ ff
23& # J f

{{
#Jf
f f f f f f f f
5

f f f f f f
& # pp f f Jf Jf f f f f f
5

J J f #Jf f f f f
&# J
#p f
&
& # pff f ff ff f ff ff ff ff ff ff f ff
ff ff ## ff f ff #f ff ff ## ff f ff
&# f f
1

f f f f f ff f ff f #f f f f f f f
f #f f f f #f f #f f f
2 3

f f
1

& f f
4

f f f f f f
2 3 4
f
4 5 5
f
4 5
f #f #f f #f
5 5

f f
5

f f
1
f f
2 3 4
1 4 5 5
2 3 5
4 4 5 5 5

ff
3

## ff ff ff ff ff ff ff ff
27 2 3 4

ff ff ff ff ff ff ff
1 3 4
ff ff ff ##ff ff ff ff ff
27 2 2 1

ff ff ff ff
1

3 2 3 2 3 1
ff
3

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2 3

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f
3
f f f

{{
f f f f f
2 4

f f f f f f f
1 3
f f f #f f f f f
2 1

f f f f f
3 3 2 3

&# f f f f f f f f f
2 4

f f f f f f f
1 3
f f f #f f f f f
2 1

f f f f
3 2 3

&# f
#
&
&# ff ff ff ff ff ff ff ff
ff
ff
ff
ff f
## ff f ff
ff ff ff ff ff ff ff
#f
ff ff f ff f
f f f
ff
&# f f f f f f f f f f f f ff f ff f ff f ff f ff f ff f # f ffffff f
& f f f f f f f f f f f f #f f f ffff f f fff f f f f #f ffffff f
f f #f f f f f f f f #f f
fff ## ff
## ff ff ff.. ff.. ##ff.. ff.. ff.. ##ff.. ff..
fff fff
ff.. ##ff.. ff..
5 4
ff ff fff
30
fff f
5
3 4
2
30

2 3 2

30& ff # ff
2 1
1

30& # f..
ff
f.. #f. f.. f.. #f. f.. f.. #f. f..
f f ff
5

{{
4
f f ff
3 2
ff f ff # ff
ff
2

&# f f ff
5 4
f f . fff f #f. fff f #f.
1

f pf #f f ff
3 2

f p f p f
2

&#
1

##fff ##fff
p p p f
f ff ff f
# ?fff
? ff ff ff ff f f
&
&# ff f f f p #ff pf #ff pf & ##ff ff
p p p f
ff f f
ff ## ff ff ? f f f f & f
f f f #f f #f f
&# f f f ff # f ff f ff ? f f f f
f
f
f
f
f
f & #f f
& f f f #f f & #f f
54 Pianist 95

P53 SCORES Mozart-FINAL.indd 54 14/03/2017 10:17

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
TRACK 10 Wolfgang Amadeus MOZART (1756-1791) INTERMEDIATE
Sonata in G K283, first movement
nf
4 3

## nn fff ff n#ff nnff nf

4
2 3 3 4 4

ff b#ff ff ff
1 3
ff nf
4

ff nn##ffff ff ff nnff
34 3 3 4 4
ff ff
2 1

ff bb##ffff
1 2 1 5
ff
3

nff f nnff ##ff

34 3 4 2 4 2 1 2 1
ff ff
2

# nf f f
1 2 1 1
ff
3 5
34
ff
2

& ff ##ff ff ##ff

2 1 2 1
f f
4 2 1 1

ff ff ff ff ff
3 5

f nf ##ff f
2 2 1 2 1

& ff n#ff nff f f nf f f

4 4
f
2 3

& ## n fff ff b#ff f f

{{
1

f #f f #f f
4 3

f f f f f
34 3
f f
2 1 1 5

ff n#ff nf f f nf f
4 2 4 2 1 2 1
f f
2 3

f b#ff f f
1
f
3
f nf f
34
& f #f f f #f f
1 1
f f f f f
2 5

#f f
2 2 1 2 1

fff f f f f
& f #f f f ff f #f f f ff f
## f ff ff ff
& # nnff ? f
? ff
? f ff ff
&
& ## fff nf ff ## ff nn ff ff ? ff ff ff
& f nf f #f nf f ff ? ff f f
& f nf f #f nf f
f
f
f #f nf f f
ff ff ff ## ff nn ff ff n#ff nnff
ff... ff...
## ff ff ff # ff n ff ff b#ff
##ff... ff ff nn##ffff
37
37
ff f f f ff
2
ff
3
ff ff ##ff ff bb##ffff nff
# f f # ff n ff
37
& ff f f
1 2 2
ff
3

& f f f #f f. #f. f.
2 3
f f ff n#ff
1 2

& ## f # ff n ff ff b#ff nf

{{
f
1 2
f f ff
37
f f f f f f f #f f. #f. f. ff n#ff nff

2 3
37
& f
1

f f f f f f f
2

f b#ff
f #f p f #f f
2 3

& ff
1 2
f
p ff
? # ff p
?
? ## ff ff
p
##ff
f
ff nnff
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&
&
ff
fFFf ff
p ff
ff #f
f
f ff
f nf ff ## ff nn ff ff
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&
&
Fff
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ff #f f f
f nf f #f nf f
F f #f nf f

## ff nf #f nnff ff ff ff fff ff ff ff
40
ff f ff f ff f ff f ff ff ff ff ##ff
f nnff ##ff ff nnff
40
40
& # ff ##ff ff fff f ff ff f f ff ff ##ff ff ff ff f f ff ff ff f ff ff f ff f #f
&
& ## f f f ff

{{
40
f nf #f f #f f f nf fff f ff f #f f ff f ff f f f ff f ff f ff f #f
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40
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~~~~~~~~~ ~~~~~~~~~
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~~~~~~~~~ f f ff ff fff~~~~~~~~~
f ff f ff fjjj ffjjj ff f ff fjjj
ff... ff fff
43
## ff ff
4
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5

f~~~~~~~~~ f f ~~~~~~~~~
5
ff ff f f f ff ffj ##ffj
43
ff ff
4 5

#
1 2 5
ff f
f f
43 1

&
4 5
f f f f~~~~~~~~~ f f
ff ff f f ~~~~~~~~~ f ff f ff ffj
1 5
f f f ff f f fj #fj
1 2

& f. f f ff
1 2

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1

{{
f f f f ff
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1
f
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1
f
1
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&
2
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1 1 1

ff ### fff ff fff fff fff f

ff ### fff fff fff fff ff ## ff ff
2
ff pf
1 1 1

##
p 2

pf
1

f f #f f ff ff ff
# ?
1 1

& ff f
2

? f #f f #f f f f f
1
? f f
& ff f f ff f f pf
#f f
1 1

& ##
2

f # f ff f f f
1

ff ?f #f f f f #f f f f f
& ff ?f f f f f
& ff

## #ff ff ###fff ### fff ff
ff
ff ff nnn fff ff ff nnnfff ##ff ff nnnfff ###fff nnnfff
ff ff #f
47
47
ff ff ##ff f f ff f ##ff ff ff ff nnnfff
## ff f ff
47
& f # f f f
& ## ##ffff
& f ff #ff f f f f nn ff f f #f f
f ##ff # f f nnff f #f nf f f

{{
47
f f #f f
47
& #ff
f
f f f #f ff
f f
f
f f f f
f f #f f #f f f nnff #f nf f
f
f f nnff
& f f
f #f f #f f f f
f ## ff
ff
ff f ff ff ff
?
? # f f #f ff ff
? ## ff ff
f f
f
ff
#f
f
f
f
f
f f
? # ff f f f #f f f f f
?# f f f
55 Pianist 95

P53 SCORES Mozart-FINAL.indd 55 14/03/2017 10:17

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
TRACK 10 Wolfgang Amadeus MOZART (1756-1791) INTERMEDIATE
Sonata in G K283, first movement
f # ff n ff ff ff
# f ff ff ff ff fff f ff f ff #f f ## ff nn ff
50
f nff ff #ff ff fff ff
& ## ff
50
50
ff f f f ff f ff f #f ff ff nnff ff ##ff ff ff
ff
50

{{
&
& #f ff f ff ff f
f
f f #f f f f f f f f f #f f f f f f f f
?# f ff f ff ## ff ff f ff ff ff f ff ff ff f ff ## ff ff f ff ff ff f ff ff ff f
?
? ## ff f ff ff ff ff ff ff ff
ff

f
# 54 2Kr f nf f f f f
2 3

#f22Kr
nnff ff f f ##ff
Kr ff f f ff ff ff f f f
4

& ## ff ff
3 2
K
54 ##ffrKr
fKr ff ff f
3

ff ff f f f
54 3 4

2
f f #f ffrKKr f

{{
54 4

& #f
4 2

&
2
f
p

?# #ff
p

p
? ff
? ##
p
& ff ff ff ff ff ff ff ##ff
&
& ff ff ff ff ff ff f f
& f f f f f f

Kr Kr
Kr
#f f f f ffrKrKrK f
# ##ff f nf fKr
f f f f
5

f f #f ## ff ff ff ffr ff f
58 fKr
ff ff ffKrKr ff ff nnff f f ff
ffKrKr f
1
f #f f f ff f f
& ## #f
3 5

ff ff
58 2 1

ff ff ##ff ff ff
5

ff ff ##Jff f
ff ff ff
58 5

1 3
58

{{
f
&
2 1

JJ
1
1 3

&
2
2 1
1 3

# ff ff ff # ff
& ##
? ff ff ff ff
ff ff ff ff ff ## ff
& ? ff ff f f f f
& ?
? f f f f

f f #f f.. ff.. ff.. ff.. ff.. . ff.. ff.. ff.. ff..

# f.. ff.. ff...
5

f f f f.. f.. ff..

62 5

nf ff. ff. nfff.. ff.

3 2

ff. ff.
3

& ## ff. ff ff.

5

ff ff #f ff. ff. ff. ff.

62 1 5

nnff
5
f nnff
2

ff ff f ff. ff. ff.

62 3
ff
5

f f
5 3

f ff f
62

{{
#f
3 2 5

& f f
1
2 3
f
3

f f f
3

&
1

f f
1

f.. p.
f.. 333 f.. f.. f.. f.. f.. f.. f.. f.. f.. p.
f.. 333 f.. f.. f.. f.. f.. f.. f.. f..
p 3 p 3
f
pf pf
ff.. ff..
f
?# f... ff. ff. ff. ff. ff. ff. ff. ff. ff. ff. ff . ff. ff. ff. ff. ff. ff. ff. ff. ff. ff.
f p f p
ff
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f.. f.. ff.. ff...
66

& ## fff ff ff. ff. ff. f.

66
66
66
ff ff f ff. ff. ff ff. ff f. f. f f. f. f.

{{
& ff ff ff f ff ff f. f. ff ff. ff.
& fff f f f ff ff. ff. ff.
.
ff.
.
ff.
.
ff.
. . .
f.. p.
p
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f..
3
pf f..
ff
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f p ff
ff ff. ff.
?
? ## ff. ff. ff. ff. ff. ff ff. ff.

56 Pianist 95

P53 SCORES Mozart-FINAL.indd 56 14/03/2017 10:17

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
TRACK 10 Wolfgang Amadeus MOZART (1756-1791) INTERMEDIATE
Sonata in G K283, first movement
fff ff f
#
70
f f f f f #f f f f f
& ## f ff ff ff ff ff f
70
f f f f f #f f f f f f f
f

{{
70
& f f f f f f #f f f f f f
& f p f f
f
f f ff ff ff ff ff f f f f f
p
?# f
f f f f ff f
p
?# f f f f f f f f
?#
f f f f f f

74
# f f #f
f f f f f f #f
& ## f #f
74
f f f f f #f
f

{{
74
& f f f f f f #f
& f f f #f
f f f f f
f p

f..
f f ff ff f ff f ff f ff ff f f
?# f ff f ff f ff #fff f f f
p

f
Jf. ff ff #ff f f f f f f f f f
?# f f f
f p
f f f f f f Jf
ff ff #f f f f
?# f J

f f f f
78

# f
f f f nf f f #f f f
78
f f f f
& ## f f f nf f f
78
f f f #f f f
nf f

{{
& f f f #f f f
& f f
f..
f f ff
p
f f f ff ff
?# #f
f
f f ff
p

?# #f f f f f f Jf.
f
ff ff
ff ff
p
& nf f f ff f f f
?# #f f f f fJ ff f ff nnff f ff f f f f f f f
J &
& f f f f f f f f f f
f f f
82
# f f ff #f ff ff ff f f Kr
82
f
& ## f f ##ff f f f ff f #fK
f f f ff f nnff
82
f r f f f f nf f f f f f f f ff

{{
& f f f #fKr
f f f
& #f f f nf f f f ffffff f f f f f f nf
pf f f n f f f f fffff f fff f
# pf
& ## ? f f f f f f f f
& f f ff f f f f
f ?
p
f f ff ff f ff ff ff ff ff ff
& f f f f f f f fff fff ff
?
ff ff f ff ff f ff ff
f f f f f f f ff ff f f ff f f f f f
f f f
86
#
86
& ## f nf f f f f f f f ff #f ff f f f f f f f f f ff f ff f f f f f f f f f ff #f ff f
f # f f
f ff f f f f f ff f f ##ff f f

{{
86
& f nnff f f f f f ff f f ##ff f f ff f f f f f ff f f ff f f fffff f f f #f f
& f fffff f f fffff f f #f f
?# f f f f f f f f f f f #f f
?#
f f f f f f ff ff ff ff ff fff ff ff ff ff ff ###fff ff
ff f
?# ff ff ff ff ff fff ff ff f ff ff f ff ff f ff ff #f ff
ff ff f ff ff f
f f ff f f f f f ff f f #f f ff
f f ff f f f Pianist 57 95 f

P53 SCORES Mozart-FINAL.indd 57 14/03/2017 10:17

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
TRACK 10 Wolfgang Amadeus MOZART (1756-1791) INTERMEDIATE
Sonata in G K283, first movement
#
90
f nf f f j f f f f
&# J J f f fj f f f f f

{{
90
# ff nnff ff
90

& p
& ff
JfJ
ff
JJ ff ff ffj ff ff ff ff ff ff ff ff
f f f f f f f f f f f
? # pppf ff
f
ff
f
f f ff f ff f f f ff f f
f
ff
f
ff f ff f ff &
? # ff ff ff f ff f ff f ff ff ff
?# ff ff ff ff &
&

fff f f f ff f f f fff f fffff ffff

# f ff ff
94
94& ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff
## ff ff ff ff ff

{{

94
&
&
# ffffffffffff f f f f f f f f f f f f
&# fff fff fff f ffffffffff
& # ff ff ff ff ff ff ff ff f ff f ff f f f f
& f f ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f

f f f f f.
#
97

ff ff ff f.. ff ff ff ff
& ##
ff f. f. f. f. f. f.

{{
97
97
f ff ff ff fff
&
& f pf
f.. ff. ff. ff f pf
f.. ff. ff. f
. . . .
f
# f f f f f
f f f f ffff f ffff f
&# f f f f ? f
ff ff ff f ff
p
p
p
p

f
f p p

& # f f f f ?
ff f ff f f f f f ? f f ff ff ff ff
& f f ff ff

# ff nff
100
ff ff b#ff
&# f. f. f.
ff bnff nff f nf #f nf f f
nnfff

{{
100
# fff fff ff b#ff f #f f f f nf f
bbnnffff nnfff
100
f b#ff ff ff nf
&
& pf
f.. ff. ff. f nf ##ff f # f f ff f nf ff f
f ff
. . #ff f f nf f f #f f f f
f

?# f nf f f fff
##fff ff nn ff ff
p
p
f
p
ff
?
? ## ff nnff ff ff fffff
ff

# f
103
f f f f f f ff
&#
f f f f f f f f f f f f f f ff
. . .

{{
ff f f # f f f f ff f f f
103
# ff ff ff ff ff ff ff
ff ff f pff f ff fff
103
&
& f ff f # f f ff f f ff f ff ff ff
. f .
f
ff pp. .. . #fff
f #f f f f f ff f f
?# ff f ff
f ff ff F ff p ##fff ff
? ff fff fff
? ## ff
ff

ff
ff ff FF f
58 Pianist 95

P53 SCORES Mozart-FINAL.indd 58 14/03/2017 10:17

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
TRACK 10 Wolfgang Amadeus MOZART (1756-1791) INTERMEDIATE
Sonata in G K283, first movement
f nf nf f ff ff
# nff # f f f ff f f f
106
ff b#ff f bnff nf f f f #f f f f nf f f f f # f f
106
& ## nnff f n
fff b#ff f n f nff ff nn ff ##ff ff #f ff ff ff nn ff ff ff ff f ff fff ff #f ff ff ff f ff fff ff
f f f f

{{
106
# nff f bb##ffff fff bbbnnfffff nnff #f f ##ff f f f f ##ff f f f
106
&
106
& ff f
& n f f f nf f f
?# f nn ff f f ff & #ff f f f f f
? ## fff n f
?
?# n f ff ff nnff ff f f f f
& #ff fff ffff f f
ff fff fff fff
f && ##f
& ff ffffff ffffff ffff ff ff ff
ff ff ff
~~~~~~~~~~
109
#
f f
f f f f f f f f f f f. f f f f f f~~~~~~~~~~
f f ~~~~~~~~~~ f f f. ~~~~~~~~~
f
ff fff ff ff ff fff ff ff ff ff f ff.. ff ff ff fff ff ff fff
f f J.
.. f f f f f f~~~~~~~~~
f
109
& ## .
f ff f
ff ff f
J ~~~~~~~~~
~~~~~~~~~
ff

{{
ff JJ f ff ff fff ff ff fff
f
109
109
109
& # f f f f f ff f f f f f f f f ff
& f ff f f f
&
ff ff
f
# ?f f f f f f
& ## ff ff ff ff f f f
# ff Ff ff f fff ff ? f ff ff ff ff fff
&
& ff fFf ff f
ff f ff f f ff ff f
f f ? ff f f f f
?
?
& ff fFF ff f ff f f f

112
# f j j j
& ## f f f f fj ffj f f f #ff f ff nff ff
ffjj ffjj ff f ff f fjjj
112

{{
112
ff ff ff ff
#
112
& ff ##ff ff nnfff ff
112
& f f f ff f f ff f ff ff ff
& f f ff f f #ff f nf ff
?# f f f f f f f
? # ff ff f f
?
? ## f f
ff
f
ff ff ff ff ff ff
f f f f f f

f # f # f f f f f n f f f n f f
# f

n

115 #
# f # f ff ff f n f f f f f f #f f f f nf
f ffffff fff f
115
f
& ## fff ## ff ## ff f ff f ff nn ff ff ff fff nnn fff ff ff ### fff fff ff ff ##ff nnn fff f fff ff nnff ff fff ff f f ff f f f f

{{
115
#f f ff f f #f ff f nf
115
& f f ff ff f ff ff fff ff ff fff
115
& f
& ff f f f f f f f
? # fff ff f
ff
f
f
f ff ff ff ff ff f
?
? ## f f f f f f f ff
?# f

# nfff #ff
118
ff ff
118
& ## f nfff ff #ffff ff nnfff ##fff ff

{{
ff fff
118
118
# nff #fff ff
& nnfff ff
118

& ff fff ##fff ff f ff

& f nff f #f
?# f f f f f f f f f f f f f f f f f f
?
? ## f ff ff ff f ff ff ff f ff ff ff f ff ff ff f ff ff ff f ff ff ff f
?# ff f f f ff f f f ff f f f ff f f f ff f f f f f f
ff
f ff
f f f f Pianist
59
f95
f

P53 SCORES Mozart-FINAL.indd 59 14/03/2017 10:17

 ISS
DON
LUCY
T M
P
ON
A RHAM
S
Franz SCHUBERT (1797-1828)
LESS
TRACK 11 IECE
ADVANCED
HIS P
ON T AGE
P 4
2
Impromptu in A flat D935 No 2

Shortly after completing Winterreise in 1827, with less than a year to live, Schubert
embarked on a second set of four Impromptus. Unlike all the sets of dances and
eccossaises, these were self-evidently not composed for commercial gain from the
lucrative amateur market; and indeed no publisher came for them. Only when
Schumann took up the cause a decade later did they see the light of day.
Playing tips: When you read Lucy Parhams lesson on page 24, you will notice that
her top learning tip is to try playing the chordal structure alone, then adding the
melody either by singing, or by silently singing in your mind. This works particularly
well at the start, and can be adapted for use later on as well.
Pedal tips: Pedalling has not been added. Advanced knowledge of how to use the
pedal is required. Always use your ears as the best guide.
Read Lucy Parhams step-by-step lesson on this piece on page 24.

Allegretto
j j j j
5

bbb 3 sempre legato

Allegretto
sempre legato 2

f f fj f f fj f f f f
3

b f FF
F4 fjj fj
4 4 5
1
F
3

& bb b 43Allegretto f f ff ff f
4 3
Allegretto
ff legato
f ff FfF
2

f f
3

fj f ff ff ffj ff ff ffj ff fff ff f FF

f
5

{{
fsempre f
4 4 1

b f FF
3

& bb b 43 fsempre ff fff

4 3

f F
f ff FfF
2

f
3

f F f f f f ffj f ff fj ff f f f FF
4 4 1

b j f fj F
5 3

& b b 43 f f F f
3

f F
f
legato
ff FfF ff ff 3
FF f ff ff ff ff ff ff ff ff f
2

ff f FF f
b f f
pp 1 4 4 1

? bbbb 443 pp
f F
3

& f f ff fff
4 3

ff ff f ffffF FfFF

{
FF fF FF ff ff ffF ff ffF ffF ff ffF fff ff FF
pp 1

f f f
? bbbb 43 pp f F fF F F f Ff F fF f f F
1

f F fF f f fF F f
? bbbb 43 f F F F fF f f FF
1
f F fF F fF f f f fF F fF F f
? bbbb 43 f F f f FF fF f f FF
5

fF F fF F fF f fF F fF F f
4

b F
5
f f
4

j T
j j f f f fj f f fjj f f T ff f F
4 5
4 5 4 5 4

bbb ff FfF fj fff FFf fjj f

f f f j f f ff ff FF
5
f f ff fFF fj nff fFF fj ff ff T ff f F
9 4 4 5 4 5 4
9
b
9 & b b f F f ff FF fj f
ff f FF f f fFF fj nf fFF fj ff ff T ff f F
4 5 4 5 4

b f fFF j fff Ff ff fff F

{{
9 & bbb f f ff FfF f nff FfF f ff ff f f F
F f f
4 5 4

& bbbb fff FfFF f fff Ff ff ffff FF

4 5

ff ff ff F
nff FF
2

bb F f ff FF
1

& F 2

? bb b f F fF
1

{
fF F f f F f f F fF f ff FF
1 2

? bbbb F f F
fF F fF f f FF f FfF F fF F 1
1

fF F f f ff F
2

? bbbb F
1

f F fF F fF f f f f F Ff f
1

? bbbb F f F
f F fF F fF f f FF f f F F F Ff f f FF
1

b F f F
4

f F F F 4
F f F
>. .
4

b j 17 j j f >f. f. fjj f f j
b f j 17f f
& bbbb ffj 17ff ff ffjj fff
f
4

b
4 5 4
f f ffj ff f ff FF f f F f
ff ff >ff. ff ffj
ff . fffj fff. fff.

{{
4 5 4

& bbbb ffj 17>ff. ff. f f. f. ffj ff. ff. f ff. f FF ff f >f ff
. fffj >>fff. fff.
ffj
ff ffff ff. ff
4 5 4

& bbb fff >ff.. ff.. ffj >ff. ff. ffj ff. f. f fff. f FF
ff ffff ff ff ffj >ff. ff.
ffj
b f ffj ff. . ff. FF
4 5 4

? bbbb fffff >ffff.. fffff .. ff >>ff..

& ff.. ffj
fj f. f. f f. f FF fff ffff ff ff ffj >ff. ff.

{
? bbbb ffJf >ff. fff . ffJ >ff.. ff.. ffj ff ff. ff FF fj
? bbbb Jf f. ff . ffJ ff. ff fj f. f. f. F ff fffff fff. fff. fffj fff. fff. ffj
? bbbb fJf ff ff ffJ ff ff. f f.. f. f.. FF ff ff >ff. ff. ffj >ff. ff. fj
b J fJ f f f f. f. f. F f ff >ff. ff. ff >ff. ff. f
>. . >. . f
> U >
b . bff.. FF ff bff bFF bfF f f f.. F f f f fr bfF f f .. .. .. U.. j
3
23
b
5
3 5

23& bbbb f
f
bfff.. bbfff. FF ff bbbfff bbbFFF fj
3 2 4

bnfF f f f. F f f f f fr nbfF f f n fF. F. f.F fU. f fff f

3 2 5 4
23 5

f
3 5

b . fj

{{
f f f. F f f f f fr nbfF f f n FfF F fFF fU f ff Ff
3 4

23& bbb f
2

bnfF
5 4

ff. bff ff. FFF fff f F

3 2
FF
5
3 5

b
3 4

b
2

& b b f. b ff. bff F f bff bffz fj

5 4

bnfFFp . . . .
2

FF FfF F fu
F FF
f
3

f ff ff ffz
5

r nbp n f
U f f
3 5

b F F F
3 4
f
& b ff. b f f FF ff bf bffz f
2
f Ff
5 4
f f nF f
FF f f f f n pFF f Ff. F. fu F f
2

F . .
pp
f f ffz f F U
f f f
ff FFF
n FFf. F. fu
pp
? bb b f f
p
b b F
.
F .
pp
f F F F U
f f
pp
F f
? bbbb ff F fF. F. fFu
ffz p p
f bbff bbffz . fU. ppf F
pp
b f F f f F F
ffz
F F
F pp
f F
? bbbb f. ff. bbff FF ff ff FF FF ff bf. bF . .
ffz p p
F f F uf . f. f F
fF F
? bbbb f. ff. bf.. F f ff FF f bf. bF
pp
F F F
f bf. bF F fF F u fF f f f F
b . . b f. F F u F
f. f b f F f f F F f . F F
. . u

60 Pianist 95

P60 SCORES Schubert-FINAL.indd 60 14/03/2017 10:18

 TRACK 11
Franz SCHUBERT (1797-1828) ADVANCED
j
f f fjj f nf fjj f bf f
Impromptu in A flat D935 No 2
bb
32
f
& bbbbb f fjj f ff ff FF F
32
fff FfFf f fff fff ffjj ff f ffjj ff f f ff

{{
bbbbbb ff
32
32
&
& b
ffj ff fff FFF ff ff ff fffj fff nnfff fffj fff bbfff fff.
FFF f
& bbbbbb ffff FFFfFf fj f ff ffff FFF FF
f fff fff fff fff nn fff fffj fff bb fff fff..
32

ffff FFfF f
&
? bb
f f ff ff FF ff ff ffF ff f n ff ffj ff b ff ff. f
FFF

{
ffF FF fF f ff F FF f
?
?
bbb
b fFf FF fFf ff ff FF F ff bFff FF Fff n fff f bffjj bff b fff fff.. ff FF ff
? bbbbbbbb fFF F FfF f f FF f bbfFF F FfF f ff bbffj bbff ff ff. f
FF
FF f
? bbbb fF F fF f f f bFf F fF f f bf bf f f. f FF f
4 4

bb f F bF
4
4
F f bf bf f f..
4
4 F
4 4

fjj fjj f f f F f f f f n f f f b f f. F
4 4

ff fF f F
b fff Ff bbbbbb 43
39

& bbbbbb ffjj ffjj ff f fff FF

f Fff f f F f fff fff ff ff n f ff ff b f f. F
fj f fff ffff FFFF fff ffff ffff ffJff ffff nn fff ffJff ffff bb fff ffff.. FFF
39
ffff FFf f f F
ff FFf Ff bbbbbbbbb 433

{{
bbbbbb
39
& fj FF
fff FFFf ffff Ff nf bf . F
39

& bbbbbbb
& f
f Ff
f f f f F
f ff FF f fff fff fJfJfJf ffff nnffff fJfJfJf ffff bbffff ffff. FFFF
bbbbbbb 4433
39
ff FF F b b b4
&
? bb b f f f F f f F J f f Jj f.f F 3
bbbbbb 43

{
f F fF F f f. F
Fff ff f bffjjj bff ff ff..ff FFF
F f F f f
?
? bbbbbbb Ff F
fFf FF ffF FF fFf ff f FF ff bFff FF bbbbbbbbb 4433
? bbbbb FfF F FfF f ff F f bbFFf F FfF f ff bbffj bbff ff fff FFF
? bbbb FF
f F fF F fF f f F f bFf F fF f f bf bf f ff FF bbbbbbb 43
b F f F bF F f bf bf f f F b b b4

> >
Trio
b Trio3
& bbbbbbbTrio
47
>f
3 4
f f nf f bf
f >>>f f
1 3

43
1 1 1

f f f f >>f f f f f f nf f f f ff f f ff nf f ff ff f f bf f f ff
47

{{
& bbbbbbbTrio
43
3 4

1 1 3
Trio 47 1 1 3 4

ff f ff ff >ff ff ff f ff ff nnff ff ff ff ff ff ff ff nnff ff ff f ff ff bbff ff ff ff

3

3
& bbbbbbbbb 443 pp
1

&
1 1

ff >ff ff 3
1

47 1 1 1 3 1 4 3
47 3
f ff 3ff f33 f ff f ff >f ff f ff f ff nf ff f >ff f f ff f nf f f f >f ff bf f ff f
3 4

1 3

? bb bb 443 ppf
&
1 1 1

ff f f f > f f f nf >

{
3
3
f 33ff f f3 ff >fF f
?
? b bbb 33 pff f f
ff ff
3
>FF 33 ff fff ff3 fF >F f >F >
? bbbbbbbbbbb 4443 ff F fFf >>FF Fff >FF fFf >>FF
3
Ff >>FF f f f >
? bbbbb 43 f F
f FfF F FfF F FfF F
2

1

>F
3

bb f
4

F fF F Ff F fF F
>
1 2
3
F
2 4
F
1 3

F
1 2 4
3 4

>
1 2

>f f >f f f f f nf f f f f f f f n f f f ff f f b f f f f
3 4

b
51

& bbbbbbb f f f
f f ff >>>ff ff f f f ff
f
f f ff >>ff ff f f f ff nf ff ff f ff ff f ff nn ff ff f ff bb ff f ff
1
51

{{
bbbbbbb
51
& ff ff f >f f ff ff ff f nnff f f ff f f ff f n f ff f ff ff f b f ff ff f
1

ff ff f >f f ff ff ff f
51

& bbbbbbbbb
&
1

f f f f f f f f f nf f f f f f f f n f ff f ff f b f ff f f
51 1

& f ff f >f f ff f ff f > > >

? bb bb
1

f f f f

{
? bbbbbbb fF >F > fF >>F f >>F f >>F
? b
? bbbbbbb ffF >>FF fFf >>FF Fff >FF Fff >>FF
? bbbbb f
F F FfF F FfF >F fFF F
bb F
fF F fF F Ff F fF F
F F
b
55

& bbbbbbb f f ff f f ff f f ff f f f
5

f f ff f f f f f ff f f f f f ff f f f f f ff f f f f f
3 5 2 5 5 5 4
1 1 2 3 3 4 2
55
ff ff ff ff ff ff f ff ff
5

{{
bbbbbbb
55 4

ff ff f ff ff ff f ff ff f ff ff pp ff ff ff ff ff f ff ff ff f f f f
3 5 2 5 5 5

&
1 5 1 5 2 3 4 5 3 4 2
55 3 2 5 5

& bbbbbbbbb
&
1 2
f
1 3 3 4 2

f ff f fdecresc.
f f ff f f
4 5

f f f f f f ff f f f ff f ff f
5 5
f f
3 2 5 5

f ff f f ff f f ff f ff f f pp
55 1 1 2 3
5
3 4 2

f ff f
4
f
3 5 2 5 5 5

& fdecresc.
? bb bb Ff f f f FfF f f f ff f ff f
1 1 2 3 3 4 2

f ff f f f pp

{
? bbbbbbb F
decresc.
ff f FF
pp
FF ff
? b
decresc.
FF fF ff
f
? bbbbbbb f FF FF
pp
decresc.
fF f ff ff
? bbbbb ff FF fF f
bb fF f f f
f
F
F F
f F fF f
f F
61 Pianist 95

P60 SCORES Schubert-FINAL.indd 61 14/03/2017 10:18

 TRACK 11
Franz SCHUBERT (1797-1828) ADVANCED
Impromptu in A flat D935 No 2
>> >>
bbbbbbbbb
59
59
59
&
1 1 1

& b bb ff bb>ff ff bbff >ff ff ff nnff nnff ff f ff ff f ff ff

1 1 1

{{
1 1 1

59 1 1 1
ff ff ff ff
&b b b ff ff f ff f f ff
1 1 1
f f
f bf f f f bf f f f f nf nf f
f >> f >>
f

? bbff ff ff ff
ff
? bbbbbbb f

ff
>FF >FF
? bbbbb >>FF bbfFfF
f f f f ff
bF f FF
bbb F

4
4
4
4 F >F bfF F f
F
F
4

>>f
b bb>>ff ff f ff bbff
62
ff ff
& bbbbbbbb f ff ff bbff
62
f ff f ff ff
>f
62 2 1
ff f ff bf ff f > ff f
ff f ff
bf f f bf
2 1

bf

{{
& bbbbb f f ff
62 2
2 1
1

f f f
& b f f f f ff f bf f f f f f f
2 1
f f f f f
f> bf f >> >>
?
? bbbbbbbb f >
? bbbbb fF >FF ffF >FF bbfFfF >FF
b b Ff F Ff F
F bfF F
F
f
ff ff ff ff f ff ff f bbff f f bf ##ff #f ff
bbbbbbbbb nnnnnnnnn
65
ff ff ff bf ff #f #
65
n f
1

f
65
& f f ##ff nf #f ##ff
f ff #f f
f f f f f ff bf ff ff f bbff #f
1
1

& b bb f bf n
1

{{
f
nnnnn
65
f f f #f
&b b b #f nf #f
1

f f bf f f
> >> >
cresc.

?
cresc.

? bbbbbbb >F nnnnnnnn >

cresc.

>F >FF ## >FF

cresc.
ff ffF
? bbbbbb nn nn
bb FFf F Ff F nnn ## ff # FF
F F
#f F
<<>>

ff ## ff
5)
68 < > ff
ff ##ff f ##ff
3

68
5 )))
ff ff ff ff
5
4

ff
2 3
2
3 5 ( 5
f ff ff
ff ##ff ff
ff ff
(1

f ##ff ff f # f
2
1 3 4
4
4 5 3 2

ff ff ff
2 2
68 ((( 2
1 2 2 ((( 5
f
5) 5
68& #f
1 2 5 4
5 3
2
3 2
1
2
ff
1 1
1 5
5 3 2

f #f ff #f
1 3

f f f
2

& #f
4
f f f
2 4 4 2
2 1
1

{{
2 2 2 ( 4 2 1

f f
f #f f
f f
(1

#fff
1 5 5 3 2

f f f f
2

& #f
4 2 1

f
>> ff fz
fz
fz
fz
? j j
ff fz fz
? >FF ff
ffj fz
FF ffj
fz
FF
? <n>
<n> ff FF ffj F ffj FF
<n> f F ff >>FF ff FF
>F
71
f f ## ff f f f f ff ff ff f ff f ff #f
#f f f # f f f f f f #
1) 5
71 5
f f ff ff f f f
5
71
&
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65 Pianist 95

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 FOR
THE
LOVE
OF
MUSIC
Find old favourites, discover new pieces
or master the classics at

musicroom.com
66 Pianist 90

p66_pianist95.indd 66 15/03/2017 10:25


SUMMER COURSES
& WORKSHOPS 2017
Where in the world do you want to study this summer? Around the corner? Across an ocean?
Theres a course of study and fun with your name on it somewhere in this guide
UK
Benslow Music Trust
Various dates throughout 2017
www.benslowmusic.org
Residential and short courses
throughout the year for all levels in
the Hitchin, Hertforshire area. Piano
courses include Piano Sight-Reading
(3-5 April), Jazz Piano (28-30 April),
Speed Dating Piano Duets (12-14
June) and Preparing for your Piano
Diploma (29 Sept-1 Oct).
Cadenza International
Summer Music School
14-21 July
www.cadenzasummerschool.
org.uk
Located at the Purcell School,
London. For professionals, students
(from age 11) and amateurs. Solo
and chamber. Faculty includes Fali
Pavri, Julian Jacobson, Carole
Presland, Victor Sangiorgio, Pascal
Nemirovski and John Thwaites.
Cambridge Suzuki Young
Musicians, Summer School
22-27 July
www.suzukipianocambridge.
org.uk
Introductory workshop on the Piano
Suzuki Approach for teachers and
students. This short course is led by
Stephen Power, European Suzuki
Association teacher-trainer, and can
also act as the start of a longer-term
teacher-training programme leading
to qualified Suzuki teacher status.
This year a CPD course for qualified
Suzuki teachers is also offered.
Chethams International
Summer School and Festival
for Pianists
17-23 & 23-29 August
www.pianosummerschool.com
Popular courses for professionals,
adult amateurs and young players of
all abilities all taking place at
Chethams School of Music,
Manchester. Murray McLachlan is
artistic director. Faculty includes
Philip Fowke, Ashley Wass, Noriko
Ogawa, Leslie Howard, Leon
McCawley, Jonathan Plowright,
p67 Listings COURSES 2017-FINAL.indd 67
Peter Frankl, Craig Sheppard and
many more. See article on page 68.
City Lit
Various dates throughout 2017
www.citylit.ac.uk
Londons City Lit features ongoing
courses for all grades, ages and
abilities in genres including classical,
jazz, Latin and popular, with courses
in topics including keyboard
harmony. Summer, weekends,
weekdays and evenings.
CSSM at Sherborne Summer
School of Music
22-29 July
www.cssm.org.uk
Age 18 and over. For both
professionals and amateurs wishing
to improve their playing in a
supportive environment. Includes
courses such as Masterclass for
Accompanists (and Accompanists
Repertoire), Alexander Technique
and Play More Notes! All in the
lovely setting of Sherborne, Dorset.
Dartington International
Summer School & Festival
29 July-26 August
www.dartington.org/summer-
school
The well-established summer school,
based in Devon, offers one month of
courses for all types of musicians and
genres in a creative environment.
This year sees masterclasses and
performances from artistic directorBenslow.indd 1
Joanna MacGregor, Alfred Brendel,
Pascal Rog and more. Plus the
launch of a Piano Concerto
Competition.
Encore Music Projects 4th
International Summer School
17-29 July
www.encoremusicprojects.com
Courses for students in the beautiful, ensemble playing.
historic setting of Wells Cathedral
School in Somerset. One-to-one
lessons, masterclasses and
opportunities to perform. Piano
tutors include Olena Shvetsova,
Katya Apekisheva, John Byrne,
Vadim Gladkov and Richard May.
Residential and non-residential
options available.
67 Pianist 95
SUMMER COURSES
& WORKSHOPS 2017
Benslow Musics Piano
Summer School
with Graeme Humphrey
Mon 31 July - Fri 4 August 2017
Graeme taught piano at the Royal Academy of Music for
thirty six years. This course is for up to ten advanced
pianists of at least conservatoire entry standard and will
focus on technique, interpretation and repertoire. There
will be opportunities for ad hoc sessions with students
attending concurrent summer schools on campus and
piano ensemble music during the course. Under 27s
receive a 25% discount on all Benslow Music courses and
bursaries are available.
Location: Hitchin, Hertfordshire
Tel: 01462 459446
www.benslowmusic.org
Fantasia Music School Arranging (April), Chamber Music
Summer
Courses for Young for Strings and Piano (June), the
14/03/2017 10:41
Musicians Philosophy of Classical Music (July)
13-18 August and more. Course fee includes meals
www.fantasiamusicschool. and accommodation.
co.uk
The location changes this year to Hindhead Music Centre
the Prebendal School in Chichester. July & August
For beginners to Grade 8 aged 6-18. www.hindheadmusiccentre.
Four one-week courses for all co.uk
instrumentalists, focusing on Piano courses, especially for adult
amateurs, taking place throughout
the year. Set in a Victorian country
Higham Hall house in Surrey with six acres of
March to September private gardens surrounded by
www.highamhall.com hundreds of acres of National Trust
Various courses taking place at land. Summer piano course for
Higham Hall, set in the Lake students of Grade 7 and above (24-27
District, Cumbria, on an array July) with workshops, masterclasses
of subjects. Those for piano include and more. Piano faculty: James Lisney
Piano Workshop (March), Jazz and Simon Nicholls.
17/03/2017 09:15
 SUMMER COURSES
& WORKSHOPS 2017

Holiday Music Courses
10-13 April & 7-10 August
www.holidaymusiccourses.com
All ages from 15 to 90. Residential
courses for pianists (solo and
ensemble) and other musicians,
making music in any combination.
The April course takes place at the
Purcell School, Hertfordshire.
The August course is based at the
Yehudi Menuhin School in the Surrey
village of Stoke dAbernon, near
Cobham. Workshops focus on
ensemble playing, technique and
interpretation. Piano tutors include
Muriel Levin, John Sharp, Rachel
Erdos. Meals, accommodation,
tuition and use of the swimming pool
are included.
International Musicians
Seminar (IMS) Prussia Cove
2-23 April
www.i-m-s.org.uk
Chamber music classes and
workshops for the advanced pianist,
aged 16-30, in Prussia Cove,
Cornwall. Faculty includes
Ferenc Rados, Rita Wagner and
Kirill Gerstein.
Jackdaws Music Education
Trust
Various dates throughout 2017
www.jackdaws.org.uk
Courses catering for all levels and
tastes. Courses include Rachmaninov
and other Composers, The Complete
Pianist and The Pianist Within.
Tutors include Elena Riu, Julian
Jacobson, Mark Tanner, Philip
Fowke and Margaret Fingerhut.
London Masterclasses at the
Royal Northern College
16-23 July
www.londonmasterclasses.
com
London Masterclasses on tour
in Manchester. Piano masterclasses
at the Royal Northern College of
Music with pianist and teacher
Norma Fisher.
Music Makers
Various dates, July and August
www.musicmakers.co.uk
Various locations: Fordingbridge,
Salisbury and Wimbledon. Five-day
courses for ages 5-18 (residential
option for ages 8-18).
Nelly Ben-Or Piano Courses
19-24 July
www.pianocourseswith
alexandertechnique.com
Based in London. Individual sessions
at the piano and daily sessions in
Alexander Technique. New ways of
learning to memorise and develop
physical freedom at the piano.
Students of Grade 8 plus, all ages.
For performers, students and teachers.
(There is also a course in January.)
Teacher: Nelly Ben-Or.
Oxenfoord International
Summer School

Manchester camaraderie 22-30 July

A supportive and relaxed environment is the recipe for success at
Chethams Summer School for Pianists, says Jessica Duchen
Putting your feet up is not the point at Chethams
International Festival and Summer School for Pianists.
For two weeks from 17 August, the Manchester music
school is transformed into a veritable Mecca for
pianists, whether they are young students, advanced
students or keen adult amateurs. With 100 practice
rooms open from 6am to 11pm, three concerts a night
and lessons and workshops bursting from every
window, the sound of the piano is literally everywhere.
The summer school was founded 17 years ago by
Chets head of piano, Murray McLachlan, and his pianist
wife, Kathryn Page. Its roster of faculty habitually looks
like a Whos Who of Pianists; and this year a massive
new advantage has materialsed in the form of Chethams
new Stoller Concert Hall, promising a state-of-the-art
acoustic, a beautiful pale-wood interior and much-
improved seating capacity. Even though its been such a
long time, something changes every year, Page reflects.
This year the big difference is the new hall, which
means well be able to open up the concerts to a wider
general public, and theyll feel much more glamorous!
On the summer schools concert programme are
recitals by Peter Donohoe, Ashley Wass and many
more. Beethovens piano concertos (including the
Choral Fantasia) will be performed by star artists
among the faculty; also on the programme are the piano
works of composer-in-residence John MacLeod.
Moreover, the final stages of the biennial Manchester
Concerto Competition for Young Pianists are taking
place at the same time. The final has been expanded to
two nights rather than one, accommodating six finalists,
with the Manchester Camerata to accompany them.
Nevertheless, most people go to the summer school
to play, not only listen. A number of different courses
are available and the students form three broad groups:
schoolchildren, students and adult amateurs. The
amateur course in particular has grown to become
extraordinarily popular.
Maybe that is because it is all about supportiveness.
Photo courtesy of Chethams
www.oxenfoordinternational.
co.uk
If you want to master the art of
accompanying, this is the course
for you! Based in the outskirts of
Edinburgh, Malcolm Martineau
heads the team of tutors for the
piano accompaniment classes.
A rare opportunity for singers and
accompanists to learn together at
this all-Steinway summer school.
Open to amateurs as well as
professionals and students.
Accommodation provided.
Oxford Philharmonic
International Piano Festival
from people who have only been playing for a short and Summer Academy 2017
while right through to diploma level. For the adult 30 July-7 August
amateur course, we choose your teacher for you www.oxfordphil.com
according to who we think will be most suitable from Fifteen, hotly contested places
the repertoire youre studying, how long youve been available on a residential course that
learning and what your teachers reference letter offers tuition and masterclasses from
suggests are your strengths and weaknesses. artists of the calibre of Sir Andrs
The workshops unite the amateur participants: Schiff and Menahem Pressler.
We used to split the group in two, says Page, but it See feature on page 72.
seems everyone wanted to be together. The atmosphere
is very supportive, with a wonderful camaraderie. Its very Penelope Roskells Advanced
relaxed and theres a lot of discussion besides the chance London Piano Courses
to play. That spirit of fun and camaraderie is evident in 24-25 June
the photo above of Philip Fowke leading a class. www.peneloperoskell.co.uk
The social side is also a big draw for amateur pianists: This new intensive two-day London
The summer school has effects that last way beyond the workshop is open to all pianists
actual course, says Page. People love making new (professional performers and
friends. There have been instances when two people teachers, students and amateur
have discovered they live near each other and suddenly pianists) who are interested in
theyre meeting to play to each other every two weeks. learning more about Penelopes
And weve even had weddings as a result! approach to piano playing and
The range of age and abilities enjoying the summer teaching, and in investigating and
school together is also unusual: The adult amateurs love discussing new methods of
the energy of the gifted youngsters, says Page, and the technique. Masterclass sessions for
children enjoy the often rather original personalities of pianists of post-Grade 8 standard.
some of the adults. They might be doctors or lawyers in
normal life, but they all love playing the piano. Piano Duet Courses

The difference between the adult amateur course and
the piano course for advanced students is that in the
former, you get a two-hour workshop every day as well
as your individual lesson, says Page. There are no
auditions and the range of levels is huge everything
And if you want to go, be warned: it sells out fast. Throughout 2017
Two hundred and twenty participants may sound large, www.piano-duet.co.uk
but according to Page this years first week sold out in Short courses, weekend and one-day
three days flat. courses: repertoire performance,
www.pianosummerschool.com discussion, individual tuition
and tutor recitals/concerts.

68 Pianist 95

p67 Listings COURSES 2017-FINAL.indd 68 17/03/2017 09:15

 Alfred Brendel
Patron Oxford
Sir Andrs Schiff Philharmonic The course that inspires
Orchestra professionals...
President
Marios Papadopoulos MBE
Artistic Director
Oxford Piano Festival
30 July - 7 August 2017 Piano Teaching for
boxoffice@oxfordphil.com 2017 Faculty the 21st Century
01865 980 980 Saleem Ashkar Enhance your professional teaching skills
oxfordphil.com Alfred Brendel
Yefim Bronfman October 2017 - June 2018 now booking
Richard Goode Comprising three residential weekends,
Ian Jones three single Sundays and independent
John Lill study spread over the academic year,
the course is for:
Marios Papadopoulos
Menahem Pressler Those new to the profession
Paul Roberts Piano teachers and student teachers
Sir Andrs Schiff who wish to enhance and develop
their teaching skills
Colin Stone
Dame Fanny Waterman Advanced players wishing to add
a teaching component to their
Zhang Zuo
professional portfolio

Course Venue:
The Purcell School of Music
Aldenham Road Bushey Herts WD23 2TS

For all enquiries please contact:

Jennie Parke Matheson, PTC Administrator
on: 07831 164430
or: info@pianoteacherscourse.co.uk

www.pianoteacherscourse.org
EPTA UK is a registered charity No.293698

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69 Pianist 95

p69_pianist95.indd 69 16/03/2017 16:34

 SUMMER COURSES
& WORKSHOPS 2017

Various locations in the UK (as we
went to press, 2017 details were
unavailable). Course tutors are piano
duettists Anne Applin and Geoffrey
Pratley. Individuals willing to pair up
at the beginning of the course are
welcome as well as are pre-formed
duos.
Piano Week
23-30 July, 30 July-6 August,
13-20 August
www.pianoweek.com
Weeks 1 and 2 are based at Moreton
Hall, Shropshire. Week 3 at Rugby
School. Recitals, masterclasses, talks
and discussions by acclaimed pianists
and tutors. All levels, beginner to
advanced. One-to-one lessons and
performance opportunities. Faculty
includes Samantha Ward, Maciej
Raginia, Vesselina Tchakarova, Niel
du Preez, Yuki Negishi, Warren
Mailley-Smith and more.
Sherborne Summer School
of Music
30 July-6 August; 6-13 August
www.sherbornemusic
summerschool.co.uk
Based in Sherborne School in
Dorset. Age 18 plus; students and
good amateurs. Courses include Solo
Piano, Piano Accompaniment,
Alexander Technique, Score
Learning and General Musicianship.
Faculty: Andrew Ball for piano,
and Nigel Hitchson for piano
accompaniment.
Summer School for Pianists
12-18 August
www.pianosummerschool.
co.uk
Based on the campus of the
University of Wolverhampton,
this summer school is for age 18 plus
and Grade 5 plus. Mature students
encouraged. Tutors: Karl Lutchmayer,
James Lisney, Christine Stevenson,
Graham Fitch, Ann Martin-Davis.
Lessons, masterclasses, student and
faculty concerts.
Ulverston International Music
Festival
April, November & December
www.ulverstonmusicfestival.
co.uk
Based in southern Cumbria,
masterclassess take place with
eminent musicians throughout the
year: Piano Masterclass with Murray
McLachlan and Kathryn Page
(29-30 Apr), Piano Masterclass with
Martin Roscoe and Anthony Hewitt
(4-5 Nov) and Piano and Strings
Masterclass with the Primrose Piano
Quartet (2-3 Dec).
XIX International Summer
Music Course, Wales
15-27 July
www.lmfl.org.uk
Intensive course for young musicians
preparing for exams, auditions and
competitions with some of the
worlds leading tutors. Course takes
place at Llandovery College in
Carmarthenshire, Wales.
CANADA
Calgary Piano Camp
24-28 July
www.calgaryartssummer.com
There are two courses and age-
ranges: the Piano Camp (24-28 July)
for children and the Adult Piano
FRANCE
Lot Music
8-15 July & 15-22 July
www.pianolotmusic.com
Two one-week courses of intensive
piano study in the beautiful setting
of Prayssac, the centre of the Cahors
wine district. Approximately nine
pianists per course. First-week course
tutor: Noriko Ogawa. Second-week
tutor: Martin Cousin.
Music at Albignac
2-10, 12-20 & 22-30 August
www.albignacmusic.com
Set in Tarn, Southwest France, this
summer school, formerly known as
Music at Ambialet, offers intense
eight-day programmes of
masterclasses, workshops, private
tuition, concerts and lectures in a
magnificent rural setting. Faculty:
Martin Sturfalt, Paul Roberts
(Director), Jeffrey Gilliam and
Charles Owen. For intermediate and
advanced levels aged 17 and above.
Summer Piano Courses
at La Balie
25 May-1 June, 3-10 June, 5-12
July, 24-31 August
www.labalie.com
For intermediate to advanced pianists
(Grade 8 and above). Situated in
beautiful stone farm buildings with
good accommodation at La Balie in
south-west France. Four one-week
piano courses led by pianist James
Lisney. Class numbers limited to

Summer School
Camp (24-26 July). Based in eight. Students encouraged to play
Calgary, where the Rocky Mountain in the evening concerts.
foothills meet the Great Plains, the

For Pianists camp helps students to explore the

many facets of piano playing in a
supportive, fun atmosphere that
IRELAND

promotes a positive attitude towards Dublin International Piano

Wolverhampton University, Walsall Campus practising and performing. Theres
also a Jazz Keyboard Workshop
12th 18th August 2017 (17-20 July).
TUTORS: James Lisney; Christine Stevenson; Canadian International
Karl Lutchmayer; Graham Fitch; Ann Martin-Davis Music Camp
Throughout July & August
An exciting week of masterclasses, tutor recitals, www.
presentations and student concerts. The only United canadianinternationalmusic
Kingdom piano summer school which is held at an camp.com
All-Steinway institution. Ample practice facilities. Designed for children ages 7-16,
Accommodation in single en-suite bedrooms on site. based in Nova Scotia. All levels,
no auditions are required. Places
are awarded on a first-come,
For further details contact: first-served basis. A fortnight is the
Dr Brian White recommended minimum stay, but
Telephone: +44 (0)1622 756660 one week is acceptable. To ensure
Email: info@pianosummerschool.co.uk students get adequate personal
Website: www.pianosummerschool.co.uk attention, the camp is limited to
https://www.facebook.com/ 20 students in any individual week.
SummerSchoolForPianists/ Instructors will work on music
https://twitter.com/pfsummerschool which is brought by the students,
as well as assigning new pieces.
70 Pianist 95
Festival & Summer Academy
22-30 July
www.pianofestival.ie
A nine-day intensive programme
for advanced pianists of all ages.
Eighteen participants will be chosen.
Masterclasses given by Archie Chen,
Lance Coburn, Orla McDonagh,
Evelyne Brancart and others, plus
seminars and recitals. A combination
of learning and performing.
Alexander Technique lessons
also included.
GERMANY
Schleswig-Holstein Music
Festival & Masterclasses
1 July-27 August
www.shmf.de
Masterclasses take place at the
Musikhochschule Lbeck.

Summerschool.indd 1 14/03/2017 10:43

p67 Listings COURSES 2017-FINAL.indd 70 17/03/2017 09:16

 Each course concludes with concerts
given by the participants. For
advanced students and young
professionals. Pavel Gililov gives
the piano masterclasses this year
(30 July through to 4 August).
ITALY
LMFL Summer Course
7-19 August
www.lmfl.org.uk
Specialist course given by well-known
faculty for advanced students (17+)
or professionals, based in Florence.
Music Holiday Italy
April through to October
www.musicholidayitaly.com
Experience music learning within
authentic Italian life in a tranquil
Apennine setting. One-week piano
courses throughout the year.
Masterclasses by Gil Jetley and
Martin Roscoe. No set standard or
age limit for pianists taking part.
New this year: Teacher symposiums.
JERSEY
Jersey International Festival
for Amateur Pianists
28 May-4 June
www.normandypianocourses.
com
Residential course for serious amateur
pianists, aged 18 plus. Introduction to
Alfred Cortot method; courses aim to
raise level of playing and increase
freedom at the piano. Ample practice
facilities are available, with one piano
per person. Performance possibilities.
Masterclasses by Eric Heidsieck.
USA
ArtsAhimsa Music Festival
at Belvoir Terrace
16-23 August
www.artsahimsa.org
Set at a beautiful 19th-century estate
in Lenox, Massachusetts, ArtsAhimsa
promotes non-violence through arts.
Chamber music classes for pianists
and string players. For adults with a
good playing level. Audition required.
Performance opportunities. Faculty
includes Paul Epstein, Donna Gill,
Sina Kiai and So Hee Kwon.
Aspen Music Festival
and School
29 June-20 August
www.aspenmusicfestival.com
This famous Colorado festival offers
masterclasses, workshops, private
instruction and performance
opportunities for advanced students
and young musicians.
p67 Listings COURSES 2017-FINAL.indd 71
Golandsky Institute
Summer Symposium
9-16 July
www.golandskyinstitute.org
Taking place at Princeton University
in New Jersey, a week-long
immersion in the Taubman
Approach to piano playing.
This includes private lessons,
supervised practice times, techniques
clinics, lectures, masterclasses and
evening concerts as part of its own
International Piano Festival.
Presentations and lectures by
Edna Golandsky and others.
International Keyboard
Institute and Festival
16-30 July
www.ikif.org
This famous New York City Festival
comprises masterclasses and
performances by some of the
worlds top pianists and teachers.
Audition required for masterclass
participation. Scholarships available.
Faculty and performers this year
include David Dubal, Joseph
Patrych, Vladimir Feltsman,
Alexander Kobrin, Jerome Rose,
Steven Mayer, Emanuel Krasovsky
and Nina Lelchuck. Venue:
Hunter College.
International Music Camp
Piano Program
9-15 July
www.internationalmusiccamp.
com
Near Dunseith, North Dakota.
Age 10 to adult, with at least two
years piano experience. Daily
classes in technique, literature,
musicianship, performance,
keyboard harmony, theory and more.
Canada.indd
Juilliard pianoSonoma
Workshop
5-8 June
www.juilliard.edu
The Juilliard Evening Division
facilitates this workshop for adult
musicians (participants) playing
chamber music and performing with
current Juilliard students or recent
graduates. Participants take lessons
from Juilliard faculty members, play
in daily performance classes and
perform in a final concert open to
friends and family. All events take
place at The Juilliard School in New
York City. For intermediate and
advanced levels, 18 years and over.
Miami Music Festival
Piano Institute
6-24 June
www.miamimusicfestival.com
Weekly private lessons and
masterclasses with acclaimed
faculty including Alessio Bax,
71 Pianist 95
Canadian
International
Music Camp
Dates running:Weekly through the summer -- July 16-July 23,
July 23-July 30, July 30-August 6, August 6-August 13,
August 13- August 20, August 20- August 27.
Spend your summer in the most beautiful province in Canada
- Nova Scotia by the Atlantic Ocean, laidback, beautiful
nature surrounds you throughout the province. The camp is
located on 8 acres of land in the Annapolis Valley.
We are offering a piano program for all levels ages 7-16,
no auditions required, and English as a Second language is
also an option.
Your children will have opportunity to meet children
from other countries and make lifetime friends. We are very
excited to hear from you and offer you the best hospitality
Canada is so famous for. Come spend a week or month with
us! Direct Flights from London to Halifax.
Location: Nova Scotia, Canada
Tel: 1-431-999-3983
www.canadianinternationalmusiccamp.com
Douglas Humpherys, Ching-Yun the inspiring setting of Estes Park
Hu,1 Alexandre
Moutouzkine and in the Rocky Mountains, Colorado.
14/03/2017 10:59
Anton Nel. Group outings to various Faculty includes Hsing-ay Hsu,
South Florida locations including Sergio Gallo, Larry Graham.
South Beach, Steinway Coral Gables
and more. Piano Concerto Summer Trios
Competition in which three winners 4-11 June, 18-25 June,
perform in concert alongside the 25 June-2 July
MMF Symphony Orchestra. www.summertrios.org
Pennsylvania-based courses for
Kinhaven Adult Piano amateur musicians to play chamber
Workshop music together. Piano faculty
6-11 June includes Lily Friedman, Denise
www.kinhaven.org Kahn and Efi Hackmay.
Situated in Kinhaven, Vermont,
the Adult Piano Workshop is
directed by Leander Bien. Study WEBSITES
four-hand and solo repertoire
workshop in a non-competitive, Hot Courses
supportive environment. Alexander www.hotcourses.com
Technique is also offered. Searchable databases of UK courses
available throughout the year.
Rocky Ridge Music Center
May and June Music Workshop Guide
www.rockyridge.org www.acmp.net/workshops
Two adult piano seminars Searchable database of worldwide
(27-31 May; 31 May-4 June) in chamber music courses.
17/03/2017 09:16
 MUSIC FESTIVALS 2017

MUSIC FESTIVALS 2017

From Bach up a mountain to Cage in a church: whatever your budget, taste or location,
the comprehensive Pianist guide to this years festivals has something for you to discover

to Brian Eno. Piotr Anderszewski Bath Mozartfest Brighton Festival

UK
Aldeburgh Festival
9-25 June
www.snapemaltings.co.uk
The programme marks 70 years since
Benjamin Britten and Peter Pears
founded this Suffolk festival. Artistic
Director Pierre-Laurent Aimard plays
an Invitation to the Dance concert
and has invited Marino Formenti to
give a wide-ranging recital from Liszt
plays Mozart, Janek and Chopin.
Bath Festival
19-28 May
www.bathfestivals.org.uk
Richard Goode and Jeremy Denk are
the headline piano stars of a revived
and renewed multi-arts festival
which takes place in venues across
the city, with lectures, shows and
demonstrations from Simon Callow,
Mary Berry and Sir Salman Rushdie.
10-18 November
www.bathmozartfest.org.uk
A popular festival with a classical
core of chamber and piano music:
details announced in the summer.
BBC Proms
14 July-9 September
www.bbc.co.uk/proms
The worlds largest music festival,
centred at the Royal Albert Hall.
Full details announced in April.
6-28 May
brightonfestival.org
Taking place in venues across
Sussexs coast, this multi-arts fixture
of the UK festival calendar includes
Paul Lewis playing Mozart and Weber
at Glyndebournes opera house.
Cheltenham Music Festival
1-16 July
www.cheltenhamfestivals.com
Young stars have a chance to shine
at this well-supported festival. Jan
Lisiecki plays Chopin and BBC

Degrees of excellence Young Musician finalists in concert

include Martin James Bartlett
(piano), Sheku Kanneh-Mason
Schools of piano-playing from across the globe meet at this years (cello) and Jess Gillam (saxophone).
Oxford International Piano Festival, discovers Peter Quantrill Pianist regular Lucy Parham gives
her Rachmaninov lecture-recital.

From 30 July to 7 August, the 2017 Oxford East Neuk Festival

International Piano Festival attracts students, teachers
and enthusiasts from around the world for an intensive
series of concerts, masterclasses and lectures. Not, you
understand, scales-and-sightreading, see-you-next-week
teachers but rather more elevated instruction from,
among others, Sir Andrs Schiff, Richard Goode,
Yefim Bronfman and the Festivals director, pianist and
conductor Marios Papadopoulos.
This is an educational programme, stresses
Papadopoulos, as part of the Oxford Philharmonics
Academy programme; we get more than a hundred
applications for 15 places, so we can select the very best.
Last year both the winner and runner-up of the Leeds
International Piano Competition came as students, and
each year the Lang Lang Foundation sends a few of its
students, selected by Lang Lang himself.
Whats in store for those lucky students? Being in
Oxford, replies Papadopoulos, we aim to pose questions.
I say to students, if we have created problems for you
to solve, then were doing our job. The ethos of the
festival is to examine the pianist as musician, in their
various guises: as a virtuoso, naturally, but also as a
teacher, an academic, conductor, chamber musician
and accompanist.
The listening public, too, will gain special insights
into schools of piano-playing from across the globe.
The message is loud and clear, says Papadopoulos:
There isnt one way of playing the piano. On the stage
of the Jacqueline du Pr Music Building at St Hildas
Photo courtesy of Oxford International Piano Festival
With concerts in venues across the ancient university
city, students and observers come away having
experienced Oxford in its entirety, according to
Papadopoulos. The 2017 Festival shines a spotlight on
Beethoven. Patron of the festival Alfred Brendel giving a
lecture on the composers last sonatas and his late style,
and Beethoven interpreters such as John Lill and
Richard Goode will give evening concerts. Saleem
Ashkar appears in the citys Christ Church cathedral:
an imposing venue for a festival newcomer? I think
youve hit the nail on the head there, says
Papadopoulos. But in fact Christ Church has a
wonderful Bsendorfer, and I remember a stunning
Hammerklavier given by Sir Andrs Schiff. of Dorchester Abbey.
This year Schiff plays Book I of the Well-Tempered
28 June-2 July
www.eastneukfestival.com
This years festival on Scotlands
stunning east coast travels to
Classical-era Vienna, with Mozart,
Salieri and Schubert from the likes
of Elisabeth Leonskaja, Malcolm
Martineau and the Belcea Quartet.
Edinburgh International
Festival
4-28 August
www.eif.co.uk
With recitals from Mikhail Pletnev,
Seong-Jin Cho, Andreas Haefliger
and Mitsuko Uchida, the festival has
a strong piano bias this year. Sergei
Babayan and Paul Lewis also make
concerto appearances.
English Music Festival
26-29 May
www.englishmusicfestival.org.uk
First performances of Vaughan
Williams and Stanford launch four
days of focus on early 20th-century
England in the aptly pastoral setting

College, two concert grands are placed side by side, so
that the artist can sit and demonstrate to the student.
I encourage my colleagues to treat every masterclass as
a public occasion, he continues, and Menahem Pressler
is especially good at that. Hes been coming for so many
years and we love him. His approach both poses
questions to the students and engages the public.
Dame Fanny Waterman (pictured above right at the
festival) also returns to take a class.
Clavier in what is sure to be a highlight of the week, and
Yefim Bronfman closes proceedings with Brahmss Second
Concerto, with the indefatigable Papadopoulos directing
the Oxford Philharmonic. As is fitting for a place of
learning, though, the emphasis is on instruction, revelation
and improvement. When I leave the festival each year,
concludes Papadopoulos, I look forward to many hours
of practising myself. We learn from each other.
www.oxfordphil.com/oxford-philharmonic/piano-festival
Gregynog Festival
16 June-2 July
gregynogfestival.org
Pageantry is this years theme for this
North Wales festival, with revivals of
Harlech composers such as Bantock,
Holbrooke and Cyril Scott. Artists
include local favourite Llyr Williams,
Mahan Esfahani, Amy Dickson and
the Gould Piano Trio.

72 Pianist 95

p72 Listings FESTIVALS 2017-FINAL.indd 72 16/03/2017 15:52

 My ISM is

Philip Herbert
Composer and Performer
ISM member since 1994

20% off
membership.
Use promo code PIANO17
or PIANO17G
(graduate rate).
Offer ends 30 April

Join our growing membership of @ISM_music

professional musicians. facebook.com/ISMusicians

Make us your ISM. ism.org

73 Pianist 95

p73_pianist95.indd 73 15/03/2017 10:31

 MUSIC FESTIVALS 2017
Hebden Bridge Piano Festival
21-23 April
www.
hebdenbridgepianofestival.com
A bold pairing of Scarlatti and John
Cage from David Greilsammer opens
this intensive piano weekend in
Yorkshire. There are plenty of kids
events, jazz concerts, lunchtime
recitals and a closing duo concert from
Kathryn Stott and Noriko Ogawa.
Kings Lynn Festival
16-29 July
www.kingslynnfestival.org.uk
Festival vice-president Freddy Kempf
gives a recital of Chopin, Schumann
and Tchaikovsky, and the young
Georgian pianist Luka Okros plays
Schubert and Rachmaninov. Scottish
folk, Argentinian tango and English
brass contribute to a lively line-up.
Lake District Summer Music
International Festival
29 July-11 August
www.ldsm.org.uk
Haydn, Schubert, the Russian
Revolution and the art of
transcription are themes running
through 40 events, including the
Gould and Aurelian piano trios, and
solo recitals from Carole Presland
and Alexandra Vaduva.
Lammermuir Festival
15-24 September
www.lammermuirfestival.co.uk
East Lothian churches and stately
homes make elevated settings for
recitals from Steven Osborne and
Daniel Kharitonov. The Gould Piano
Trio gives five morning Coffee
Concerts of Haydn and friends.
Lichfield Festival
7-15 July
www.lichfieldfestival.org
The citys medieval cathedral hosts
Andrew Tyson in the Paganini
Rhapsody, Evelyn Glennie and a
celebration of Richard Rodgers.
Lincolnshire International
Chamber Music Festival
29 July-6 August
www.licmf.moonfruit.com
Artistic director Ashley Wass gives a
recital with new co-director Matthew
Trusler and plays Rachmaninov as
part of the Trio Apaches. Theres a
wide range of events in Lincoln
and surrounding villages.
London Piano Festival
5-8 October
Sarah Mason Photography
www.londonpianofestival.com
Curated by Charles Owen and Katya
Apekisheva, this long weekend at
Kings Place fits a commission from
Elena Langer within a Russian theme.
p72 Listings FESTIVALS 2017-FINAL.indd 74
Midsummer Music
23-25 June
www.midsummermusic.org.uk
The idyllic village of Latimer in
Buckinghamshire is home to a long
weekend of music-making that
begins with a Bach Partita from the
festival director, Paul Lewis. Special
guests include Alfred Brendel, who
talks about Mozart and the piano.
Music at Paxton
14-23 July
www.musicatpaxton.co.uk
Steven Osborne opens this festival
on the Scottish borders with Brahms
and Rachmaninov. It continues with
Rameau, Martin and Bach from
Mahan Esfahani, a Benjamin Frith
recital and closes with Pieter
Wispelwey playing all six of Bachs
Cello Suites in an afternoon.
Newbury Spring Festival
6-20 May
www.newburyspringfestival.
org.uk
Debussys Images and the
Appassionata Sonata are on the
menu of Stephen Houghs recital.
Noriko Ogawa plays Tchaikovskys
First Concerto and theres an exciting
lunchtime line-up of young artists,
as well as the Bollywood Brass Band
and Drummers of Ghana.
Norfolk and Norwich Festival
12-28 May
www.nnfestival.org.uk
Two giants of counterculture come
together in American Style, an
evening with Philip Glass and Laurie
Anderson. Other events include
Beethoven with Thomas Ads and
the Britten Sinfonia.
Oxford International Piano
Festival
30 July-6 August
www.oxfordphil.com
Under the aegis of the Oxford
Philharmonic and its energetic pianist-
conductor Marios Papadopoulos,
this is a week-long parade of pianists
giving masterclasses and concerts.
Faculty staff this year include Saleem
Ashkar, Alfred Brendel, Yefim
Bronfman, Richard Goode,
Menahem Pressler and Dame Fanny
Waterman. See article on page 72.
Perth Festival of the Arts
15-27 May
www.perthfestival.co.uk
Nigel Kennedy and Jools Holland are
among the high-profile guests at this
Scottish festival, which opens with a
sonata recital from Nicola Benedetti
and Alexei Grynyuk and concludes
with Freddy Kempf playing
Rachmaninovs Third Concerto.
74 Pianist 95
A cheery audience applauds Noriko Ogawa at Hebden Bridge Piano Festival
Proms at St Judes Music &
Literary Festival
24 June-2 July
www.promsatstjudes.org.uk
The silver-jubilee season of this
North London festival hosts the
pianist Daniel Liebhardt and the
Choir of Kings College, Cambridge.
Ribble Valley International
Piano Week
19-22 July
www.rvipw.org.uk
Artistic director Martin Roscoe
brings illustrious colleagues to his
Lancashire festival such as Leon
McCawley and Lucy Parham with
her Debussy evening. Roscoe himself
closes the weekend with Schubert.
Royal Academy of Music
Piano Festival
26-28 June
www.ram.ac.uk
Twenty concerts and events over
three days, all free, including the
complete Beethoven piano sonatas
and Alfred Brendel talking about the
composer; plus premieres for two
quarter-tone uprights: a keyboard feast.
Ryedale Festival
14-30 July
www.ryedalefestival.com
Llyr Williams plays Schuberts last
sonatas over two days of this fortnight
amid the spectacular landscape of
North Yorkshire. Rachmaninov from
both Pavel Kolesnikov in the opening
concert, and the Etudes-Tableaux with
Steven Osborne.
St Magnus International Festival
15-25 June
www.stmagnusfestival.com
Steven Osborne reappears in Orkney
with Ravels Concerto in G; the
gifted young Ashley Fripp encloses a
MUSIC FESTIVALS 2015
virtuosic Ads paraphrase within
classics by Bach and Chopin.
Swaledale Festival
27 May-10 June
www.swaledale-festival.org.uk
Scattered across the churches and
chapels of the Yorkshire Dales, this
festival features the best of British
music-making, from Stephen Hough
and Julian Perkins to the folk sounds
of Red Priest and The Unthanks.
Thaxted Festival
23 June-16 July
www.thaxtedfestival.org.uk
Four long weekends fill a superb
14th-century church, rising from
the fields of Essex, with John Lill,
Jennifer and Jeremy Pike and
Tenebrae choir among others.
The Two Moors Festival
13-21 October
www.thetwomoorsfestival.
co.uk
Barry Douglas (playing Brahms and
Mussorgsky) and Simon Trpeski
(the Emperor Concerto) are the
headline piano acts alongside mostly
chamber music in churches across
Dartmoor and Exmoor.
Ulverston International
Music Festival
7-17 June
www.ulverstonmusicfestival.
co.uk
Festival founder Anthony Hewitt
plays in no fewer than six of this
South Lakes festivals 17 concerts, as
soloist in the Grieg Concerto and
with Michael Collins and Jess
Gillam among others. Dominic
Degavino is the featured Young
Artist Pianist, and an Amateur Piano
Day rounds off the festivities with
lots of local participation.
16/03/2017 15:53
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 MUSIC FESTIVALS 2017

Vale of Glamorgan Festival
19-26 May
valeofglamorganfestival.org.uk
New music in the Welsh valleys,
featuring four commissions and six
world premieres such as two piano
trios given by the Marsyas Trio. New
York six-piano super-group, Grand
Band, arrives with two concerts and
works with local schools and students.
Wimbledon International
Music Festival
7-17 June
www.wimbledonmusicfestival.
co.uk
Yevgeny Sudbin brings Russian
glamour to south-west London;
Argentine pianist Sergio Tiempo
also finds a home from home
in Piazzolla and Ginastera.
The Schubert Ensemble plays
(what else?) the Trout Quintet,
and distinguished visiting quartets
include the Diotima, Wihan and
Sacconi ensembles.
AUSTRIA
Grafenegg
18 August-10 September
www.grafenegg.com
Khatia Buniatishvili sprinkles
stardust on the summer night gala
of 22 June before the festival proper
opens with its founder-director,
Rudolf Buchbinder, playing
Brahmss D minor Concerto. He is
followed in short order by Nikolai
Lugansky, Daniil Trifonov, several
international orchestras and a funky
evening of Gershwin and Ellington
with the local Tonkunstler Orchestra
Niedersterreich.
Salzburg Festival
21 July-30 August
www.salzburgerfestspiele.at
Daniil Trifonov and Yefim Bronfman
both make concerto appearances
with the most luxurious of house
bands, the Vienna Philharmonic.
Martha Argerich, Pierre-Laurent
Aimard, Grigory Sokolov, Igor Levit
and Maurizio Pollini are among the
other stars coming out to play.
Schubertiade Schwarzenberg
Hohenems
4-7 May; 13-16 July; 5-8 October
(Hohenems); 17-25 June;
25 August-3 September
(Schwarzenberg)
www.schubertiade.at
The great Lieder singers and
Schubert pianists of our age give
recitals throughout the day at these
long weekends and festival weeks:
expect to see the likes of Lars Vogt,
David Fray, Till Fellner, Sir Andrs
Schiff and Marc-Andr Hamelin.
CANADA
Stratford Summer Music
17 July-27 August

And now for something

completely different. The Husum Rarities of Piano Music festival tickles
the palates of even the most jaded pianophile, says Peter Quantrill
Alkan. Thalberg, Moszkowski. Stanchinsky. Are you
feeling hungry? Simply listing a few of the composers
to be featured in this years Husum Rarities of Piano
Music festival should be enough to get lips licking and
mouths watering among the loyal following which
will descend on the North Sea harbour town for nine
recitals in eight late-summer days (18-26 August),
impatient for curiosities and revelations dished up by
festival director Peter Froundjian.
A vast library of piano literature is now available at
the click of a mouse, to buy and listen to, but theres
nothing like the live experience, and this is where,
according to Froundjian, promoters and halls have
been too slow or too cautious to catch on. I feel theres
a mission that I should show the public in this special
festival the great diversity of piano repertoire, he says.
After the Second World War, programmes became
more and more narrow, focusing on the classics and
modern music. All those works which were more
Romantic and virtuosic were excluded. And the
architecture of a piano recital should be more diverse
than it often is, with only Beethoven sonatas and the
same things over and over again.
Liszt hovers over the festival like a godfatherly
spirit. He had such wide scope in his ambitions,
remarks Froundjian. But we hear such a narrow
range of Liszt works in concert always the Sonata,
maybe paraphrases. He treasures the memory of Zlata
Chochieva playing the Hymne de la Nuit a genuine
Liszt rarity in last years festival, and revivals of the
F minor Sonata by York Bowen and the Piano Quintet
of Ignaz Friedman.
Such pianist-composers inevitably loom large in
this years programme. In his 15th appearance at the
festival, Marc-Andr Hamelin brings the sonatas of
Feinberg, Moszkowski (new to his vast repertoire) and
a piece by Alasdair Hinton, which has Froundjian
intrigued: a very interesting gaze back at the Vocalise
of Rachmaninov through the eyes of Sorabji. Antonio
Pompa-Baldi plays not only Medtner and Rubinstein
Stiftung Nordfriesland
There are more transcriptions in Daniel Bermans
recital: He was known to Earl Wild, Froundjian
explains, who left him some manuscripts. Body and
Soul is his arrangement of the jazz standard, and were
giving the world premiere. Vincenzo Maltempo
will play four hyper-virtuoso Russian sonatas by
Stanchinsky, Glazunov, Dmitri Blagoy and Victor
Kosenko, including some of the most technically
challenging music in the festival. According to the
director, Its a good counterpart to other programmes
which are dominated by smaller pieces such as Nadejda
Vlaevas recital. Even there is a Fantasy by Robert
Volkmann which I suggested to her between the
tantalising prospect of a Rameau Suite from Godowsky
and miniatures by Vladigerov, father and son.
The festival closes with an evening-long, out-and-
out masterpiece: Jorge Luis Prats playing the complete
Iberia of Albenz, which is not encountered in concert
in a month of Sundays. It is a very knowledgeable
audience, remarks Froundjian, but not only that, they
are simply lovers of good piano music. They distinguish
themselves from other audiences because they are very
attentive and concentrated as they have to be in
the intimate setting, pictured above with the Grau-
stratfordsummermusic.ca
Canadian and international artists
descend on downtown Ontario for
concerts and outdoor events across
a range of genres, many of them
family-focused, but including some
high-profile piano recitals. Full
details available online in late spring.
FRANCE
En Blanc et Noir
6-11 July
www.enblancetnoir.com
A week in a medieval French village,
deep in wine country, with the the
14th-century Place de la Halle
packed out by pianists: whats not
to like? Ivan Ili, James Kreiling and
Simone Tavoni make return visits;
theres a tribute to Scott Joplin, a
midnight concert of Cage and Satie,
Beethovens Ninth arranged by Liszt
and more.
Orpheus & Bacchus
Piano Festival
10-16 June, 20-24 September
www.orpheusandbacchus.com
In the midsummer edition of this
residential event in the Dordogne,
Benjamin Frith plays Schubert and
the Hammerklavier Sonata; he also
leads the Hummel Ensemble in
Classical-era concerts of rare
Hummel and Weber concertos
once the daytime tastings of
Pomerol and St Emilion are done.
Roque DAntheron
21 July-19 August
www.festival-piano.com
The piano festival to end them all,
in a village north of Aix-en-
Provence: as many as four concerts
a day for a month, nearly all

but also his own arrangements of Edith Piaf and a
sonata by Roberto Piana, Aprs une lecture de Liszt:
even Froundjian hasnt heard this before.
Schumacher duo. More than one pianist has said to me
that they have never experienced such a silent public.
www.piano-festival-husum.de
76 Pianist 95
featuring either one of the worlds
great pianists or an exciting new
talent. Full programme available
online in late spring.

p72 Listings FESTIVALS 2017-FINAL.indd 76 17/03/2017 09:03

 MUSIC FESTIVALS 2017

+DOIWRQH.H\VGDUNSHWURO
.H\VVRIW\HOORZ

18. - 26. August 2017

Schloss vor Husum

Rarities of
Piano Music
Fjord Classics
9 recitals matine exhibition film
Tues 27 June Sun 2 July 2017
Lukas Geniuas
Kathryn Stott & Lars Anders Tomter welcome you to
Satu Paavola
the inaugural Fjord Classics!
Antonio Pompa-Baldi
We are delighted to present a terric mix of
Marc-Andr Hamelin
international musicians, such as piano sensations Vikingur
Nadejda Vlaeva
Olafsson and Leif Ove Andsnes. Featuring a vibrant
programme inspired by Munchs The Dance of Life, Enescus Vincenzo Maltempo
Octet for Strings will also be performed for the rst time Daniel Berman
here. Come and be whirled away in our dance of life! Muza Rubackyte
Jorge-Luis Prats

Location: 75 min. from Oslo, Norway in beautiful

Sandefjord. Easily reached by train or car. 6 min
from Sandefjord Airport Torp.
Tel: +47 402 01 792
Email: greatmusic@fjordclassics.com
www.fjordclassics.com
Fjord.indd 1 GERMANY
Klavier Festival Ruhr
5 May-20 July
www.klavierfestival.de
The Americas is one thread running
through this enormous celebration
of piano music and pianists. Theres
Robert Levin playing Earl Wild,
Tamara Stefanovich in Ives and
Denis Matsuev in Gershwin.
Grigory Sokolov gives the closing
recital, after appearances across
Germanys industrial heartland from
Hlne Grimaud, Sir Andrs Schiff,
Gabriela Montero, Jean-Yves
Thibaudet, Jan Lisiecki and many,
many more. Unmissable.
Mozart@Augsburg
1-15 September
www.mozartaugsburg.com
Launched with Mariss Jansons
conducting the Requiem, this
fortnight of mostly Mozart sees
festival director Sebastian Knauer
partnering a variety of artists
including Stefan Vladar in the
Concerto for Two Pianos.
Matine: Lecture on S. Thalberg
Film (18.08): Pianocrazy
Piano works by
Albniz Glazounov Reubke
Alkan Granados Stanchinsky
Bortkiewicz Hindemith Thalberg
Ed.J. Collins Kosenko Vierne
Rarities of Piano Music Vl. Drozdoff Martucci Volkmann
18-26 August 16/03/2017 15:35
Feinberg Moszkowski a.o.
www.piano-festival-husum.de
If you think youve heard it all, beat
the crowds and book early for a week
full of little-known pianistic gems, Ticket sale & festival information
fine performances and introductory Museumsshop
talks and quizzes with piano critics. Schloss vor Husum,
See article opposite. 25813 Husum/Germany
Tel. +49 4841- 8973-130,
Schleswig-Holstein Music Fax: + 49 4841- 8973-111
Festival karten@raritaeten-der-klaviermusik.de
2 July-27 August
www.shmf.de
Information & accommodation
A festival thats the pride of North
Tourist Information Husum
Germany, opening in Lbeck with the
NDR Elbphilharmonie Orchestra, Tel. +49 4841- 89 87-0
who are flying high thanks to their www.husum-tourismus.de
new hall. Featured artist Hlne
Grimaud plays Ravels Concerto in G, www.piano-festival-husum.com
more French music in a solo concert,
then a recital with cellist Jan Vogler.
Igor Levit and Alexandre Tharaud Kulturpartner
make later appearances.
Spannungen
18-25 June
www.spannungen.de
Held in the huge generating hall of
a former power station, this festival

77 Pianist 95

p72 Listings FESTIVALS 2017-FINAL.indd 77 16/03/2017 16:59

 MUSIC FESTIVALS 2017
lights up a sleepy Rhineland region
with supercharged chamber music
from director/founder Lars Vogt and
friends. Details online in spring.
IRELAND
Dublin International Piano
Festival & Summer Academy
22-30 July
www.pianofestival.ie
As well as the nine days of open
masterclasses given by Evelyne
Brancart, Orla Macdonagh, Lance
Coburn and others, there will be
recitals by an impressive line-up of
international pianists including Boris
Berezovsky, Gabriele Baldocci and
Frederic Chiu.
New Ross Piano Festival
21-24 September
www.newrosspianofestival.com
Celebrating his 40th birthday in
2017, the festivals artistic director
Finghin Collins brings a Hungarian
theme to County Wexford, including
Zoltn Fejrvri and Klra Wrtz in Chopin concerto with Jan Lisiecki
Liszt, Bartk, Kodly and Kurtg. before Grigory Sokolov gives a
West Cork Chamber Music
Festival
30 June-8 July
www.westcorkmusic.ie
On the glorious south-west coast of
Ireland lies the town of Bantry.
A fine house overlooking the bay is
home to a busy week of high-class
music-making. A late-night Diabelli
Variations with Joonas Ahonen is
followed by more Beethoven from
Barry Douglas and friends; theres a
focus on piano trios and quintets.
ITALY
Incontri in Terra di Siena
29 July-5 August
www.itslafoce.org
With Alessio Bax as the new Festival
Director there is a serious line-up of
artists including fellow pianists
Lucille Chung and Julius Drake
alongside the likes of Joshua Bell and
Sarah Connolly in core classics by
Mozart, Mendelssohn and Brahms.
Spoleto Festival
30 June-16 July
www.festivaldispoleto.com
The organisers are pulling big names
to celebrate 60 years of opera and
atmospheric solo recitals in the
Umbrian hills. The US sister festival
in Carolina (25 May-12 June) features
daily lunchtime recitals including the
pianist Gilles Vonsattel and the
resident St Lawrence Quartet.
Full details online in the spring.
p72 Listings FESTIVALS 2017-FINAL.indd 78
Trasimeno Music Festival
28 June-4 July
www.trasimenomusicfestival.
com
Barely two hours after playing
Mozarts D minor Concerto at the
opening concert, founder Angela
Hewitt gives a Bach recital. She
returns the following day for late
Beethoven and a four-piano
spectacular with Janina Fialkowska,
Jon Kimura Parker and Charles
Richard-Hamelin in this sleepy
Umbrian town overlooking Lake
Trasimeno.
MALTA
Malta International Music
Festival
21-30 April
maltafest.eu
The piano takes centre stage this
year in the sun-kissed city of
Valletta. Sergei Babayan plays Bach
and Liszt, there are masterclasses
with Dmitri Bashkirov and a
Mozart recital.
NORWAY
Bergen International Festival
24 May-7 June
www.fib.no
Recitals by Lang Lang, Richard
Goode, Christian Ihle Hadland
and Kathryn Stott form relatively
conventional parts of a bracing
multi-disciplinary cultural project
which opens with Rufus Wainwright
and Robert Wilson bringing
Shakespeares sonnets to the stage.
Fjord Classics
27 June-2 July
www.fjordclassics.com
A new festival directed by Kathryn
Stott and Lars Anders Tomter and
based around the small coastal city of
Sandefjord, south of Oslo. The
Dance of Life is the theme, after
Munchs painting, and diverse
programming pairs Messiaen with
Vkingur lafsson in the Goldberg
Variations and mixes Rachmaninov
with Friedrich Gulda and Enescu.
International Music Festival
Stavanger
16-21 August
www.icmf.no
Stavanger native Christian Ihle
Hadland returns as artistic
co-director, playing Couperin,
Mozart, Grainger and more within
bold and mixed chamber
programmes.
The Miami
International Piano
Festival Academy
9-30 July
A three-week Symposium designed for pianists interested
in pursuing a concert career. This unique program will
provide an exciting and unique opportunity for pianists
to study with astonishing virtuosos with active careers as
performers. Participants will be exposed to valid sources
of information through private lessons, masterclasses,
lecture demonstrations and opportunities to perform.
TWO pianists will be selected to perform in the 2018
Season of the Miami International Piano Festival, and
THREE with orchestra.
Watch a lm about the Academy here: https://youtu.be/
JumUrcm-o_w
www.miamipianofestacademy.com
Phone: 305 935 5115 or 305 794 7515
Location: NSU Southeastern University,
Fort Lauderdale, Florida
Miami.inddLofoten
1 Festival Rosendal Festival 14/03/2017 10:44
10-16 July 10-13 August
www.lofotenfestival.com www.rosendalfestival.com
Set around an Arctic Circle archipelago Leif Ove Andsnes leads an exploration
of crystal waters and tiny islands, this of lesser-known Mozart at a lovely
week-long feast of chamber music manor house, complemented by
attracts serious artists in striking 20th-century classics such as
combinations. Alongside Leif Ove Messiaens Quartet for the End of Time.
Andsnes and Lise de la Salle, Olli
Mustonen features both as pianist in
Beethovens Hammerklavier Sonata SWITZERLAND
and composer in his Nonet.
Lucerne Festival
Risr Chamber Music Festival 12 August-11 September (Summer);
28 June-2 July 19-27 November (Piano Festival)
www.kammermusikkfest.no www.lucernefestival.ch
Another week where fine views (over International stars play in the Jean
the North Sea from the south-west Nouvel-designed concert hall on Lake
coast), imaginative programming and Lucerne. Martha Argerich opens the
music-making on the wing are Piano Festival with Schumanns
guaranteed; Paul Lewis has been a Concerto, followed by recitals from
recent guest. Full details available Gabriela Montero and Evgeny Kissin;
online in early spring. Daniil Trifonov plays Mompou.
78 Pianist 95
16/03/2017 15:53
 Montreux Jazz Festival
30 June-15 July
www.montreuxjazz.com
In halls and cafes on the shore of Lake
Geneva, the worlds great jazz pianists
rev up packed houses and riff with the
most gifted stars of tomorrow.
Menuhin Gstaad Festival
13 July-2 September
www.gstaadmenuhinfestival.ch
Evgeny Kissin and Khatia Buniatishvili
give concertos in this Alpine town
with top-dollar accompanists.
A Brahmsian thread prompts Leif
Ove Andsnes, Nicholas Angelich and
Alexander Madzar to join distinguished
friends in the major chamber works.
Verbier Festival
21 July-6 August
www.verbierfestival.com
It is hard to walk around this Alpine
village mid-festival without bumping
into the likes of Evgeny Kissin,
Daniil Trifonov, Denis Kozukhin
and many fine musicians not from
Russia on their way to and from
concertos, recitals and masterclasses.
TURKEY
Istanbul Music Festival
29 May-21 June
www.iksv.org/en
Unusual is the theme, and native
pianists such as Hseyin Sermet and
Fazl Say are sure to deliver in
non-traditional venues (gardens,
churches and mansions) across this
vibrant city of two continents.
USA
Aspen Music Festival
29 June-20 August
www.aspenmusicfestival.com
Support from loyal musicians and the
fresh air of the Colorado Mountains
explain why this festival has endured.
Pianists include Jonathan Biss,
Nikolai Lugansky and Inon Barnatan.
Bard Music Festival
11-20 August
fishercenter.bard.edu
Chopin and His World is the theme
for two weekends of wide-ranging
events including a visit from Polish
National Opera in Moniuszkos
Halka alongside piano, song and
orchestral concerts.
International Keyboard
Institute and Festival
16-30 July
www.ikif.org
Renowned teacher and mentor
Jerome Rose is the brains behind this
p72 Listings FESTIVALS 2017-FINAL.indd 79
fortnight in downtown New York.
Piano-intensive concerts, recitals,
lectures and masterclasses feature
pedagogues such as Magdalena
Baczewska and Jeffrey Swann, and
Vladimir Feltsman makes a rare
appearance in concert.
Marlboro Music Festival
16 July-14 August
www.marlboromusic.org
Artistic director Mitsuko Uchida
maintains the Marlboro mystique in
which established stars and young
musicians gather for intensive
rehearsal before giving five weekends
22 30 JULY 2017
of concerts. Audiences only find out
whats on offer a week before each
concert. Pianists this year include
Uchida herself, Jonathan Biss, Luca
Buratto, Paul Lewis and Shai Wosner.
Miami International Piano
Festival
Year-round
www.miamipianofest.com
The 20th-anniversary season ranges
from the 14-year-old Wunderkind
Leonid Nediak to Ilya Itin, winner of
the 1996 Leeds competition. ARTISTS: GABRIELE B ALDOCCI | EVELYNE B RANCART | B ORIS B EREZOVSKY
Between them come recitals from a
host of young artists including
ARCHIE CHEN | FREDERIC CHIU | ORLA MCDONAGH | FRANCESCO TRISTANO
Francesco Libetta and Julien Libeer.
Music@Menlo Lessons & Masterclasses
14 July-5 August
Seminars
www.musicatmenlo.org
This San Francisco Bay Area festival Student Performance Opportunities
focuses on interaction between
young and established artists, led by Small Class Size 18 International Participants
cellist David Finckel and pianist Wu
Han. Courses complement music- Excursions
making in a true festival ambience.
Scholarships Available
Music Academy of the West
12 June-5 August
www.musicacademy.org
The 70th anniversary of this
APPLY ONLINE AT
combined school and festival is
launched with a gala recital by Yuja www.pianofestival.ie
Wang and Jean-Yves Thibaudet.
Stephen Hough gives a recital, and
Alan Gilbert bows out as Music
Director of the New York Find us on
Philharmonic in his final concert.
Tanglewood Festival
28 June-30 August
www.bso.org
With Schuberts Final Journey,
CONCERT SERIES
Emanuel Ax curates a six-concert
series of sonatas and songs from the
composers final year of life. He is DR ARCHIE CHEN, ARTISTIC DIRECTOR APPLICATION DEADLINE APRIL 28TH 2017
one of many fine pianists appearing RHONA GOULDSON, EXECUTIVE DIRECTOR TEL: +353 15555000
this year on the stage of Ozawa Hall IN ASSOCIATION WITH :
and in the famous tent: among them
Thomas Ads, Paul Lewis, Daniil
Trifonov, Yefim Bronfman and
Pierre-Laurent Aimard. Garrick
Ohlsson is the featured Koussevitzky
Artist of the season.
79 Pianist 95
16/03/2017 15:53
 E D U C AT I O N
UNDERSTANDING THEORY
PART 8: ORNAMENTS
In the rst of a two-part feature, educator Nigel Scaife takes you through the ornaments
which shape and colour many cherished melodies
I
n musical contexts the word ornament is used to refer to a decoration
or embellishment of a melody. Ornaments are often short notes that
emphasis particular points or sections in a melody for expressive effect.
This expressive role is at the heart of what ornamentation is all about.
As pianists we need to make sure that we are playing the ornaments correctly
to maximise their expressive impact within our personal interpretation of
the music. Ornaments are not just pleasing added extras. They usually play
an integral part in the melodic framework and content of the music.
A piece with a lot of ornamentation can be forbidding, especially if the
signs are not all fully understood. To get to the point where we are confident
about interpreting the ornaments in any given piece we need to be able to
answer a range of questions. On what note should the ornament start?
Should it come before the beat, on it, or after it? How long should any
dissonance last? The answers will depend on the style and period of the music,
the tempo and the musical context overall. The three main national schools
in Baroque music, for example French, German and Italian each had their
own conventions when it came to ornaments, and then there are differences
of approach over the centuries to consider as well, so it can be a bit of a
minefield! But dont despair this article and the next inside issue 96 will
cover the basics including trills, grace notes, acciaccaturas, mordents, turns
and appoggiaturas. Knowing how the most common ornaments operate will
make all the difference and there is rarely ever a single correct way to interpret
an ornament. However, the more informed we are about the general principles,
the better chance there is that we can both honour the composers intentions
and make sure we are being as expressive as possible.
Signs, symbols and spontaneity
Ornaments were often improvised in performance in earlier times, especially
during the Baroque and early Classical periods. Because of their rhythmic
flexibility and complexity, composers tended to use shorthand symbols to
show what they intended, such as M and T. As the 19th century went on,
composers became increasingly concerned to notate their music with precision
and so ornaments were more likely to be written out in full, although the
shorthand symbols were still used, as they are in fact up to the present day.
To try to describe in theoretical terms how the various ornament symbols
should be realised in sound to some extent runs counter to the whole notion
of ornamentation, which is so much about spontaneity, rhythmic flexibility,
subtlety and a personal response to the expressive aspects of the music.
80 Pianist 95
p80 Theory-FINAL.indd 80
Nigel Scaife began his musical life as a chorister
at Exeter Cathedral. He graduated from the Royal
College of Music, where he studied the piano with
Yonty Solomon, receiving a Masters degree in
Performance Studies. He was awarded a doctorate
from Oxford University and has subsequently had
wide experience as a teacher, performer, examiner
and presenter. Nigel has contributed to many
publications as a writer on music and music education.
In trying to show through standard notation how each symbol operates,
there is the danger that their rhythmic nuances are lost. Rhythmic notation,
with its mathematical ratios, is not completely up to the task of showing
the irregularity of many ornaments, which is partly why composers used
shorthand symbols in the first place! These symbols are in fact a good way
to indicate what is meant because they dont tie the notation down to exact
ratios, but instead indicate a degree of irregularity and rhythmic flexibility.
The problem arises when the symbol has to be explained to someone who
is not in the know, at which point the symbol has to be pinned down to
its basic features irrespective of the musical context.
Trills
notes a tone or semitone apart. This is shown by tr above a note or ~~~~~~~~~~.
The most common ornament is the trill. A trill is a rapid alternation of two
The exact way in which this is interpreted depends on the style and tempo of
the music. These aspects will affect the number of repetitions and their speed.
In music written before about 1825-30 Renaissance, Elizabethan, Baroque
and then Classical music up to the time of Beethoven trills generally start
on the note above the main note. This gives an even number of notes:
~~~~~~~~
& f f = & f f f f f f f f f
In the Classical period trills often end with this pattern which helps to round
things off smoothly:
15/03/2017 10:35
 There is rarely a single correct way
to interpret an ornament

Nevill Estate Yard, Eridge, Tunbridge Wells, TN3 9JR

01892 543233
Grace notes The best selection of pianos in
This is sometimes shown through the use of another type of ornament which wthe w w.thepianoshopkent.co.uk
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is known as a grace note:
grand; new and restored;
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Those small-sized notes shown above, the grace notes, are usually played
relatively quickly, but as with all grace notes their speed should reflect the
overall character of the surrounding music. They are not taken into account
as far as the rhythm of the full-size notes is concerned, so the time values Nevill Estate Yard, Eridge,
add up correctly in theoretical terms without them.
Groups of two or more grace notes are usually shown as beamed semiquavers Tunbridge Wells, Kent TN3 9JR
with a slur, and may come on the beat or before it. To determine how to play
them you will need to consider the musical context and ask yourself why the
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composer used this way of notating their music. For example, did they want
to indicate a rhythm that couldnt be notated in any other way? Do the
notational conventions of the era in which the piece was written suggest www.thepianoshopkent.co.uk
a probable rhythm? Do they enhance or emphasize a main note or are they
more about adding melodic fluidity and a sense of direction?

b3 F
&b 4
ff f f fff F
PIANOFORTE
Piano Shop Kent.indd 1 13/03/2017 11:04

Now back to the trill: after about 1825-30 trills usually start on the main note
TUNERS ASSOCIATION
and often include the end pattern:
~~~~~ ~~~~~~~~ 3

& f f or & f f ff = & ff ffffffff

If the upper note of a trill needs an accidental, this is shown above the tr sign
or in brackets above the note:
n
~~~~~~ ~~~~~
&b f b
or & f n

The issue of whether to start on the upper note or the note itself is often Do you:
far from clear-cut! Chopin, for example, seemed to follow the Baroque Need a piano tuner?
practice of starting on the upper note and would indicate that the trill Need advice about purchasing a piano?
is to start on the note by adding a small grace note at the same pitch
before the main note (as, for example, in the long trilled melody within Want to join the Association?
the Nocturne Op 62 No 1). Want to become a piano tuner?
The acciaccatura is a very short note played before the main note and
is colloquially called a crushed note. In fact acciaccare in Italian means
to crush. It is usually played on the beat but might also be played just Visit www.pianotuner.org.uk
before it. It is usually written as a small-sized quaver with a slash through or contact the Secretary on
the stem and is often joined by a tiny slur to the main note: 0845 602 8796
j
f f
The Association provides the music profession and general
In the second article on this topic Ill be covering some more of the most public with a first class professional service in which they trust.
important ornaments of the Baroque and Classical periods, including
mordents, turns and the appoggiatura.
81 Pianist 95
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p80 Theory-FINAL.indd 81 15/03/2017 10:34

 MAKERS
I Good as new
n 2015, Penny Temple-Watts
had her Kemmler upright piano
restored. Made in Osnabrck, the
instrument had been acquired in
the 1920s by her grandmother,
who had it shipped to Australia
when she emigrated in 1951. She passed
it to her granddaughter in 1973.
The restorer put in new damper felts,
recalls Temple-Watts, shaved the
hammers, replaced the stained non-ivory
key tops with new ones, and adjusted the
action, and other bits and bobs. The
ancient Kemmler is a delight to play, she
says. The softs are soft and yet it can
give me strength when I need it. I know
how to bring out its best tone. The piano
was my darling Oomas, so it is very
special to me.
p82_Makers-FINALish.indd 82
Has your piano seen better days? Or even years? John Evans
picks his way through the mineeld of restoration, repair and
rebuild with some of the industrys leading voices
This heart-warming story is, according
to restorers, typical of those they hear
when asked to restore an instrument.
In contrast, Sarah Steinhardt is an
example of those who have had more
extensive work carried out with the
intention of restoring the pianos
precision qualities. Ive had a couple
[of pianos] restored, most happily
my 1967 Bsendorfer 200, says
Steinhardt. It was finicky and wouldnt
hold a tune well. I had already had
hammers replaced but a few years later
went ahead with a new pin block, bass
bridge-cap, strings and so on. No action
work was neededexcept a regulation.
It cost about $10,000. They did some
case work as well. mIt almost looks new.
[It was] absolutely worth it and I feel
that I have a brand-new Bsendorfer.
What a thrill!
According to experts this level of
effort and investment is well worth
contemplating in the case of a premium
instrument where the cost of work is
much less than the price of a replacement
instrument. But not all restoration or
reconditioning jobs end so happily.
82 Pianist 95
The restoration process I bought a 1904 Steinway upright
of a Blthner grand model in 1968, says Laura Spencer Davis.
style VIII from c.1910 that In 2004 I had my local piano store,
was restored in 2013. which specialises in rebuilding and
Above: the case is restoring Steinways, take it to their
prepared for fitting the workshop. They had it refinished,
new soundboard. Left: the restrung and completely rebuilt. I was
socket rails are positioned only semi-satisfied with its sound after
before installing the new that. But it did increase in value by
dampers $10,000.
A few years later I traded it in and
bought a 1924 Steinway M grand that
they had already rebuilt. It was and still
is a phenomenal piano. If I ever bought
another piano I would only buy one that
had already been restored, because the
process can really change the sound.
Dont DIY
And theres the rub: youll never be
sure about the end result of a piano
restoration until its completed.
Of course, the nature of that result rather
depends on the scope of the work that
has been carried out. One things for
sure, following the WikiHow guide
to restoring a piano yourself is unlikely
to result in a piano fit for your home.
15/03/2017 09:28
 It claims that the process can be fun and
rewarding before going on to explain
that you should disassemble it, and
adding that you might want to take
notes to help you remember the
disassembly process because the project
may take you a long time to complete.
It then advises covering all the parts with
a plastic sheet before applying varnish
stripper to the case, preparing the bare
wood, filling in any marks, and applying
base and top coats. Now reassemble in
reverse order, et voil, youve restored
your piano.
This simple guide has unwittingly
exposed the perils awaiting those who are
unclear about their pianos problems and
the remedies (and expense) required to
resolve them. Understanding these is
where your piano tuner can help.
Henry Trezise is a Hampshire-based
piano tuner and technician with long
experience of instruments of all ages.
Like all reputable tuners he knows his
customers pianos intimately: which pins
slacken off first, which hammers are
sounding compressed, which strings are Clockwise, from top left: a split in the wrest plank into which the Only when expensive rectification work
buzzing, which keys are loose and where The first three strings pins are inserted is much more serious. is required, they claimed, is their true
there are any tonal variations. He nurses in place; castors cleaned, On the very worst pianos I can tighten state revealed.
an ailing instrument as best he can until oiled, buffed, and the pin and actually see it unwind,
either surgery is required or its replaced. lacquered; the original observes Trezise. Care plan
What are the problems? Whats the ivory keys, lightly bleached, The wrest plank is an essential (and Refurbished, reconditioned, restored if
age of the piano? What is it worth? and buffed to finish; expensive) component but so also is the customers knew what these terms meant,
What are repairs likely to cost? These are an original castor soundboard: a change in tone at a given they could avoid costly mistakes later on.
questions that need answering early on point may indicate a split. However, of To avoid this confusion, Robert Morley
if youre considering having your piano all the factors to consider when deciding and Co, a long-established, London-
reconditioned, says Trezise. whether to recondition or recycle, the based piano dealer and restorer, is careful
extent to which a piano can be tuned to explain its various levels of service.
Diagnosis correctly and will hold a true intonation The company defines restoration as
Signs that all is not well include slipping is, says Tresize, the most important. If it returning the instrument to its original
pins. These could be chamfered or cant be tuned correctly and hold that condition and specification, with
replaced with larger ones. However, tune, the piano is useless. And its not minimal replacement of new parts
just about it being in tune; you should be to maintain authenticity. Repair
able to tune it to standard pitch because involves making good damage and
Touch up or bail out? then all the beat rates will be correct and deterioration caused by age and wear,
it will sing. Only when youre sure it can using appropriate new components as
hold its tune should you consider having required. Rebuildingmeans taking the
5 points to bear in mind before calling a piano restorer the action regulated, for example, which instrument apart (extensive dismantling)
is a very expensive job. and remaking it to look and sound like

1 Are you doing this for sentimental reasons or because you really
want to improve your instrument? If the former, go ahead; if the
latter, think hard about the costversus the price of a new or better
used instrument.
Having established what work needs
doing to your piano, at least you know
what youre dealing with. Unfortunately,
says Tresize, the same cannot be said for
those who buy a piano that has already
it did when new.
According to Morley and Co, reasons
for major work include the instrument
not staying in tune and at pitch. In this
case, restringing with new tuning pins

2 Dont assume the restoration process will add value: a little-known

make of nointrinsic value will gain little more.
been reconditioned. Less scrupulous
companies will only do obvious things
like polishing the case, painting the
and possibly a new tuning plank would
be considered. The soundboard assembly
may have developed faults or joint failure.

3 Choose your restorercarefully. There are rogues out there.

Check their qualifications, see their workshop, hear the results
of their work, get recommendations.
frame and replacing the felts, he says.
Ive seen this and Ive had to explain to
disappointed customers that the
The tone and touch may be uneven,
unresponsive or simply unfit for use.
Hammers and key coverings may need
reconditioned piano they were sold has replacing or the hammer, damper action,

4 All that glistens is not gold. A shiny frame, a polished case and
new felts do not a restoredpiano make. A thoroughly overhauled
and regulated action, secure pins, a solid wrest plank these
only been given a makeover.
Without visiting the workshops who
do this work and playing their
keyboard and pedal system overhauling.
Such work is followed by reassembly,
regulation, tuning and toning. Depending
arethe things you should be looking for. instruments, its impossible to say on what is required, the bill can range
whether such things go on. However, in from around 2,000 to 5,000.

5  eed the advice of your piano tuner who knows your piano inside
H researching this article, Pianist spoke to Peoples reasons for having their piano
and out. Hell be able to tell you what needs doing and whether UK restorers who claimed there is a restored are often sentimental ones or
the work will improve the instrument significantly or could see you flourishing trade in used pianos that have perhaps they like the softer tone of an
throwing good money after bad. been refurbished sufficiently well to older instrument, says Julia Morley.
appear to have been fully reconditioned. They may simply prefer their piano

83 Pianist 95

p82_Makers-FINALish.indd 83 15/03/2017 09:28

 MAKERS
to all others and wish to address faults
that have developed over time. Whatever
their reasons, we make sure they
understand what their instruments faults
are and how we plan to resolve them
and that unless its a premium brand,
theyre unlikely to make any money on
the instrument once the work is done.
She says the company avoids aggressive
restoration involving the wholesale
replacement of parts. We do what we
call conservative restoration. Well keep
as many of the original materials as we
can so that the piano plays and sounds
as it was intended to. We do not make
an old piano sound like a modern one.
If you want a modern sound, buy a
modern piano!
Markson Pianos, of London, takes
equal pains to explain when reconditioning
may be required and at what level.
The company suggests that if the piano is
a quality make, restoration costs should
be lower than buying a new or nearly
new replacement. On the other hand,
the company observes of mass-produced
pianos, and some manufactured with
older mechanisms and stringing around
1880-1920, that they may not be worth
the trouble, although modern parts can
be fitted if required.
Simon Markson defines the companys
work in three main areas: structural
restoration, action and key restoration,
and casework restoration. A violin goes
on forever, but not a piano, he says.
We aim to give customers a complete
picture of what is required and be sure
theyre doing it for the right reasons,
so they go in with their eyes open.
The demand is there. We do around 50
restorations a year with prices starting
from around 3,000 for re-pinning and
re-stringing an upright. Overhauling an
upright costs around 5,000 and a
comprehensive overhaul of a grand,
around 8,500.
p82_Makers-FINALish.indd 84
Alistair Laurence of John Broadwood &
Sons agrees that instruments by makers
of renown are well worth restoring but
lesser makes require caution. Get your
tuner to inspect it, he recommends, but
in my opinion, if it has a split wrest
plank or cracked frame, its not worth
repairing. More minor wooden parts can
be renewed but Id hesitate to replace the
soundboard. In my view, restorers
are too ready to replace them.
There are two approaches to this
work: conservation, where the aim is
to retain as many of the pianos original
features, including not polishing the
case, and an increasingly common one
where the piano is cleaned and buffed
so it looks like new and is priced to
appear a bargain, but regulation and
voicing work is not good.
Who to trust?
Which brings us to the all-important
question of how to find a restorer you
can rely on. You could approach any of
the companies listed below. However,
word of mouth a personal
recommendation based on experience
is still valuable. Paul Leverett is
co-director of his family firm, Piano
Restorations UK, also based in London.
Word of mouth and recommendation
are important, says Leverett, but also
check the companys history, where its
staff earned their qualifications, who
they were apprenticed to and the extent
of their knowledge. Youve got to know
someones pedigree and standards
whether theyre doing the job right or
contracting it out for half the cost
elsewhere. I reckon we do corrective
work on two or three poorly
reconditioned pianos each year.
Leverett is referring not to old family
uprights but expensive German brands.
He and his father served apprenticeships
with Blthner Pianos (Paul was the last
84 Pianist 95
Left to right: One of the to serve a full, eight-year Blthner
new turned lyre columns apprenticeship; Colin, his father, worked
next to the non-original for the company for 50 years) and the
square columns; the noisy majority of the companys work is with
process of knocking out high-end instruments, so on occasion
the old soundboard; drilling they see rival firms shortcuts.
the pedal box from the lyre Everything we do is about quality
ready to fit the newly of tone and in pursuit of that we do
turned columns the lot, going right through all the pianos
we work on, says Leverett. Just one
instrument can take up to 240 hours
to rebuild; work that costs around
19,500 on average. Forty or so pianos
pass through the workshop each year.
One of the most vital links in the
restoration chain is the piano tuner.
Tuners are at the forefront, remarks
Leverett, and if you find a good one,
look after them. Theyll tell you precisely
whats wrong with your piano, tell
you how much work it needs and help
you find the right workshop to do it.
A good one could save you an awful
lot of grief.
Photos supplied by Handel Pianos and
Hamilton Pianos.
Reputable Restorers
A selective list of UK-based companies
Giller Pianos oldgranarystudio.com
Handel Pianos handelpianos.co.uk
Iain Gordon Piano Services iain.gordon.co.uk
John Broadwood & Sons Broadwood.co.uk
Markson Pianos marksonpianos.com
Morley Pianos morleypianos.com
Piano Restorations pianorestorations.co.uk
Piano Tuners Association pianotuner.org.uk
Shackell Pianos Shackellpianos.co.uk
Shackleford Pianos shacklefordpianos.com
The Piano Shop thepianoshopkent.co.uk
15/03/2017 09:28
 73 Pianist 95

p85_pianist95.indd 73 17/03/2017 09:18

 REVIEW

CD reviewsIts a month for New Romantics, with ne new discs of Schubert, Schumann and Brahms.
Reviews by Marius Dawn, Peter Quantrill and Erica Worth

Pianist star ratings: Essential go get it! Really great A ne release Disappointing Poor

BARRY DOUGLAS EDITORS CHOICE

Schubert: Four Impromptus D899,
Sonata in A D959
Chandos CHAN10933
Cork School of Music allowed
Barry Douglas to record in its
auditorium. Nice, then, that
the recording is clear and
spacious and the Steinway
well tuned. After a Brahms
odyssey on disc, Douglas has
turned to Schubert, and his fans should be happy
with the second volume. His interpretations are
straightforward: the Impromptus D899 are played
with style and elegance. Nothing is too fast, and
nothing too slow its all a little mundane,
though No 2 flows seamlessly with admirable
technique and polish. The A major Sonata is held
together well, but nothing special comes to the
fore: I hear no especially deep understanding and
no wonderment penetrating this dramatic work.
Even the exquisitely-written Andantino could do
with a bit more magic. To explore this music more
deeply, to grasp Schuberts angst mingled with
Viennese charm, turn to the likes of Barenboim,
Schiff, Uchida, Brendel and Kempff. MD
CDRIC PESCIA
Schumann: Kreisleriana Op 16; Toccata Op 7; Four Fugues Op 72,
Four Marches Op 76, Sonatas for the Young Op 118 and more
Claves 50-1508/09 (2CD)
A little over ten years ago, the Swiss record label Claves set out
to record Robert Schumanns complete works for piano music.
Rather unusually, the label has used not one, but three pianists
for the recordings thus far: Finghin Collins (Vols 1 and 3), Francesco Piemontesi (Vol 4), and
Cdric Pescia (Vols 2, 5 and now Vol 6). I hope Pescia will be Clavess top choice for the remaining
releases, as hes been the most impressive to date.
Volume 6 features two classics of the repertoire: Kreisleriana Op 16 and the Toccata Op 7.
In the turbulent opening movement of Kreisleriana, Pescia gives us an incredible feeling of energetic
drive, melded with a sense of freedom and beauty of tone even in the hardest of quick, forte
passagework. When Pescia turns his attention to sublime slower sections, such as the fourth
movement, he never succumbs to dragging the tempo his phrasing speaks with straightforward
intimacy. Pescias way with the devilish Toccata is light and flowing, with power in reserve to
maintain momentum to the end.
The other works here, interesting for the insights they afford into his development, are rarely
heard in the concert hall. Not all Schumanns writing was top notch. However, with such sensitive
interpretations poured into the four fugues, four marches and the technical studies on a theme
of Beethoven, the composers genius still shines through. The three Sonatas for the Young Op 118,
from Schumanns late period, are played with a charm that may encourage others to give them a try:
theyre technically within reach of most amateur pianists.
Fine recorded sound and a perfect Steinway make this an unmissable Schumann release. EW

INGA FIOLIA MICHAEL KORSTICK MARC-ANDR HAMELIN

Glinka: Nine variation sets
Grand Piano GP741
Piano Sonatas Nos 1 & 3 and more
The Grand Piano label
specialises in obscure
composers and repertoire.
Here they have picked out
Mikhail Glinka, a father-
figure in the Russian classical
tradition. In the first volume,
the young and talented Georgian-German pianist
Inga Fiolia presents nine sets of variations, some
based on themes from operas (such as The Magic
Flute) and some from Russian folk songs. It must
have been a Herculean task, for all the works are
technically demanding. Sadly, none of them are
musically interesting and after listening to a few
variations the mind tends to wander. The variations
on Solovey (The Nightingale), a song by Alabiev, is
occasionally encountered in concert, but there is
surely a reason why few pianists have bothered
learning all these notes. A pity, for Fiolia has a
secure technique, a clear singing tone and plays
with much good sense and understanding.
Hopefully we will hear from her again in more
substantial repertoire. MD
Ginastera: Danzas Argentinas Op 2,
Doce Preludios americanos Op 12,
London Philharmonic Orchestra/
CPO 555 069-2
Hyperion CDA68145
In his native Germany,
Michael Korstick is highly
regarded, with an acclaimed
cycle of Beethoven sonatas on
Oehms to his credit. If UK
promoters listened to this
CD, hed be in every concert
hall! Ginasteras music is evidently close to
Korsticks heart (he studied with the composer):
passion radiates from every note. Ginasteras
dance-thythms are pointed with razor-sharp clarity
and his often brutal chording makes a terrific
impact. Ordered chronologically, the CD opens
with the famous Danzas Argentinas (including the
well-known No 2). Korstick brings great drama to
the Preludes which find Ginastera at his most
inventive. The First Sonata is a thrilling, Bartkian
work which packs an hours worth of drama into
15 minutes, while jazz influences can be heard
within the keyboard-lion roaring of the three
Op 6 Pieces. Get this recording, pronto! MD
Medtner: Piano Concerto No 2;
Rachmaninov: Piano Concerto No 3
Vladimir Jurowski
Marc-Andr Hamelin shot to
fame by recording some of the
most difficult super-virtuoso
piano works ever written, but
he has recently given us
sparkling Mozart and Haydn
with a sense of humour; I was
also impressed by his Brahms Second, and the
tough, overlooked Concerto by Henselt. I wish
I could be as excited about his first recording of
Rachmaninovs Third Concerto, but one senses an
uneasy musical relationship with Vladimir
Jurowski in crucial passages such as the first
movements transition from the cadenza the
transcendentally difficult original one, naturally
which rather runs out of steam. The Medtner is
also rather earthbound and passionless, with a slow
movement that sounds like a chore. The finale of
neither concerto rises to a sense of occasion.
Possibly a match not made in heaven? MD

Pianist
8686 95
Pianist 83

p86_CD Review-FINAL.indd 86 14/03/2017 10:21

 You can buy all of the CDs reviewed here from the Pianist website.Visit pianistm.ag/cd-reviews
ALEXANDER MELNIKOV
Prokofiev: Piano Sonatas Nos 2, 6 and 8
Harmonia mundi HMC902202
Liepaja Symphony Orchestra/Atvars Lakstigala
Theres an abundance of great
Prokofiev sonata recordings
out there. Native pianists
such as Gilels, Richter,
Berman and Marshev spring
to mind; and more recently
Peter Donohoe, who was
awarded 5 stars in issue 92 for his War Sonatas
CD. A little brutality at the keyboard goes a long
way with Prokofiev; the sonatas have a poetic side
too, but it can be hard to put that across when the
rhythmic intensity is so overpowering (in the
finale of the Seventh, for instance). So its nice
to hear Melnikov present a gentle, even
introverted account of the Seconds Andante
(a highlight of Prokofiev's early piano music).
In the broad, magisterial opening of No 8, he
finds hidden inner voices and a deeper meaning
than most of his rivals. Melnikovs viscerally
intense attack to the Sixth Sonata, most apparent
in the Vivace finale, is a little bombastic for my
taste. All in all, though, a fine release from an
always interesting pianist. EW
MAURIZIO POLLINI
Chopin: Late Works, Opp 59-64
Deutsche Grammophon 479 6127
Orchid Classics ORC100063
Some pianists mellow with age,
or become more philosophical:
not so Maurizio Pollini (and
before we go further, Im a
huge fan). In his new account
of Chopins Barcarolle, he
shaves a full minute from
his earlier recording, but the result is harsh and
headstrong. The Polonaise-Fantasie is over two
minutes quicker and the two Op 62 Nocturnes
make no improvement on earlier versions. Some
mazurkas are new to Pollinis Chopin discography,
as are the three Valses Op 64. However, late
Pollini is a far cry from the razor-sharp technical
command of his younger, brilliant self.
A while ago Pollini successfully embarked on
recording Bachs Well-Tempered Clavier and the
Debussy Prludes; one wonders what he wished
to add in repertoire we already have from him in
superb performances. An artist develops and times
change, but not always for the better. The meagre
playing time of 54 minutes has left plenty of space
for Pollini to re-record yet more Chopin. MD
p86_CD Review-FINAL.indd 87
PINA NAPOLITANO
Elegy. Schoenberg: Piano Concerto;
Bartk: Piano Concerto No 3 and more
Two Rhapsodies Op 79
Odradek ODRCD339
Having recorded the solo works
on a well-received debut for the
artist-owned Odradek label,
Pina Napolitano returns to
Schoenberg. She is a persuasive
advocate for the more relaxed
Piano Concerto, at home
with its idiom of 12-tone Brahms and benefitting
from the well-balanced support of a Latvian
orchestra. After Expressionist orchestral-only
interludes by Schoenberg and Ernst Krenek, she
offers the unique and intelligent pairing of
Bartks Third. Better recorded, more measured
but also more characterful than Bronfman and the
LSO (reviewed in Pianist 94), if without the
finesse of Jean-Efflam Bavouzet, this is an account
of vivid colours and human warmth which grasps
Sir Andrs Schiffs idea of the piece as a wise
mans farewell. Napolitano makes difficult music
if not easy then approachable, issuing a grateful
invitation to listen. PQ
EDNA STERN
Hlne de Montgeroult: Sonata No 9;
12 Etudes; Fugue No 1; Theme and Variations
Perfumed and poised in equal
measure, Edna Sterns Bach
Partitas on Orchid Classics
divided listeners down purist-
Romantic lines of appreciation:
I found a sprightly, smiling joy
in her playing, as I do in this
less generous (53 minutes) but historically valuable
advancement of a missing link between Beethoven
and Chopin. The life and career of Hlne de
Montgeroult (1764-1836) was amazing in itself: a
student of Clementi, Dussek and Reicha who was
spared the guillotine by improvising variations on
the Marseillaise in front of the men who led the
Reign of Terror, she became the first female piano
professor at the Paris Conservatoire. Her music is
no less striking. Even the 112 Etudes of her Method
are rhapsodic, never restrictively didactic. They
would make a fine alternative if Czerny is getting
you down. On a ringing Pleyel instrument of 1860,
Stern presents 12 of them alongside the substantial
Ninth Sonata and a Mozartian set of variations. PQ
87 Pianist 95
JONATHAN PLOWRIGHT
Brahms: Paganini Variations Books 1 & 2,
Ballades Op 10, Piano Pieces Op 119,
BIS BIS-CD2137
Jonathan Plowright is among
the very finest of present-day
British pianists. On record,
he is known for his advocacy
of comparatively unfamiliar
composers, not least a range
of Polish Romantics such
as Ignaz Paderewski and Zygmunt Stojowski.
The Paganini Variations are the obvious summit
on the fourth volume of his Brahms cycle, full of
impressive finger dexterity and richness of tone,
even if he allows himself a few odd tempo
fluctuations in the first few variations. The rest
of the album, however, is more impressive still.
The Four Ballades Op 10 hark back to Julius
Katchen (a Brahmsian without compare), in their
organic evolution, in Plowrights hands, from the
late Classicism of Beethoven. The late and elusive
Op 119 pieces find Plowright at his best, with
an outstanding singing tone and wonderfully
long, sustained lines. MD
LARS VOGT
Schubert: Impromptus D899; Moments Musicaux
D780; Six German Dances D820
Ondine ODE1285-2
How I would have loved to
hear all eight impromptus
on this release, and not only
the four of D899 (Op 90).
Lars Vogt plays them so
convincingly, with both
considerable elegance and the
immediate drama which is such a prerequisite in
late Schubert. The Six German Dances are all fine
and well played, but without being sensational.
In the Moments Musicaux, Vogt is admirably
secure without bringing deep or original insights
to the music. Turn back to the four impromptus
and you find Vogt evoking a mini-drama in the
first; a flowing, well-oiled carousel in the second;
an evening of song and accompaniment in the
third; and the last benefits from the technical
tricks one can only play with the fleetest of fingers
in those repeated right-hand descending
arpeggios. Vogt is a master at drawing out the
drama in Schubert, and these four impromptus
offer eloquent proof of that mastery. MD
16/03/2017 12:50
 REVIEW

Sheet music
Authoritative new editions of Beethoven and Brahms, a forgotten Soviet composer
and inspirational new teaching material, reviewed by Michael McMillan

AVAILABLE FROM THE PIANIST DIGITAL keys up to seven sharps (Book 1) and seven flats can shake a stick at. His five-volume scapes series
STORE pianistm.ag/digitalshop (Book 2). The six pieces with five to seven sharps/ ranges in difficulty from Grades 1 to 8. The 85
flats are included enharmonically in the other pieces are notable for their pianistic writing and
book. In Book 1, Ancient Anthem appears in A# appealing contemporary sounds. The Trinity
BRAHMS minor (seven sharps), but I suspect youd prefer to College syllabus presently includes some of the
Variations on a Theme play the same piece in Bb minor in Book 2 (five best pieces, such as Forty Winks (Dreamscapes) and
by Handel Op 24 flats). The music is easy to grasp and makes few Walrus Rag (Seascapes), but there are plenty more
Brenreiter demands on the listener, but generally lacks the enticing discoveries to make, such as Something
ISMN: 979-0-006-53061-8 originality and inspiration of previous volumes strange growing in the potting shed (Dreamscapes).
(BA9607) from Melody Bober. The presentation is not up to the standard of other
volumes reviewed here, though this shouldnt
On hearing the Handel BEETHOVEN deter repertoire hunters.
Variations, Wagner grudgingly Three Sonatas for Piano
acknowledged that Brahms was no joker One Op 2; Bagatelle in A minor JEVDET HAJIYEV
sees what may still be done in the old forms when WoO59 (Fr Elise) Piano Collection
someone comes along who knows how to use Brenreiter EVC Music Publications
them. Written in 1861 and originally intended as ISMN: 979-0-006-56193-3 ISBN: 978-0-9935146-9-2
a present for Clara Schumann, they still present (BA10859)
formidable technical and musical challenges. Henle The Soviet-era, Azerbaijani
Brenreiters clear and attractive edition has been ISMN: 979-0-2018-1347-9 composer Jevdet Hajiyev
prepared by the experienced Brahms editor (HN1347) (1917-2002) is now little
Christian Khn. There is some straightforward known, but Shostakovich praised his unique
editorial fingering and the music occupies a Beethovens three Op 2 sonatas were dedicated to ability in writing music of symphonic depth and
couple more pages than in Henles edition. Haydn, his former teacher, and were first philosophical content. His eight Musical Sketches
published in 1796. Jonathan Del Mars edition for range in length from two lines to three pages
THE FABER MUSIC Brenreiter contains no editorial fingering, and is (Grades 2-6), and there are three more substantial
PIANO ANTHOLOGY enriched by the thorough scholarship which has works a Scherzo, Ballade, and Sonata No 1
Selected by Melanie Spanswick distinguished all his work on the composer. which demand Grade 8 standard and above.
Faber Although it is expensive, the edition is an Written in a pungent tonal idiom not far removed
ISBN10: 0-571-53957-2 indispensable first point of reference. from Shostakovich or Bartk, these pieces offer
Henles new edition of Fr Elise differs from their interesting, if not especially memorable, diversions
This hardback book makes a previous one published 40 years ago in a few small for those looking for music off the beaten track.
fine first impression with its details. The editorial fingering is a little different, A generous portion of the book can be sampled at
stylish cover design, page-finder ribbon and pedal indications that were assumed in the old elenacobb.com.
luxurious air that justifies its RRP of 22. Open edition are now fully realised, and one
it up, and youll discover that the 78 pieces are controversial left-hand note in bar 29 has been EASTERN EUROPEAN
well-chosen for a volume of this nature. Ranging updated, after further study of sources, from FOLK TUNES; RUSSIAN
from the 16th century to our own time, they are E to F. The second RH note in bar 7, printed FOLK TUNES
presented in increasing order of difficulty for as E in some editions, appears here as a D. Peter Rosser (Eastern Europe);
Grade 2-8 students. There are, however, two Julian Rowlands (Russian)
significant drawbacks. Serious proofreading errors SEASCAPES, Schott
CITYSCAPES,
CITYSCAPES FOR PIANO
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TANNER
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misplace notes and rests in well-known pieces by ISMN: 979-0-2201-18395;

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Praise for Mark Tanners Eye-Tunes
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, 11 vols.
GRADES 4-5

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MARK TANNER

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An experienced pianist, lecturer,
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SOUNDSCAPES FOR PIANO

The ideas are all so witty and entertaining

Cover image: Krivosheev Vitaly/Shutterstock.com

alone will amuse any bored pupil. that the titles

EPTA Piano Professional, Summer
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MARK TANNER

Soundscapes is Book 4 of 4 in a series

of original piano pieces, the others
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from a diverse range of styles and
is targeted to stimulate that most
important region of the head the
ears. While the
technical and musical PIANO

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Ltd. expectations obviously increase across the books
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The second in this series is just
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Russian and Ukranian folk tunes such as Kalinka

ASPECTS OF CORNWALL: 11
VIVID PIECES

As you can guess from their Mark Tanner (b.1963) is a British musician with and Korobeiniki (now more popularly known as
titles, these two books (for more qualifications and musical experiences as a the Tetris theme). These recent additions to
Grades 3-6) feature pieces that pianist, examiner, adjudicator, composer, teacher Schotts World Music series are equipped with
cover all the major and minor and regular contributor to Pianist than you CDs of their content.
88 Pianist 95

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